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Beschreibung des Verlags
A New York Times Notable Book
Winner of the Kiriyama Book Prize
In the heart of China's Sichuan province, amid the terraced hills of the Yangtze River valley, lies the remote town of Fuling. Like many other small cities in this ever-evolving country, Fuling is heading down a new path of change and growth, which came into remarkably sharp focus when Peter Hessler arrived as a Peace Corps volunteer, marking the first time in more than half a century that the city had an American resident. Hessler taught English and American literature at the local college, but it was his students who taught him about the complex processes of understanding that take place when one is immersed in a radically different society.
Poignant, thoughtful, funny, and enormously compelling, River Town is an unforgettable portrait of a city that is seeking to understand both what it was and what it someday will be.
In China, the year 1997 was marked by two momentous events: the death of Deng Xiaoping, the country's leader for two decades, and the return of Hong Kong after a century and a half of British rule. A young American who spent two years teaching English literature in a small town on the Yangtze, Hessler observed these events through two sets of eyes: his own and those of his alter ego, Ho Wei. Hessler sees China's politics and ceremony with the detachment of a foreigner, noting how grand political events affect the lives of ordinary people. The passing of Deng, for example, provokes a handful of thoughtful and unexpected essays from Hessler's students. The departure of the British from Hong Kong sparks a conversational "Opium War" between him and his nationalist Chinese tutor. Meanwhile, Ho Wei, as Hessler is known to most of the townspeople, adopts a friendly and unsophisticated persona that allows him to learn the language and culture of his surroundings even as Hessler's Western self remains estranged. The author conceives this memoir of his time in China as the collaborative effort of his double identity. "Ho Wei," he writes, "left his notebooks on the desk of Peter Hessler, who typed everything into his computer. The notebooks were the only thing they truly shared." Yet it's clear that, for Hessler, Ho Wei is more than a literary device: to live in China, he felt compelled to subjugate his real identity to a character role. Hessler has already been assured the approval of a select audience thanks to the New Yorker's recent publication of an excerpt.