Fiction Group 3 -2

Total Page:16

File Type:pdf, Size:1020Kb

Fiction Group 3 -2 Huangshan Tales ESF West Island School, Beed, Lara - 11 It was a cold and gloomy night. I sat on my hard mattress, shivering as the thin blanket did very little to help me feel warm. The only chance I could feel like a normal villager was when I snuggled with my fluffy siamese cat, called Blossom. Unfortunately, Blossom was too busy trying to keep warm herself, unwilling to feel my cold hands in her paws. My dad wasn’t making enough money to afford a heater. Ever since my mother died, we went from a wealthy family to a family that got excited over spare mints in trash cans. I tried to sleep, but failed miserably. It was just no use. “Come on, JUST FALL ASLEEP! You survived the worst part of winter. It’s almost spring!” I said to myself. Soon, I fell asleep, but only after I wore all my ragged clothes on top of each other, wore my torn socks, and took my cat away from my dad, bearing with the wails of Blossom as she shivered violently in my arms. After that horrible night, I ran to the village well to get water for me, my dad, and Blossom. I ran off, grabbing my bucket. And so I continued, running to the well, ignoring all the rude remarks and comments that were thrown at me by the richest chinese kids in the village. I quickly reached the well in record time: 1 hour. I started to lower the bucket to get some water, but then I saw it. The rich kids, playing in the village park. One kid saw me, and said: “Oh! Look! It’s the poor girl!” I was so mad, that I completely forgot what I came to do in the first place. “I am not poor! I have enough money, and i’m not spoiled like you!” I shouted in anger. “What are you gonna do, baby?” he replied. “This.” I said. “What? You aren't doing any- Ouch!” I cut him off. As he was talking, I kicked the bucket. He cried out in pain and agony and ran off with the other kids. I collected my bucket and started to gather water. A while later, I arrived at my home, well, home isn’t the word to describe it. It’s more like a roof with sticks and a tiny door! Anyway, I wished I hadn't. I wished it was a nightmare, but sadly, it was true. I opened the door only to see that my house was being invaded by ALIENS!! Well, not the flying around type in UFO’s with antennas, but the 2 most spoiled, posh people I have ever met: The new kid and his annoying father. My life isn't and wasn’t THAT interesting. “Hi! What’s your name? I’m Jack. Nice to meet you!” “Don't really care.” I replied, rolling my eyes sarcastically. I didn't think he would take it too personally, but he ran out of the house and started bawling his eyes out so loudly that I could hear it from my room! I yelled at him telling him to keep it down, but I think I made things worse. Soon, he came back in, to my disappointment. I was forced to talk to him while my Dad and his were talking. Apparently, they were long friends back when my Dad lived in America. Since I was 3 years older than Jack, I was told by his Dad that I should babysit him while they went for a walk. I was about to say no, but then I saw the pleading look in my Dad's dull grey eyes. “Sure!” I replied, trying to look and sound happy. “Great! Let's go then!” my Dad exclaimed, obviously happy with my choice. “Bye daddy,” yelled Jack excitedly, “Hope, we’re gonna have so much fun!” As soon as they left the house, Jack suddenly became calmer. He acted differently, less exciting and more self absorbed. “Why don’t we go for a walk?” I suggested, hoping he would say no. To my surprise, he said no. “How about YOU go for a walk and I'll just chill here.” He said. Suddenly, I got mad. How dare he act like that in someone else's home! My home! Such a spoiled brat. I yanked him and his thick jacket, and pulled him to the door. “What are you doing? Let go of me!” he screamed. I held on and started to make my way out of the doorway. “Ugh, would you stop being a baby for once?” I said as he whined and complained. We were about halfway there to the village well, when