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Chinese Grammar Checker

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• First, make sure you see the Sapling badge in the bottom right of the editor.
• Are you already logged in or already have Sapling installed as a browser extension? If so, your logged in user setting may be overriding the language setting on this page.
• Sapling works best with realistic errors. That means errors that are frequently made in practice as opposed to intentional errors.

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• Write pinyin. The pinyin will appear in the right-upper box. In the right-lower box, the tool will propose a list of character corresponding to the pinyin.
• If the first character proposed is the one you intend to write, just press the "space" bar. The character will be displayed in the left editor box
• If the character you want is the 2nd, 3rd, ... just press the corresponding key (1), (2) of your keyboard. The character will be displayed in the left editor box
• If the list of character exceed 10, then use the key "Page Down" "Page Up" of your computer.
• to write 中国, enter "z h o n g g u o (space)".
• to write 我要桂林, enter "w o (space) y a o (space) g u i l i n (space)".
• to write 美女, enter "m e i (5) n v (space)".
• to write 翡翠, enter "f e i (PageDown) (PageDown) (4) c u i (4)".
• How to type the pinyin "ü"? Type "v" instead.
• The tool doesn't work, nothing happened? The first loading of the page may be a little slow.

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Chinese text checker

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Check Chinese text online. Correction of grammatical, punctuation and spelling errors in the text. Chinese!. Check punctuation. Search and correction of errors in different languages: English, French, German, Portuguese, Russian, Italian, Arabic, Spanish, Japanese, Chinese, Greek. Determination of readability and other basic text metrics.

Simplified Chinese – Spellchecking

By using our website, you can check the text for free to find spelling mistakes and typos. Spell checking algorithms take the most common rules of the language into account, as well as differences in spelling in different dialects. By using the service, you can improve your texts here and now!

Check punctuation

To find punctuation errors, our system uses our own developments in the field of artificial intelligence. This allows you to find the vast majority of punctuation errors: missing commas, quotation marks or dashes. For each language, we use different approaches to text analysis to get the best results.

Grammar check

TextGears algorithms check text and detect over 200 types of grammatical errors: correct use of parts of speech, and the construction of sentences. After checking, the service will offer options for correcting errors, and also display statistics on the most common mistakes. This will help to improve your grammar knowledge.

Checking the text style

TextGears not only detects grammar and spelling errors, but also analyzes the style of speech, checks the appropriateness of using individual words in a general context. Smart algorithms will help you save your essay or CV from inappropriate words, as well as choose synonyms, and make your text more presentable.

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3 Best Chinese Grammar Checkers All Mandarin Learners Need to Bookmark

Chinese grammar is both extremely similar to and ridiculously different from English grammar, which can leave even advanced learners scratching their heads .

There’s a lot to absorb between word arrangement, morphology, sounds, tones, semantics and sentence structure—but it’s not an impossible feat.

To help you on your grammar-learning journey, I’ve put together a list of some seriously helpful (and free!) Chinese grammar checkers available online.

1. LanguageTool

2. sentence checker.

Download: This blog post is available as a convenient and portable PDF that you can take anywhere. Click here to get a copy. (Download)

LanguageTool is a program that allows you to check your Chinese text for any errors, making it easier for you to identify in which areas you are struggling with your writing.

You can download it as an add on for popular programs such as Google Docs and Microsoft Word, which allows you to seamlessly integrate this language checker into your daily routine, for anything from simple notes, to writing assignments in Chinese.

Words that you have spelt incorrectly will be underlined in red, which you can then click on to view possible correct suggestions.

The downside to this tool is that extra features such as synonyms and sentence paraphrasing are not available for Chinese yet.

Based on LanguageTools, Sentence Checker has its own unique benefits to suit your needs. Namely, it’s incredibly sleek and simple. If you’re looking for a sentence checker that checks sentences quickly and doesn’t take a long time to load then you should give this application a shot.

You can check, correct, look at or even ignore examples of correct grammar based on what you’ve written. That’s about all this Chinese grammar checker does, but it does it with speed, impeccable precision and a user-friendly interface. If you’re a translator rather than a Mandarin language learner, this is the one for you!

Like all of these great grammar checkers, there are some downfalls to Sentence Checker. It doesn’t have a lot of additional features, and there isn’t an option to report discrepancies within the application. It’s also not the most ideal grammar checker for those who are just starting to learn Chinese, but it’s still quite a handy tool.

