Ai Wu

Ai Wu

 

(pseudonym of T’ang Tao Teng). Born 1904. Chinese writer.

Ai Wu grew up in a teacher’s family. He traveled around southwest China and Burma for a long time, sustaining himself with incidental jobs. In Malaya in 1930, he joined the Communist Party. Ai Wu’s writings began to be published in 1931. His early works include the short story collections Notes of a Wanderer (1934) and A Southern Night (1935). The life styles of the peasantry, the urban poor, and the intelligentsia are described in his works written between 1937 and 1947, which include a novel, Native Places, the novellas in Fertile Steppe (1946), and the short story collections entitled Banana Valley (1937) and Autumn Harvest (1944). Among Ai Wu’s best works is a novel about resistance to aggressors, In the Hills (1948). Other publications are My Youthful Years (1944), an autobiographical novella; Return at Night (1957), a collection of short stories; and In Fire Steel Is Born (1958, Russian translation 1959), a novel.

WORKS

Nan Hsing Chi. Peking, 1963.
Nan Hsing Chi Hsü Nien. Peking, 1964.
In Russian translation:
Rasskazy. Moscow, 1956.

V. F. SOROKIN

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References in periodicals archive ?
Local tea cultivator Ai Wu Wan and his family exist purely on the income generated from picking and processing tea.
Ai Wu Wan explains that although the tea's name is derived from the nearby market town of Puer, which has been the centre of its export and retail for centuries, its true home lies in the ancient forests of Jing Mai county.
Three exotic views of Southeast Asia: The travel narratives of Isabella Bird, Max Dauthendey, Ai Wu, 1850-1930 By MARIA NOELLE NG White Plains, NY: Eastbridge, 2002.
Maria Noelle Ng's Three exotic views of Southeast Asia uses the narratives of Isabella Bird (1831-1904), Max Dauthendey (1867-1918) and Ai Wu (1904-92) to explore the ways in which travellers have represented Southeast Asia.
Ng explains that while Ai Wu remains largely unknown outside of China, he is a significant writer because he witnessed many of the formative events of the twentieth century.
Ai Wu went there in 1927 and his writings are fascinating because, as Ng notes, he saw much that colonial travellers did not.
Hung admits that wartime songs and movies fall outside the purview of his study, and future research on wartime literature would also be enriched by reference to literary studies of writers like Ai Wu and Wu Zuxiang and scholarly debates like the one between C.
It is a pity that when writing on Zhang Tianyi, Ding Ling, and, later, on Wu Zuxiang, Sha Ting, and Ai Wu, Anderson does not point out the impact of the very negative Soviet On-Guardist criticism of their writings in the 1930s.
She will be accompanied by young singers from Marseille's classical singing training centre CNIPAL, including French soprano Sophie Desmars, Chinese mezzo Ai Wu, South Korean tenor Ji Hyun Kim, French baritone Ronan Debois and the Orchestre Regional de Cannes Provence-Alpes-Cyte d'Azur directed by Philippe Bender.