Jack got a call from his Dad. “Hi Dad!” “Hi Jack, I have some bad news…” “What?” “We have to move.” “Again? We just got here! Please, no!” “ I’m sorry, Jack. We aren’t welcome here. The emperor wants us to go. We can’t refuse.” “Is there any way we can stay?” “Unless the emperor changes his mind, I’m afraid not.” “Well, then I’ll make him change his mind.” “Jack, don’t get in-” Jack hung up the phone, with a mixed expression on his face. “What is it?” “I have to move, AGAIN! I don’t want to, but I can only stay if I do something amazing to make the emperor change his mind!” “You could throw an epic party?” “Nah, my Dad would get mad.” “You could, um, make the best chinese dress?” “Ew! Gross!” “Well, you could climb Huangshan. But no one ever has come back down!” “Huang what?” “Huangshan, you dummy!” “Huangshem?” “UGH!! Just call it… um… China’s Magical Mountains!” “So, let's go!” “What? We can’t leave now! It’s freezing cold during the day, and burning at night! There are dangerous plants that could kill us if we get too close! We need to pack!” “So I’ll go home and pack, and you do the same!” “Ok, why not?” I said sarcastically. I hoped he didn’t think I actually wanted to come. Sadly, he did. As soon as me and Jack were done packing, we snuck out at midnight. I was really nervous, so I brought Blossom. I was scared, but I knew I had to be the braver and more responsible one because, after all, he was younger than me. As we reached the base of the mountain, the sun started to rise, blooming a mix of orange, yellow, pink, and blue. Suddenly, I felt lighter. I felt as if the sunrise had given me enough hope, that I could finally believe we were going to make it down. As we climbed, we faced lots of obstacles, such as wild animals trying to eat either us or our food, poisonous plants ( which Jack kept collecting ), and the seemingly endless hike up to the top. Unfortunately, Blossom didn’t make it up. Halfway through the climb, she started to act really sick, and she could not continue. She died the next day. I was so sad, I cried the rest of the way up. It was devastating. Jack acted normal, but in our camp one night, I heard him crying and saying the name ‘Blossom’ over and over in between sobs. I didn’t think he would get too attached to her. I didn’t bother to comfort him, because, well, I have a history of making him miserable. However, we made it. I don’t know how, but we did. And when we reached the top, we saw it. The village. “Wow, a village? Where are all the people?” Jack asked. “I don’t know. Let's find them!” I replied. We walked all around, only to come across a mother and her son, a cat, and an old cable car leading back down to our village. “This is how we used to get down the mountain to get water. Our village cable car was destroyed, leaving us no way to collect water. Most of us died off, and some of us moved, but me and my son stayed. We made our own source of water. It’s not a lot, but it’s enough.” The mother said.” We managed to fix the well, and came down after saying goodbye to the mother and her son. We were so excited! Jack could stay! I was not going to be poor! We got out of the cable car at the base of our mountain, and ran to my home. Turns out, our parents were looking for us! We were only gone for a day, but we could understand why they were worried. 4 MONTHS LATER Jack and I finally got noticed by the emperor. He got to stay in the village, and I was granted 1 wish of my choice. I chose for my family to be wealthy and healthy, throughout the rest of their lives. Me and Jack became good friends. A couple of days later, it was my birthday! I got one of my most favourite presents. A siamese, fluffy cat, just like Blossom! I decided to call it Flower, after blossom. It was a happy ending, thankfully. Max and the Magical Crystal ESF West Island School, Beed, Neil - 13 My mother hid me in my bedroom. I was only six when The Sacred attacked my little Chinese village in the middle of a blizzard. She ran out onto the plaza, her sword clattering by her side.
