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Penmanship rooted in blood and gore

By Chitralekha Basu and Yang Guang | China Daily | Updated: 2010-08-02 08:01

Yu Hua shot to international fame in 1994, when Zhang Yimou's To Live, based on Yu's novel, won the Grand Jury Prize at Cannes. The story of Fugui - a decadent landlord who goes from being a pauper to an inadvertent recruit in the battle between the Kuomintang and the People's Liberation Army, and survives famine, deprivation and the excesses of the "cultural revolution" (1966-76), losing almost everything except his will to live - was representative of a generation.

The slew of international awards, including Italy's Premio Grinzane Cavour, 1998, that came its way was a recognition of the extraordinary resilience of a people as much as it was of Yu's powerful penmanship.

He learnt to look at blood, injury and physical mutilation with a clinical detachment quite early on. The son of doctor parents, Yu grew up inside a hospital. For five years he was a dentist until he joined the State-run culture wing as a staff writer.

Penmanship rooted in blood and gore

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