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Spider Eaters is at once a moving personal story, a fascinating family history, and a unique chronicle of political upheaval told by a Chinese woman who came of age during the turbulent years of the Cultural Revolution. With stunning honesty and a lively, sly humor, Rae Yang records her life from her early years as the daughter of Chinese diplomats in Switzerland, to her girlhood at an elite middle school in Beijing, to her adolescent experience as a Red Guard and later as a laborer on a pig farm in the remote northern wilderness. She tells of her eventual disillusionment with the Maoist revolution, how remorse and despair nearly drove her to suicide, and how she struggled to make sense of conflicting events that often blurred the line between victim and victimizer, aristocrat and peasant, communist and counter-revolutionary. Moving gracefully between past and present, dream and reality, the author artfully conveys the vast complexity of life in China as well as the richness, confusion, and magic of her own inner life and struggle. Much of the power of the narrative derives from Yang's multi-generational, cross-class perspective. She invokes the myths, legends, folklore, and local customs that surrounded her and brings to life the many people who were instrumental in her life: her nanny, a poor woman who raised her from a baby and whose character is conveyed through the bedtime tales she spins; her father; and her beloved grandmother, who died as a result of the political persecution she suffered. Spanning the years from 1950 to 1980, Rae Yang's story is evocative, complex, and told with striking candor. It is one of the most immediate and engaging narratives of life in post-1949 China.

Born Red is an artistically wrought personal account, written very much from inside the experience, of the years 1966-1969, when the author was a young teenager at middle school. It was in the middle schools that much of the fury of the Cultural Revolution and Red Guard movement was spent, and Gao was caught up in very dramatic events, which he recounts as he understood them at the time. Gao's father was a county political official who was in and out of trouble during those years, and the intense interplay between father and son and the differing perceptions and impact of the Cultural Revolution for the two generations provide both an unusual perspective and some extraordinary moving moments. He also makes deft use of traditional mythology and proverbial wisdom to link, sometimes ironically, past and present. Gao relates in vivid fashion how students-turned-Red Guards held mass rallies against 'capitalist roader' teachers and administrators, marching them through the streets to the accompaniment of chants and jeers and driving some of them to suicide. Eventually the students divided into two factions, and school and town became armed camps. Gao tells of the exhilaration that he and his comrades experienced at their initial victories, of their deepening disillusionment as they utter defeat as the tumultuous first phase of the Cultural Revolution came to a close. The portraits of the persons to whom Gao introduces us - classmates, teachers, family members - gain weight and density as the story unfolds, so that in the end we see how they all became victims of the dynamics of a mass movement out of control.

Depicts the Cultural Revolution through stories in a variety of voices. Set against China's turbulent years between the early 1960s and the late 1970s, When Huai Flowers Bloom is the literary memoir of a young girl who manages to sustain love, imagination, and strength during this most chaotic time. With twelve separate yet interconnected stories, Shu Jiang Lu alternates between storyteller and listener as she relays haunting memories and explores the devastating effect of Mao's anticultural Cultural Revolution. Lu weaves together the voices of multiple real and fantastic characters: her parents and their treasured yet forbidden bookcase; the mysterious vendors beckoning from Pear Flower Alley; the immortal martial hero; the reactionary opera singer and the black demon novelist; the whispering ghost and dancing fairy; and the author herself, discovering her storyteller's voice in the military camps of her youth. When Huai Flowers Bloom is a poignant, persistent journey toward voice and freedom.

In a conversational style and in chronological sequence, Ye Weili and Ma Xiaodong recount their earlier lives in China from the 1950s to the 1980s, a particularly eventful period that included the catastrophic Cultural Revolution. Using their own stories as two case studies, they examine the making of a significant yet barely understood generation in recent Chinese history. They also reflect upon the mixed legacy of the early decades of the People's Republic of China (PRC). In doing so, the book strives for a balance between critical scrutiny of a complex era and the sweeping rejection of that era that recent victim literature embraces. Ultimately Ye and Ma intend to reconnect themselves to a piece of land and a period of history that have given them a sense of who they are. Their stories contain intertwining layers of personal, generational, and historical experiences. Unlike other memoirs that were written soon after the events of the Cultural Revolution, Ye and Ma's narratives have been put together some twenty years later, allowing for more critical distance. The passage of time has allowed them to consider important issues that other accounts omit, such as the impact of gender during this period of radical change in Chinese women's lives.

Publishers details for: 1966-1976: Wenge shounanzhe: guanyu pohai, jianjing yu shalu de xunfang shilu [Victims of the Cultural Revolution: An Investigative Account of Persecution, Imprisonment and Murder], by Wang Youqin, Hong Kong: Kaifang Magazine Press, 2004. xxxvi + 528 pp. HK$110.00/US$15.00 (paperback).

SOMETIMES I WONDER how I could have been so stupid back then. The morning they hanged Ronald Ryan I was part of the crowd scene outside Pentridge jail, even managing to turn on a suitable tear. It seemed the most annoying thing to do at the time. During the overnight vigil I was shoved quite heavily in the back by a young policeman and said a word that wasn't then used in public.

Publishers details for: 1966-1976: Wenge shounanzhe: guanyu pohai, jianjing yu shalu de xunfang shilu [Victims of the Cultural Revolution: An Investigative Account of Persecution, Imprisonment and Murder], by Wang Youqin, Hong Kong: Kaifang Magazine Press, 2004. xxxvi + 528 pp. HK$110.00/US$15.00 (paperback).