Recommended publications
  • A Conversation with Wu Jian'an, by John Tancock Yishu
    John Tancock A Conversation with Wu Jian’an John Tancock: Rather than write an essay on your development as an artist, I am going to ask you a series of questions so that you can speak for yourself. I hope we can clarify what you believe are the defining characteristics of your growth as an artist over the last decade. From looking at your biography, I know that you were born in Beijing in 1980 and graduated with a B.A. from the Beijing Institute of Broadcasting in 2002. I would like to know what happened in the first twenty-two years of your life to make you the artist that you are today. Could you please fill in that very large gap in our knowledge? Firstly, please tell me something about your family background and your interests as a child and teenager? Wu Jian’an: Thank you, John. My parents are from a background in the sciences; they are both mechanical engineers, and my father was outstanding in his field. They are both very clear thinkers and have a sincere belief in science. Even today, they still discuss mechanical engineering problems, many of which involve theoretical physics that I’ve never understood. Nevertheless, it has always fascinated me. Each time my father discusses these topics, he starts from simple phenomena that lead to abstract theory. I was always fascinated by simple things, precisely because I never thought such simple things could be queried, but when the discussion moved on to abstract theory, I was usually lost. Looking back, I was interested in a lot of things when I was young, but animals were always a major interest.
    [Show full text]
  • Handbook of Chinese Mythology TITLES in ABC-CLIO’S Handbooks of World Mythology
    Handbook of Chinese Mythology TITLES IN ABC-CLIO’s Handbooks of World Mythology Handbook of Arab Mythology, Hasan El-Shamy Handbook of Celtic Mythology, Joseph Falaky Nagy Handbook of Classical Mythology, William Hansen Handbook of Egyptian Mythology, Geraldine Pinch Handbook of Hindu Mythology, George Williams Handbook of Inca Mythology, Catherine Allen Handbook of Japanese Mythology, Michael Ashkenazi Handbook of Native American Mythology, Dawn Bastian and Judy Mitchell Handbook of Norse Mythology, John Lindow Handbook of Polynesian Mythology, Robert D. Craig HANDBOOKS OF WORLD MYTHOLOGY Handbook of Chinese Mythology Lihui Yang and Deming An, with Jessica Anderson Turner Santa Barbara, California • Denver, Colorado • Oxford, England Copyright © 2005 by Lihui Yang and Deming An All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Yang, Lihui. Handbook of Chinese mythology / Lihui Yang and Deming An, with Jessica Anderson Turner. p. cm. — (World mythology) Includes bibliographical references and index. ISBN 1-57607-806-X (hardcover : alk. paper) — ISBN 1-57607-807-8 (eBook) 1. Mythology, Chinese—Handbooks, Manuals, etc. I. An, Deming. II. Title. III. Series. BL1825.Y355 2005 299.5’1113—dc22 2005013851 This book is also available on the World Wide Web as an eBook. Visit abc-clio.com for details. ABC-CLIO, Inc. 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116–1911 This book is printed on acid-free paper.
    [Show full text]
  • The Sichuan Avant-Garde, 1982-1992
