Madeleine Thien
Autore di Do Not Say We Have Nothing
Sull'Autore
Madeline Thien, 26, is the Canadian born daughter of Malaysian-Chinese immigrants. She holds an MFA in creative writing from the University of British Columbia. She live in Vancouver, BC. Madeleine Thien was born in Vancouver, Canada. She received an MFA in creative writing from the University of mostra altro British Columbia. She is the author of Certainty, Dogs at the Perimeter, and Do Not Say We Have Nothing, which won the 2016 Scotiabank Giller Prize. She also wrote the story collection Simple Recipes. (Bowker Author Biography) mostra meno
Fonte dell'immagine: bc writer's fest
Opere di Madeleine Thien
O Eco das Cidades Vazias 3 copie
Opere correlate
Etichette
Informazioni generali
- Nome canonico
- Thien, Madeleine
- Data di nascita
- 1974
- Sesso
- female
- Nazionalità
- Canada
- Luogo di nascita
- Vancouver, British Columbia, Canada
- Istruzione
- University of British Columbia (MFA|Creative Writing)
Simon Fraser University - Attività lavorative
- short story writer
novelist - Breve biografia
- Madeleine Thien is the Canadian-born daughter of Malaysian-Chinese immigrants. She holds an MFA in creative writing from the University of British Columbia. She received the 2001 Canadian Authors Association Air Canada Award and the 1998 Asian Canadian Writers' Workshop Emerging Writer Award for fiction, and her collection Simple Recipes was named a notable book by the 2001 Kiriyama Pacific Rim Book Prize.
Thien won the 2006 First-Novel Award from Amazon.ca and Books in Canada. The first novel award comes with a prize of $7,500.
She lives in Vancouver, British Columbia.
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Statistiche
- Opere
- 9
- Opere correlate
- 3
- Utenti
- 1,807
- Popolarità
- #14,238
- Voto
- 3.9
- Recensioni
- 79
- ISBN
- 94
- Lingue
- 15
- Preferito da
- 2
Thien writes with emotional intensity that brings a reader into the character’s struggles, whether it’s in the nationalist war for the independence of China, a family victimized by politicized mobs in the “Cultural Revolution” or young people trying to correct the errors of the Communist Party at Tiananmen Square. In the context of these vast social movements, Thien also deals movingly with individuals trying to relate to each other as friends, family members and colleagues. And she explores the inner lives of her characters as they try to express themselves through stories, music, even mathematics.
For me, the themes about revolutionary change are among the most interesting, and unusual, in a novel. The great hardships of the war to free China from Japanese occupation, and then to install the Communist government, are the starting point of the novel’s histories. Music and stories help connect people and help them deal with the hardships. Skipping over the starvation of the “great leap forward,” the novel then takes up the “great proletarian cultural revolution.” We see this from the point of view of its victims, who are manipulated into destroying each other as political factions fight for control of the state. Here, revolution seems completely destructive down to the soul and psyche of those involved – much like the ultimate betrayal by Winston Smith in 1984. Music and stories are wiped out.
This gets reversed in the Tiananmen uprising, when we see the passion for change on the part of the students, and also of the residents of Beijing and throughout China. Again, this has extreme costs but Thien also brings the reader into the hopes and energies of those affected by the uprising, and shows the great creativity it unleashed in music and writing. (I found this section particularly fascinating, as it shows the involvement of ordinary people across China in supporting the students, something that I wasn’t aware of before. If it’s an accurate picture, it’s easy to see why the party bureaucracy repressed the Tiananmen revolt so viciously.)
This is where the title becomes clear – it seems to mean: Do not say we have nothing when we have our links to each other that keep us moving ahead, even when it seems we have nothing else.
Interweaving all of this makes for complex writing, so the book is a slow read. But Thien’s writing is so evocative, that I was happy to give it plenty of time. It’s both beautifully descriptive and allusive, so it’s worth a little contemplation to see what the writing reveals about the characters and the story. Like poetry, rushing through the text would miss its richness and meaning. Also, since it’s open to interpretation, I think every reader will take a different understanding of the story.
For example, the Book of Records is never explained, but it seems to represent both creativity and history, inspiring and connecting people, but repressed by the Party regime. Like the creativity of the musicians, its survival is the possibility of renewal in spite of censorship and repression.
Initially, I wasn’t sure I would like the book. But Thien’s storytelling is so engaging that she overcame my resistance, and I completely fell for the story.… (altro)