Yan Lianke’s Mythorealist Representation of the Country and the City
This article considers Yan Lianke’s literary method of shenshi zhuyi (mythorealism) evidenced in Lenin’s Kisses and Garden No. 711: The Ultimate Last Memo of Beijing and examines Yan’s post-Maoist representations of macro- and micro-shenshi (mythoreality), political dystopia and ecocritical utopia, the humiliated and insulted and their silence and speech, as well as the large-scale ferocity of slow violence in the country and city.