    China’s Second World of Poetry: The Sichuan Avant-Garde, 1982-1992 by Michael Martin Day Digital Archive for Chinese Studies (DACHS) The Sinological Library, Leiden University 2005 2 Table of Contents Acknowledgements ............................................................................................................4 Preface …………………..………………………………………………………………..7 Chapter 1: Avant-Garde Poetry Nationwide – A Brief Overview ……………..……18 Chapter 2: Zhou Lunyou: Underground Poetry during the 1970s ………………… 35 Chapter 3: The Born-Again Forest : An Early Publication …………….…………….46 Chapter 4: Macho Men or Poets Errant? ……………………………………………..79 Poetry on University Campuses………………………………………….79 A Third Generation………………………………………………………82 Hu Dong, Wan Xia, and Macho Men……………………………………88 Li Yawei………………………………………………………………….99 Ma Song………………………………………………………………...103 Finishing with University………………………………………………107 Chapter 5: A Confluence of Interests: The Institution of the Anti-Institutional ….114 Setting the Scene………………………………………………………..114 The Establishment of the Sichuan Young Poets Association…………..123 The First Product of the Association: Modernists Federation………….130 Chapter 6: The Poetry of Modernists Federation ……………………………………136 Chapter 7: Make It New and Chinese Contemporary Experimental Poetry ….…..…169 Growing Ties and a Setback……………………………………………170 Day By Day Make It New and the Makings of an Unofficial Avant-Garde Polemic…………....180 Experimental Poetry : A Final Joint Action…………………………….195 Chapter 8: Moving into the Public Eye: A Grand Exhibition
    [Show full text]
  • Religion in Modern Taiwan
    00FMClart 7/25/03 8:37 AM Page i RELIGION IN MODERN TAIWAN 00FMClart 7/25/03 8:37 AM Page ii TAIWAN AND THE FUJIAN COAST. Map designed by Bill Nelson. 00FMClart 7/25/03 8:37 AM Page iii RELIGION IN MODERN TAIWAN Tradition and Innovation in a Changing Society Edited by Philip Clart & Charles B. Jones University of Hawai‘i Press Honolulu 00FMClart 7/25/03 8:37 AM Page iv © 2003 University of Hawai‘i Press All rights reserved Printed in the United States of America 08 07 0605 04 03 65 4 3 2 1 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Religion in modern Taiwan : tradition and innovation in a changing society / Edited by Philip Clart and Charles B. Jones. p. cm. Includes bibliographical references and index. ISBN 0-8248-2564-0 (alk. paper) 1. Taiwan—Religion. I. Clart, Philip. II. Jones, Charles Brewer. BL1975 .R46 2003 200'.95124'9—dc21 2003004073 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Diane Gleba Hall Printed by The Maple-Vail Book Manufacturing Group 00FMClart 7/25/03 8:37 AM Page v This volume is dedicated to the memory of Julian F. Pas (1929–2000) 00FMClart 7/25/03 8:37 AM Page vi 00FMClart 7/25/03 8:37 AM Page vii Contents Preface ix Introduction PHILIP CLART & CHARLES B. JONES 1. Religion in Taiwan at the End of the Japanese Colonial Period CHARLES B.
    [Show full text]
  • Models in Taoist Liturgical Texts. Typology, Transmission and Usage
    Models in Taoist liturgical texts. Typology, Transmission and Usage : a case study of the Guangcheng yizhi and the Guangcheng tradition in modern Sichuan Fu-Chen Chiang To cite this version: Fu-Chen Chiang. Models in Taoist liturgical texts. Typology, Transmission and Usage : a case study of the Guangcheng yizhi and the Guangcheng tradition in modern Sichuan. Religions. École pratique des hautes études - EPHE PARIS, 2016. English. NNT : 2016EPHE5001. tel-02101619 HAL Id: tel-02101619 https://tel.archives-ouvertes.fr/tel-02101619 Submitted on 16 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Mention « Religions et systèmes de pensée » École doctorale de l’École Pratique des Hautes Études Groupe Sociétés, Religions, Laïcités (EPHE-CNRS) Models in Taoist liturgical texts: Typology, Transmission and Usage A case study of the Guangcheng yizhi and the Guangcheng tradition in modern Sichuan Par Fu-Chen CHIANG Thèse de doctorat d’études chinoises Sous la direction de : M. Vincent GOOSSAERT, EPHE Soutenue le 05. 01. 2016 Devant un jury composé de : M. Alain ARRAULT, DE, EFEO M. John LAGERWEY, DE émérite, EPHE M. Xun LIU, Professeur, Dept. Of History, Rutgers University M.
