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王巨文集
·古堡中的守望(电影剧本)
·庐墓(电影剧本)
·遥望天堂(电影剧本)
·涅槃之火(电影剧本)
·这怎么不是血呢(电影剧本)
·礼物(电视短剧)
·回归(电视短剧)
·在十字路口的少女(短剧)
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·无处逃生(短篇小说)
·小说"无处逃生"英文翻译节选 English Translation of an Excerpt from "Nowhere to Escape"
·纸扎的媳妇(短篇小说)
·菜窖(短篇小说)
·魔兽之舞(长篇小说节选)
·蚁穴(小说)
·黑麻雀(小说)
·变异的厨房(小说)
·被梦魇追逐的人(短篇小说)
·被梦魇追逐的人(英文版)
·钻到镜子里去的人(小说)
·你知道那个世界有多冷吗
·那门是张老照片(小说)
·花殇
·《泪之谷》自序
·《泪之谷》(长篇小说节选之一)
·《泪之谷》(长篇小说节选之二)
·《泪之谷》(长篇小说节选之三)
·《泪之谷》(长篇小说节选之四)
·《泪之谷》(长篇小说节选之五)
·《我是中国人》系列小说之一——救赎
·《我是中国人》系列小说之二——一座雕像的诞生
·《我是中国人》系列小说之三——血卡(小说)
·《我是中国人》系列小说之四——迷失的家园
·《我是中国人》系列小说之五——惊 惧 的 瞳 孔(小说)
·《我是中国人》系列小说之六——废墟里的呓语(小说)
·《我是中国人》系列小说之七——一次无法抵达的湿地之旅(小说)
·《我是中国人》系列小说之八——古蛇的后裔(小说)
·《我是中国人》系列小说之九——来自远古的回眸(小说)
·《我是中国人》系列小说之十——孩子,你去了哪里(小说)
·《我是中国人》系列小说之十一——谁在叩响那扇门(小说)
·《我是中国人》系列小说之十二——捡拾那些凝固的血迹(小说)
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·美丽的美利坚
·血迹斑斑 白骨累累 (时评)
·Blood Stains on Innumerable White Bones (血迹斑斑白骨累累)
·兽为刀俎 人为鱼肉(时评)
·兽为刀俎, 人为鱼肉 The People are Fish on the Chopping Board under the Knife
·哭泣的绵羊(时评)
·哭泣的绵羊 Weeping Lambs
·中共是当今世界最无耻的政党 
·The Chinese Communist Party is the Most Shameless Party in the World Today. (中共是当今世界上最无耻的政党)
·自由女神何时降临中国
·从“天灭中共”谈起
·Take it Up from “the Heaven will Ruin the Chinese Communist Party” (从“天灭中共” 说起)
·我为自已生长在红旗下而悲哀
·I Am Grieved for Myself to Have Grown Up under the Red Flag
·是政治白痴?还是中共特务? ——我对提倡真名签署《08宪章》的一些看法         
·一首葬送中共暴政的挽歌
·我的宣言:为自由而奋斗
·My Manifesto: Fighting for Freedom 我的宣言: 为自由而奋斗
·举起刺向中共狗官的利刃
·亚细亚的孤儿
·见证中共:天使面孔 魔鬼心肠
·我为什么要流亡海外
·祖国母亲,我为你哭泣
·中共已把人变成狼和羊
·为何恐惧如影相随
·艾未未的后行为艺术
·自由圣殿 精神家园
·民主与专制的对决
·诗与坦克的对决
·我也有一个中国梦
·来自一次撞车事故的灵感
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·沁园春  登北岳恒山
·凤凰和鸣
·永恒的家园(歌词)
·自由之歌
·美国少女(诗二首)
·阿曼达的忧伤
·阿曼达的眼眸(诗歌)
·阿曼达的微笑(诗图)
·甜美的笑靥(诗图)
·香奈儿(诗图)
·我心狂野
·母亲*女人*少女(诗)
·来自拉美的女人们(组诗)
·无题(诗二首)
· 加 西 卡(诗歌)
·莲 * 月 * 樱 (诗三首)
·阿根廷姑娘(自由诗)
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文集英文简介 English Introduction

   Ju Wang is a Chinese dissident writer in exile. His anthology at the Independent Chinese Pen Center’s website (http://boxun.com/hero/wangjwj) is a collection of more than 50 pieces of his work. It includes an excerpt from his novel, "The Dance of the Magic Beast", which was originally published but banned in China. It also includes some screenplays for movies such as "The Birth of the Stone Buddha", "Longing in an Ancient Fortress" and "Graveyard Hut". All of these screenplays were written in China but could not be published for their sensitive topics. The anthology also includes some works Ju Wang wrote after his arrival in USA. “No where to Escape,” “Vegetable Cellar,” and “Paper- made Bride” are some short stories that Ju Wang created in USA. In addition to his literary work, the anthology also includes some political and cultural essays.
   
