Years Of Sadness Wang Anyi Analysis

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meals. This is why the readers feel the violence of history, but not the protagonists. Anything goes seems to be a valid principle to cross the existence, they have some sense of malaise and curiosity but they are too scared to pursuit, they love but in a very pale manner, they don’t burn of earnest emotion, are not intimate with each other, with any excess of life. They rather assume a numb approach towards the surrounding and by so doing they dry inside. As if moved by a Daoist refusal of social and political engagement, they finally get used to the tragedy, sitting in a courtyard or hiding within the crowd they see it happening, it is not that they are politically unaware but emotionally uninvolved. It is only when China realizes that the…show more content…
The CR doesn’t appear in its historical expressions but as personal dimension, the Four Clean-ups Movement set the stage for her loneliness, the fear of darkness, that awkward feeling of being always superfluous. Growing up was sad and a shameful experience, every touch felt vulgarly brutal, yet the remembrance of those years helps the writer to become aware of the significance of her inadequacy, estranged and disconnected to both the repressive collectivism and the shallow capitalism. The protagonists by and large are urban educated female venturing far beyond themselves; Duomi, Niuniu, Wang Qiyao, Coco, Hong using their bodies as the tool of their experience perceive a world denied to their narrative brothers but in the end this world closes on them too, revealing the same desperate loneliness. The background stage is very desolating though this time to fail are not the primary organs of socialization, family and school, but the male world. Men are broken. In Wei Hui’s Shanghai Baby, Coco shares her life with Tian Tian who is a frustrated artist and an impotent man, in Mian Mian’s Candy, Hong linked herself with Saining who is an heroin addicted and an idler. Fathers are absent (Lin Bai’s One Person War) or violent (Chen Ran’s A Private Life) sided by loving mothers who disappeared to soon or emotionally frigid. Teased from their classmates, neglected by distant men, these coming of age women are affected by the same terror of being abandoned, of never forgetting, the tacit ineluctability that someday life must die. Incapable to name what they feel they can’t project themselves
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