    [Show full text]
  • Four Imagination Matrices of Chinese Myth
    Journal of Literature and Art Studies, August 2020, Vol. 10, No. 8, 659-668 doi: 10.17265/2159-5836/2020.08.004 D DAVID PUBLISHING Four Imagination Matrices of Chinese Myth ZHAO Cheng-xin Henan University, Henan, China This paper discusses four Imagination Matrices of Ancient Chinese Myth. The first one is “Heaven Ladder”, which is believed to have the function of traffic means between upper universe and middle one. And Jianmu is a special Heaven Ladder which is used especially by gods. The second one is the “Capital of God on the Earth”, which is regarded as the reign center of God on the earth. It located at the Mount Kunlun in the northwest of China. Opposite to the lofty Mount Kunlun into heaven, Gui Xu, the third matrix, is a bottomless valley in the east of the Bohai Sea. Gui Xu is another center for gods’ activities. The last one is Huangquan Road, the lower universe, which means the world after death for the ancient people. Keywords: imagination matrices of myth, Heaven Ladder, the Capital of God on the earth, Gui Xu, Huangquan Road Myths originated from primitive society, and human beings then explained natural phenomena through reasoning and imagination. But because the level of understanding the world in the ancient time was very low, so myths were often shrouded in a mysterious color. Myths were the expression of people trying to conquer nature by means of fantasy. Most of the images of God in myths have superhuman power and are idealized by primitive human cognition and desire.
    [Show full text]
  • Silk-Press-Kit-Eng-Data.Pdf
    Exhibition concept Silk Stefania Ricci Museo Salvatore Ferragamo Palazzo Spini Feroni, Florence Promoted and organized by 25 March 2021 Fondazione Ferragamo, Florence 18 April 2022 Museo Salvatore Ferragamo, Florence Closed on: 1.1, 1.5, 15.8, 25.12 In collaboration with Curated by Biblioteca Nazionale Centrale di Firenze, Florence Stefania Ricci With the Patronage of With the scholarly support of Ministero per i beni e le attività culturali e per il Chiara Fucci turismo Regione Toscana Exhibition maker Comune di Firenze Judith Clark JCStudio project manager Francesco D’Aurelio JCStudio research assistant Nadia Saccardi Research Simona Carlesi First room Short film Video installation Video installation SUN YUAN & PENG Look Back Anouk Mondi di Seta contents YU 2021 2021 Students of Liceo Were creatures born Single channel video, 8’00’’ Artistico Statale di celestial? 10’00’’, color, stereo, 16:9 Concept and production: Porta Romana e Sesto 2021 Direction, art direction, Marilena Bertozzi, Fiorentino: Alice In collaboration with cinematography, and Vincenzo Capalbo – Art Bomberini, Leonardo GALLERIA CONTINUA post-production: Irene Media Studio, Florence; Filippini, Diego Montini; direction, art Multimedia service: Emiliano Maranghi, direction, screenplay, AVUELLE Pietro Pozzi, and editing, sound design, Marialuce Toninelli, and reworked music: coordinated by professors Rocco Gurrieri; Silvia Coppetti and production design and Silvia Vanni, with the animations: Matteo contribution of Riccardo Pucci; protagonist: Spinelli, in collaboration Anouk Borgman; stylist: with Museo Salvatore Ginevra Barabino; Ferragamo for the original soundtrack: project Storie di Seta of Giacomo Mottola in Salvatore Ferragamo’s collaboration with Parfum department. Bernardo Dori and Antonio Nesi, recorded at Quinto Quarto Studio, Florence; translation: Marta Pagliuca; title design: Rafael D’Almeida Installation design Installation of clothes Insurance General coordination CIVITA Group.
    [Show full text]
  • Lao She's Forgotten Wartime Epic Poem
    ‘JIAN BEI PIAN’: LAO SHE’S FORGOTTEN WARTIME EPIC POEM by Janette Briggs A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Chinese Literature. VICTORIA UNIVERSITY OF WELLINGTON 2017 Abstract 'Jian bei pian': Lao She's forgotten wartime epic poem by Janette Briggs This thesis is the first English-language critical study of Chinese author Lao She’s (1899-1966) wartime epic ballad Jian bei pian and includes the ballad’s first translation into English. The thesis addresses a gap in knowledge about his work, a gap previously covered by simplistic labelling of it as patriotic propaganda. Lao She’s reputation in the West largely rests on his modern fiction, although his literary output covered many genres, generating at different times in his life the full range of reactions in China between popular acclaim and violent censure. Much of his writing, done during periods of intense cultural and political upheaval in China, reflected the events through which he lived. Jian bei pian, his poetic record of a journey through northern China during the Second Sino-Japanese War, is unique, both of its time and outside of its time, yet it has received relatively little attention from critics in China or in the West. Recent Chinese studies on Jian bei pian have highlighted the poem’s patriotic elements, retrospectively interpreting it as an endorsement of China’s Communist Party and deeming it part of his wartime nation-building literature. In the West Jian bei pian has been almost completely ignored, apart from observations which similarly focus on its imputed status as patriotic propaganda and condemn or dismiss it for that reason.
