Sandalwood Death: A Novel (Chinese Literature Today Book Series)

into the sky, so the plaza was virtually deserted; the forlorn lyrics merged with the shrill whistle of the train as it pulled out of the station, and my heart was filled with mixed emotions. I had the feeling that these two sounds that had accompanied me as I grew up—trains and Maoqiang—were seeds planted in my heart, where they grew and matured to become the underpinnings of one of my important creations.
    I began writing Sandalwood Death in 1996. After I had written some 50,000 words, all caught up with fantastic legends surrounding trains and rail lines, I set the work aside for a while. When I came back to it, the resemblance to magical realism was too obvious to miss, so I started over. Some of the best writing fell into that category, and had to be jettisoned. In the end, I decided to focus less on trains and the sound of trains, and put Maoqiang center stage, as it were, even though that may have diluted the overall richness of the novel as a whole, in favor of stronger images of the people and a purer Chinese style. It was a sacrifice I willingly made.
    In the same way that Maoqiang cannot be performed in grand halls alongside Italian opera or Russian ballet, this novel of mine will likely not be a favorite of readers of Western literature, especially in highbrow circles. Just as Maoqiang is performed on open-air stages for the working masses, my novel will be appreciated only by readers who have an affinity with the common man. It may in fact be better suited to hoarse voices in a public square, surrounded by an audience of eager listeners, not readers, who participate in the tale they are hearing. With that open-air audience in mind, I have taken pains to fill the work with rhymes and dramatic narration, all in the service of a smooth, easy to understand, overblown, resplendent narrative. Popular spoken and sung dialogues are the progenitors of the Chinese novel. Nowadays, when what was once mere popular entertainment has become a refined literary offering suitable for grand temples, at a time when borrowings from Western literary trends have all but brought an end to our popular traditions, Sandalwood Death may be out of keeping with the times, and might be thought of as a step backward in my writing career.

Glossary of Untranslated Terms
    The following terms have been left untranslated in the text (most can be intuited from the context):
    dan 旦: a female role in Chinese opera
    dieh 爹: dad (father), especially popular in northern China
    gandieh 干爹: a benefactor, surrogate father, “sugar daddy”
    ganerzi 干儿子: the “son” of a gandieh
    ganniang 干娘: a surrogate mother
    gongdieh 公爹: father-in-law
    jin 斤: a traditional unit of weight with sixteen liang 两
    kang 炕: a brick sleeping platform, often heated by a fire beneath
    laotaiye 老太爷: a respectful term of address for a man of advanced age or high status
    laoye 老爷: a more common form of laotaiye
    niang 娘: mom (mother), especially popular in northern China
    qinjia 亲家: related as in-laws; the parent(s) of a married couple
    shaoye 少爷: a young “laoye”
    sheng 生: a male role in Chinese opera
    shifu 师傅: a teacher, master of a trade
    yamen 衙门: an official government office and residence in dynastic China
    yayi 衙役: yamen clerks, runners, minor functionaries
    yuanwailang 员外郎: an official who has retired to his native home; an official title
    zhuangyuan 状元: the top scholar in the Imperial Examination; the best in a field