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Irish Times
17-07-2025
- Entertainment
- Irish Times
Old Kiln by Jia Pingwa: An unforgettable masterpiece depicting rural China during the Cultural Revolution
Old Kiln Author : Jia Pingwa, translated by James Trapp, Olivia Milburn and Christopher Payne ISBN-13 : 978-1838905262 Publisher : Sinoist Books Guideline Price : £19.99 Jia Pingwa is one of the most respected and widely read writers in China . He is particularly associated with realist writing about rural communities in his home province of Shaanxi. Though several of his novels have been translated into English, he has not yet had the major breakthrough he deserves. Old Kiln adds to the growing list of contemporary Chinese fiction that explores Mao Zedong's disastrous Cultural Revolution, including works by Yan Lianke, Zou Jingzhi and Zhang Xianliang. Jia Pingwa was a teenager during that period and writes with both the authority of direct experience and the benefit of perspective. The novel is set in the remote village of Old Kiln, known in years past for its excellence in porcelain, but now a poor backwater relying on subsistence communal farming. The story focuses on young Inkcap, who was found in a river and adopted. He lives with his Gran who is considered a 'class enemy' owing to Inkcap's grandfather's ties to the nationalist Kuomintang army. READ MORE Bash is a charismatic local tough who becomes the leader of a violent faction at the vanguard of the Cultural Revolution. He is central to the bloody internecine struggles between rival factions in the village. Contrasting with Bash is Goodman, the village's unofficial spiritual guide and healer, whose world view is steeped in Daoism and Buddhism rather than Maoist ideology. This long novel moves at the slow pace of village life; however, it is brimming with vibrant characters, ribald humour and memorable anecdotes. It offers precision writing that re-creates the experience of living among uneducated people who have become infantilised and bewildered by successive waves of ideological reform. The translation has been split between three talented translators, and it is to their immense credit that the novel retains such unity of style and coherence of tone, without losing any of the comedy and tenderness that makes it so human. Old Kiln is quietly epic in its patient but unforgettable depiction of life in rural China under the tyranny of the Cultural Revolution. It is unquestionably a masterpiece and ought to consolidate Jia Pingwa's reputation as a writer of international importance.
Spectator
16-07-2025
- Entertainment
- Spectator
Maoist China in microcosm: Old Kiln, by Jia Pingwa, reviewed
Old Kiln is a novel spoken by the muse of memory but carved into shape by the fear of forgetting. Jia Pingwa (b.1952) wrote the first draft in 2009 after visiting his home village. Remembering a prolonged bloody conflict that tore the village apart during the Cultural Revolution, he was disturbed to find all traces of it gone – and the younger generation knowing nothing about either the violence or the Cultural Revolution itself. Old Kiln also confronts a similar amnesia afflicting the entire country. The fictionalised village is China writ small – its kiln that fires porcelain providing the book's title. Jia is superb at marshalling large-scale scenes of chaos and balancing them with quieter interiors. The novel revolves around two characters: the impish orphan boy Inkcap and his grandmother Gran, doddering yet gifted at paper-cutting and all sorts of folk traditions. Although both are considered 'bad elements' in Mao's class categories, Gran's skills make her indispensable, while Inkcap cheerfully runs errands for everyone. This little flunky is a child savant, able to commune with animals and smell the scent of looming death or disaster. Unlike conventional protagonists, however, the duo are mostly tangential to major events, as the novel shifts its focus to other characters. Spring returns at the end of the book and the Cultural Revolution rages on. Leaders on both sides are publicly executed, among them Bash, the handsomest man in the village. His illegitimate child is born; Inkcap survives; and Gran, now completely deaf, remains the old wise woman. When Inkcap's New Year's lantern burns out, she tells him: 'If you have a lantern, you can light the road ahead, but you can still go walking without one.' Inkcap wants to go to school, thinking that with an education he might indeed go walking one day without a lantern. Jia is Inkcap, who has seen too much but has understood little; he's also Gran, 'who used her eyes to take in the world, looking at all kinds of people and pigs and cows and dogs'. With a schoolteacher father persecuted during the Cultural Revolution, Jia has known political injustice firsthand and allows the details to tell the story: smouldering anger over poverty and corruption, ignited by Mao's radicalised anti-establishment politics, bursts into flames of self-destructive violence. Hatred is unleashed and base instincts are stirred, setting neighbour against neighbour and fracturing the community. 'Revolution' often serves as a flimsy pretext for revenge and an opportunity to exploit chaos for power. Old Kiln is not an easy read. It refrains from appealing to emotional sympathy. Details build concrete scenes yet tend to defuse the drama. Still, the vivid imagery, spare prose and sinuous structure are rewarding, and its publication is a small miracle. It's hard to imagine that such a novel could be written, let alone published, in China today. Once an open wound that every writer wanted to tear at (giving rise to the genre of 'scar literature' in the early post-Mao era), the Cultural Revolution is a taboo subject under Xi Jinping. Thanks to the efforts of three highly capable translators, Old Kiln now has the chance of a new lease of life.
