The Book of Records

'A moving and extraordinary evocation of the 20th-century tragedy of China... compelling' Guardian SHORTLISTED FOR THE WOMEN'S PRIZE FOR FICTION AND THE MAN BOOKER PRIZE In Canada in 1991, ten-year-old Marie and her mother invite a guest into their home. Ai- Ming has fled China in the aftermath of the Tiananmen Square protests. As her relationship with Marie deepens, Ai-Ming tells the story of her family in revolutionary China, from the crowded teahouses in the first days of Chairman Mao's ascent to the Beijing demonstrations of 1989. And she speaks of three musicians - the shy and brilliant composer Sparrow, the violin prodigy Zhuli, and the enigmatic pianist Kai - who struggled during China's relentless Cultural Revolution to remain loyal to one another and to the music they have devoted their lives to. Their fates reverberate through the years, with deep and lasting consequences for Ai-Ming - and for Marie. Do Not Say We Have Nothing magnificently brings to life one of the most significant political regimes of the 20th century and its traumatic legacy. 'A magnificent epic of Chinese history, richly detailed and beautifully written' Kate Saunders, The Times

Ein preisgekrönter Roman über China von den 1940ern bis heute, über zwei eng verbundene Musikerfamilien und ihr Schicksal. Die herzzerreißenden Lebensgeschichten der Musiker, ihrer Freunde, Familien und Geliebten, die in den Strudel der Politik geraten, in das Auf und Ab von Revolution, Gewalt und Unterdrückung, führen zu der universellsten und zugleich privatesten aller Fragen: Wie kann der Mensch sich selbst treu bleiben, lieben und kreativ sein, wenn er sich verstellen und verstecken muss, weil er um sein Leben fürchtet?

Canadian writer Madeleine Thien reflects on a ­fragment of a mural depicting three Uyghur Princes from one of the Bezeklik Caves along the Northern Silk Road, in what is now the Xinjiang Uyghur ­Autonomous Region of China. This most renowned donor portrait of Uyghur-Buddhist art was brought to the Berlin museums following the Second German Turfan Expedition (1904–1905). Thien responds to its vibrant colors and expressive lines with a fictional text, transporting us into the daily lives of the painters who adorned the caves with strikingly lifelike murals in the tenth century. She asks: Is there an autonomous republic of art that transcends time and place?

Die kanadische Schriftstellerin Madeleine Thien betrachtet das Fragment einer Wandmalerei mit »Drei Uigurischen Prinzen« aus einer der Bezeklik Höhlen der Nördlichen Seidenstraße, der heutigen autonomen Region Xinjiang-Uigur in China. Diese berühmteste Stifterdarstellung der uigurisch-buddhistischen Kunst kam nach der zweiten deutschen Turfan-Expedition (1904–1905) in die Berliner Museen. Ihren prächtigen Farben und ausdrucksstarken Linien begegnet Thien mit einem literarischen Text. Sie versetzt uns in das tägliche Leben der Maler, die die Höhlen im 10. Jahrhundert mit ebenso lebensnahen Wandgemälden ausgestattet haben, und fragt: Gibt es eine autonome Republik der Kunst, die Zeiten und Orte überdauert?

'A moving and extraordinary evocation of the 20th-century tragedy of China... Compelling' Guardian SHORTLISTED FOR THE WOMEN'S PRIZE FOR FICTION AND THE MAN BOOKER PRIZE In Canada in 1991, ten-year-old Marie and her mother invite a guest into their home. Ai- Ming has fled China in the aftermath of the Tiananmen Square protests. As her relationship with Marie deepens, Ai-Ming tells the story of her family in revolutionary China, from the crowded teahouses in the first days of Chairman Mao's ascent to the Beijing demonstrations of 1989. And she speaks of three musicians - the shy and brilliant composer Sparrow, the violin prodigy Zhuli, and the enigmatic pianist Kai - who struggled during China's relentless Cultural Revolution to remain loyal to one another and to the music they have devoted their lives to. Their fates reverberate through the years, with deep and lasting consequences for Ai-Ming - and for Marie. Do Not Say We Have Nothing magnificently brings to life one of the most significant political regimes of the 20th century and its traumatic legacy. 'A magnificent epic of Chinese history, richly detailed and beautifully written' Kate Saunders, The Times

Lina and her father arrive at an enclave called The Sea, a staging post between migrations, with only a few possessions. In this mysterious and shape-shifting place, a building made of time, pasts and futures collide. Lina befriends her neighbors: Bento, a Jewish scholar in seventeenth-century Amsterdam; Blucher, a philosopher in 1930s Germany fleeing Nazi persecution; and Jupiter, a poet of Tang Dynasty China.Memory, political revolution, generational change, and the ethical imagination are at the heart of Lina's illuminating conversations with her fellows in the Sea: how we come to believe what we believe, and how every person is an irreplaceable, unique vessel of history. Through the guidance of these great thinkers, Lina equips herself to reckon with difficult questions of guilt, responsibility, and the possibility of redemption when her ailing father begins to reveal his role in their family's tragic past.As Lina confronts her father's troubling admissions, she begins to reconceptualize the world around her, gaining a deeper understanding of how our individual futures are shaped by our political circumstances, and she relies on the collective joy of art and intellectual endeavors to carry her through difficulty. A novel that voyages between centuries, generations, and ideas, The Book of Records is an indelible testament to the migratory nature of humanity and our ceaseless search for a home-in the physical world, in cyberspace, in history, and in the imagination-in the wake of catastrophe.

Lina and her father arrive at an enclave called The Sea, a staging post between migrations, with only a few possessions. In this mysterious and shape-shifting place, a building made of time, pasts and futures collide. Lina befriends her neighbors: Bento, a Jewish scholar in seventeenth-century Amsterdam; Blucher, a philosopher in 1930s Germany fleeing Nazi persecution; and Jupiter, a poet of Tang Dynasty China.Memory, political revolution, generational change, and the ethical imagination are at the heart of Lina's illuminating conversations with her fellows in the Sea: how we come to believe what we believe, and how every person is an irreplaceable, unique vessel of history. Through the guidance of these great thinkers, Lina equips herself to reckon with difficult questions of guilt, responsibility, and the possibility of redemption when her ailing father begins to reveal his role in their family's tragic past.As Lina confronts her father's troubling admissions, she begins to reconceptualize the world around her, gaining a deeper understanding of how our individual futures are shaped by our political circumstances, and she relies on the collective joy of art and intellectual endeavors to carry her through difficulty. A novel that voyages between centuries, generations, and ideas, The Book of Records is an indelible testament to the migratory nature of humanity and our ceaseless search for a home-in the physical world, in cyberspace, in history, and in the imagination-in the wake of catastrophe.