    [Show full text]
  • Tragic Heroes
    TRAGIC HEROES IN MYTH 1 Tragic Heroes: A Comparison between “the Defeated Heroes” in the Iliad and Shan Hai Jing Zeyu Chen Beiwai College, Beijing Foreign Studies University Every civilization has its own myth. Whether it is Western civilization or Eastern civilization, there is a series of myths, such as Greek mythology and Kunlun mythology. In most people’s minds, myths are simply treated as stories passed down from generation to generation. However, myths are far more than that. What is more, myths can be related to today’s social values, which has its roots in ancient times. Myth is often considered the outcome of the “primitive” mind (Lossky, 1926, p. 145) in the form of “object + event” (Lévi-Strauss, 1966, p. 25-26). As both the object and event are based on life experience and imagination (Tylor, 1871, p. 247-248), the myth serves as a “mirror” of distant history, and its dual function has been discovered: on the one hand, the mirror reflects the “personification” towards inexplicable natural phenomena in ancient times (Bulfinch, 2006, p. 195; Frankfort, 2013, p. 4). On the other hand, it is a mirror of human society. The first part of the “mirror” function reflects people’s interpretation of “temporarily uninterpretable” natural phenomena in ancient times; meanwhile, the second part of the “mirror” function mainly reflects people’s worship towards the “man-made” exemplars who embody certain virtues (Eliade, 1963, p. 8; Scheler, 1987, p. 190-194). One of the most remarkable exemplars is the hero, a major character in mythology. No matter in ancient Western mythology or Eastern mythology, the creation of a hero is often related to warfare, since a classical hero is considered a warrior, who transcends ordinary men in skill, strength, and courage (Encyclopædia Britannica, 2006, p.
    [Show full text]
  • Humans, Beasts, and Ghosts As They Struggle Through Life, Death, and Resurrection
    Qian “So long as wit and satire, insightfully imagined characterization, and unmatched erudition matter in literature, Qian Zhongshu’s writing will have a place, and this translation of his work is among the most significant renderings from Chinese.” — Ron Egan, University of California, Santa Barbara Qian ZhongShU was one of twentieth-century China’s most ingenious literary stylists, one whose insights into the ironies and travesties of modern China remain stunningly fresh. Between the early years of the Second Sino-Japanese War (1937–1945) and the Communist takeover in 1949, Qian wrote a brilliant series of short stories, essays, and a comedic novel that continue to inspire generations of Chinese readers. Humans Beasts With this long-awaited translation, English-language readers can immerse themselves in the invention and satirical wit of one of the world’s great literary cosmopolitans. This collection brings together Qian’s best short works, combining his iconoclastic essays on the “book of life” from Written in the Margins of Life (1941) with the four masterful short stories of Human, Beast, Ghost (1946). His essays elucidate substantive issues through deceptively simple subjects—the significance of windows versus doors, for example, or the blind spots of literary critics—and assert the primacy of critical and creative independence. His stories blur the boundaries between humans, beasts, and ghosts as they struggle through life, death, and resurrection. Christopher G. Rea situates these works within China’s wartime politics and Qian’s literary vision, highlighting and significant changes that Qian Zhongshu made to different editions of his writings and providing unprecedented insight into the author’s creative process.
    [Show full text]