John Atkinson created irreverent summations, in the fewest words possible, of some of the most famous works of literature. Here are my own for the Four Great Classic Novels of China:
- Romance of the Three Kingdoms: Empire splits into three parts. Then reunited.
- A Journey to the West: A monk, a monkey and a pig take forever to get to India.
- The Water Margin: 108 outlaws vs. government. Government wins.
- The Dream of the Red Chamber: A rebellious rich kid is spiritually awakened.
Fanatical experiments cannot be sustained without creativity. To paraphrase a wise man from the last century, the way the Nazis or the Communists sell their holy causes is no different from the way capitalists advertise their Gucci bags or cigarettes. The techniques we found in the imperialistic tendencies of the Nazis and the Communists are in fact based on the methods of industrial enterprises.
Today, when theorists in Beijing talk of socialism with Chinese characteristics, they are perhaps admitting that the success of the authoritarian experiment will always depend on the creativeness proceeding in the outside non-authoritarian world. If there were no free societies outside of China, they might have found it necessary to establish freedom by coercion.
How I imagine Jorge Luis Borges would write about Bitcoin:
In Bitcoin we find the idiosyncrasies of each of its forks to a greater or lesser degree. Every fork modifies our conception of the original Bitcoin, as it will modify the future. If the forks had never existed, we would not perceive the qualities in Bitcoin. In other words, Bitcoin would not exist. The fact is that the sum of all the forks creates Bitcoin. Bitcoin is faithful to its own forks.
Nassim Nicholas Taleb uses two criteria to filter ideas and books. First, the Lindy Effect: the more the book has been around, the longer its future life expectancy. Second, the more skin in the game, the more convincing the idea is. In practice, I am attracted to books that look ancient, and look at how far the author is prepared to pursue his/her ideas.
In most Chinese cities, I seldom find bookstores where you can buy the Book of Lord Shang (商君書) and Guiguzi (鬼谷子) together, except in Beijing. I think the only reason is that readers in Beijing have skin in the game as they rub shoulders with Leviathans and Machiavellis every day.
Shang Yang (商鞅) and Guiguzi (鬼谷子) predated Thomas Hobbes and Niccolò Machiavelli by over 1,500 years. And unlike today’s members of the “intelligentsia”, they have real skin in the game, more so than their rival Confucians. Shang Yang was literally torn to pieces for executing his reform ideas which paved the way for Qin’s universal rule. Guiguzi bred Su Qin (蘇秦) and Zhang Yi (張儀), two preeminent rhetoricians that are rivalrous yet mutually-reinforcing in the Warring States period. In the end, one was (again) torn to pieces, the other died in exile.
Therefore, their books are great, per Lindy Effect and skin in the game. The same principles apply to other fields. Among Republican China’s men of letters, I think Wang Guowei (王國維) is the best. He was a rarity by drowning himself in Kunming Lake in the Summer Palace in 1927. Cao Xueqin (曹雪芹) personally experienced the fall of his illustrious family from its height, dying in poverty. Hence, I think the Dream of the Red Chamber (紅樓夢) is infinitely better than F. Scott Fitzgerald’s Great Gatsby. I too love Nietzsche, who died of insanity, and Yukio Mishima (三島由紀夫), who committed ritual suicide.
Skin in the game is something to aspire to.
Büro Ole Scheeren took the needle of the tower and bent it back into itself to create a loop. There is no beginning or end. Walk around the base of the tower, and you see it go from strong and imposing to unstable and fragile. It’s the perfect symbol for a post-truth world.
I like lasting beauty. Of all art forms, my liking is limited to literature. I loathe music, live performance, or flower arrangements. These things fade and vanish instantly. Even architecture and paintings decay. Of all literature, I love those written with blood. I suppose they don’t want to be read, until by readers a century later.
In vernacular Chinese, the Dream of the Red Chamber (紅樓夢) by Cao Xueqin (曹雪芹) is regarded as the supreme novel. In classical Chinese, Strange Tales from a Chinese Studio (聊齋誌異) by Pu Songling (蒲松齡) has the equivalent status. Mao Zedong claimed to have read the Red Chamber five times. I say you need to read Strange Tales two times.
Read it in English the first time. I discover Pu Songling through Franz Kafka and Jorge Luis Borges. Experience how Kafka and Borges read Pu, and recognize their voice and practices in Pu’s work. The three together grasp the absurdity and weirdness of the civilized world and human conditions.
Read it in classical Chinese the second time. Appreciate Pu’s humour, playing and twisting with the classical text that he was obliged to memorize and digest as a member of the Chinese literati. This is at heart a revolutionary work.
The works of Pu, Kafka and Borges are dark and understated. Some advice from 19th century commentator Feng Zhenluan (馮鎮巒) on how to read Strange Tales would apply to all three authors: Read these tales properly, and they will make you strong and brave; read them in the wrong way, and they will possess you.