   "The Dance of the Magic Beast" was written in a very difficult time during the author’s life. He was removed from official positions in the government and was forced to sell cigarettes and noodles on the street. The manuscript was completed in 1997 but the novel did not see the light until 2000. With a mixture of fantasy and reality, the novel tells the life and love stories of three generations and two families, which span through the whole 20th century. Among many other things, the author attempts to represent the Chinese history of 20th century. It contains descriptions of the inhumane political movements waged by the Chinese Communist Party and unstoppable corruptions from within the government after the so-called Reform and Open Door policy. The big magic gust of wind at the end of the story that swept everything away symbolizes the inevitable destructive force that has taken over China since 1949.
   
   The historic satire "The Birth of the Stone Buddha" tells the story of the carving of the world famous YunGang Caves, some Buddhist temple grottos, about 1500 years ago during the Northern Wei Dynasty. One important message of the play is that any great and brilliant achievement by any rulers is based on ordinary people’s sufferings and sacrifices.

   
   "Longing in the Ancient Fortress", deeply rooted in China’s social reality, intends to reflect the life and destiny of millions of Chinese people through the story of one woman. The suffering that the female protagonist endured in the story mirrors the tragic existence of millions of Chinese people, especially after the communist party took over the country. The hope that the heroin cherished also echoes the hope that millions of Chinese people holds for the future.
   
   "The Graveyard Hut" can be considered as a play about existential crisis. It tells the story about some intellectuals living in nowadays China. It depicts vividly the spiritual vacuum in these modern Chinese peoples’ life, their awakening from their existential stupor, and their efforts to start anew in search of true love and freedom.
   
   "No Where to Escape” recurs to magical realism to portray the hideous crimes committed by the Chinese Communist Party, which stifles different voices and represses dissident acts by extreme means such as murdering innocent people, as if they were domestic animals, to exterminate physically the possibility of defiance of its power and authority.
   
   The author drew inspiration for “Paper-made Bride” from his experience living in coal mines of Datong. It tells the story of an old woman and her difficult search for her son, a miner, who had died in one of those frequent accidents in the coal mines. Her search resulted futile because it was undermined and sabotaged by authorities in their efforts to cover the truth and to evade responsibility.
   
   In “Vegetable Cellar” Ju Wang takes the readers to the rural China. An old widowed father bought a girl from a human trafficker and locked her in a cellar. His two twin sons forced themselves on the girl and afterwards continued to take turns to have sex with the girl. At the end the girl died in giving birth and the two brothers killed themselves out of desperate sorrow. In this complicated story, Ju Wang shows that under the glamorous mask of modernity and prosperity, the poverty stricken and barbarian rural China is part of the Chinese reality.
   
   Ju Wang’s Anthology includes several political essays he wrote after arriving USA. The following is an incomplete list of these essays:
   • “Blood Stained on Innumerable White Bones—A long Criminal Record of the Chinese Communist Party to Tread Human Life as if it Were Not Worth a Straw”
   • “The People are Fish on the Chopping Board Under the Knife—what I see and Hear About the Outrage of the Chinese Police”
   • “Weeping Lamb— the Miserable Living of the People Under the Dictatorship of Chinese Communist Party”
   • “Chinese Communist Party is the Most Shameless Party in the World Today”
   • “When Will the Goddess of Liberty Descend Upon China?”
   • “Take it Up from ‘the Heaven will Ruin the Chinese Communist Party’”
   • “I Am Grieved for Myself to Have Grown Up under the Red Flag”
   • “Farewell to the Hell upon Entering the Paradise”
   • “Chinese Communist Party is Digging its Own Grave—On Signing the ‘08 Constitution’”
   
   If in his literary work Ju Wang’s political opinions are expressed with subtlety, in the above-mentioned political essays, his criticism and denunciation of the Communist Party in China has become more outspoken and straight forward. He did not only give his own testimony to the unjust and ruthless communist rule in China and its infliction on regular Chinese people in essays such as “Blood Stained on Innumerable White Bones,” “The People are Fish on the Chopping Board Under the Knife,” and “Weeping Lamb”, but also expounded his thoughts on why the Communist Party of China has been the root to evils in articles such as “Taking it Up from ‘Heaven Will Ruin the Chinese Communist Party’”. Ju Wang also expressed his immense hope for a better future for China in articles such as “When will the Goddess of Liberty Descend upon China?”
   
   Ju Wang writes in Chinese. Some of his work – an excerpt from the short story “No Where to Escape” and some political essays such as “I Am Grieved for Myself to Have Grown Up Under the Red Flag” “Chinese Communist Party is the Most Shameless Party in the World Today,” “Take it Up from ‘Heaven Will Ruin the Chinese Communist Party’,” – has an English translation.

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