in the same breath as those of the distinguished Noble Literature Laureates. This, per se, is also a phenomenon that is worthy of our probing and inquiry. Ink Dances in Limbo: Gao Xingjian’s Writing as Cultural Translation, by Jessica Yeung, may well be called a pioneering work of this field, and it is, by far, the most systematic and comprehensive writing on the study of Gao Xingjian.

From the point of view of life experience, type of literary creation, and the richness of cultural journey of Mr. Gao, it is not difficult to discover that there isn’t any kind of existing cultural theory or literary visual angle that can unveil completely his significance. Therefore, the author exploits plural perspectives, multiple theories, and diversified methods to study, thereby unfolding for the reader the solid and multiple facets and features of Gao Xingjian and his writings. Specifically, study of the author embodies the following three main characteristics:

I. Laying stress on seeking profound historical truth. The complex and turbulent political culture of China of the twentieth century, the anxiety and conflicts of the inner world of man triggered therefrom, are all reflected directly in the modern and contemporary literary works of China. Therefore, a genuine understanding of the works of Gao Xingjian cannot be divorced from the knowledge of modern and contemporary history, political conditions, as well as cultural and literary traditions of China. With these as the longitude of studies, Jessica explains it with eloquence.

II. Basis of careful reading of the text. The author makes subtle use of the polysemous word “translation”, and anatomizes specifically the literary creation of Gao Xingjian in each phrase and each type with “Translation as Transfer”, “The Translated Man” and “Translating the Self” as the theme of chapter II, chapter III and chapter IV respectively. With her meticulous straightening of the internal mechanism and main ideas of the text, Jessica presents us with an objective analysis of the creation motive, significance of works and value of the times from various angles; these formulations in turn constitute the latitude of study of the author, meticulous and precise, without empty talk, and is convincing.

III. Profound and erudite theoretical cultivation. Given the cross-culture, cross-language, cross-art, and cross-genre writing creation of Gao Xingjian and his special and complex historical and cultural background, one can imagine the challenges brought to the researcher. Notwithstanding this, drawing upon her own extensive vision of research, solid theoretical cultivation and complete knowledge system, Jessica presents a leisured analysis of this complex cultural man and cultural phenomenon, involving all kinds of literary theories and thoughts of modernism (stream of consciousness, structuralism, existentialism, etc.), postmodernist theories, post-colonialist theories of Edward Said, Diaspora literature theories, the multiplex system theory of Zora, as well as literary criticisms of such figures as Sartre, J. Hillis Miller et al., in addition to the Chinese Zen Buddhism, and ancient opera theories and so on. These heterogeneous theories are applied in good order under Jessica’s wording and purport.

More than that, many of the creative ideas put forward by the author are worthy of our attention: individualism, nostalgic consciousness, crisis of existence and nihilism in the creative works of Gao Xingjian during his exile; the issue of multi-cultural “translation” and “understanding” surrounding his works, and relationship of the self with the other; and the phenomenon of “being neglected” of his person and of his works, etc. After in-depth studies, Jessica believes that, as far as the importance and complexity embodied in Gao Xingjian’s works, his cultural background and identity are concerned, his repositioning is quite necessary.