Sapling is another great grammar checker that you can use to catch errors in your Chinese writing and improve your accuracy.

You can use the text editor on the website, or alternatively you can install one of the platform’s integrations into browsers like Chrome, Firefox and more. This means you’re able to easily apply corrections while completing your daily tasks.

Suggestions will be underlined in red, and you can hover over them to see the suggested correction, with the option to either apply them or ignore them.

As with any grammar checker, Sapling won’t always be completely accurate, so it’s important to bear that in mind when it comes to deciding which corrections to implement.

Don’t feel too down on yourself for needing to use a Chinese grammar checker. After all, learning a language is a long—and sometimes difficult—journey. There’s no shame in needing a little bit of help along the way!

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Chinese Learners :  Articles and practising texts 文章和练习作文 .  

Academics : Dissertations, essays and presentations 论文,作文和演讲 .         

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Individuals ( see editing services): School and job applications 学校和工作申请​.

We offer Chinese proofreading and editing services for Chinese language learners, academics, businesses and individuals including:        

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After you place your order, we will start to work on your document and email you back the completed document to you. The service usually takes 1- 2 days after the  customer receives  the confirmation  email of the order.

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 Proofreading for Chinese Learners and  Academics 

Very short text £10.00.

Proofreading your Chinese text up to  250  simplified or traditional characters.

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Short Text £20.00

Proofreading your Chinese text up to 500 simplified or traditional characters.

Medium Text £40.00

Proofreading your Chinese text up to 1000 simplified or traditional characters.

Long Text £80.00

Proofreading your Chinese text up to 2000 simplified or traditional characters.

 Proofreading for Businesses 

Very short text, £10.00, short text £25.00, medium text £50.00, long text £100.00, editing for businesses, cvs and applications, short text £30.00.

Editing your Chinese text up to 500 simplified or traditional characters.

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Editing your Chinese text up to 1000 simplified or traditional characters.

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Editing your Chinese text up to 2000 simplified or traditional characters.

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Improve Chinese Essay Writing- A Complete How to Guide

• Last updated: June 6, 2019
• Learn Chinese

Writing can reflect a writer’s power of thought and language organization skills. It is critical to master Chinese writing  if you want to take your Chinese to the next level. How to write good Chinese essays? The following six steps will improve Chinese essay writing:

Before You Learn to Improve Chinese Essay Writing

Before you can write a good essay in Chinese, you must first be accustomed with Chinese characters. Unlike English letters, Chinese characters are hieroglyphs, and the individual strokes are different from each other. It is important to be comfortable with writing Chinese characters in order to write essays well in Chinese. Make sure to use Chinese essay writing format properly. After that, you will be ready to improve Chinese essay writing.

Increase Your Chinese Words Vocabulary

With approximately 100,000 words in the Chinese language, you will need to learn several thousand words just to know the most common words used. It is essential to learn as many Chinese words as possible if you wish to be a good writer. How can you enlarge your vocabulary? Try to accumulate words by reading daily and monthly. Memory is also very necessary for expanding vocabulary. We should form a good habit of exercising and reciting as more as we can so that to enlarge vocabulary. Remember to use what you have learned when you write in Chinese so that you will continually be progressing in your language-learning efforts.

Acquire Grammar,Sentence Patterns and Function Words

In order to hone your Chinese writing skills , you must learn the grammar and sentence patterns. Grammar involves words, phrases, and the structure of the sentences you form. There are two different categories of Chinese words: functional and lexical. Chinese phrases can be categorized as subject-predicate phrases (SP), verb-object phrases (VO), and co-ordinate phrases (CO). Regarding sentence structure, each Chinese sentence includes predicate, object, subject, and adverbial attributes. In addition, function words play an important role in Chinese semantic understanding, so try to master the Chinese conjunction, such as conjunction、Adverbs、Preposition as much as you can. If you wish to become proficient at writing in Chinese, you must study all of the aspects of grammar mentioned in this section.

Keep a Diary Regularly to Note Down Chinese Words,Chinese Letters

Another thing that will aid you in becoming a better writer is keeping a journal in Chinese. Even if you are not interested in expanding your writing skills, you will find that it is beneficial for many day-to-day tasks, such as completing work reports or composing an email. Journaling on a regular basis will help you form the habit of writing, which will make it feel less like a chore. You may enjoy expressing yourself in various ways by writing; for instance, you might write poetry in your journal. On a more practical side of things, you might prefer to simply use your journal as a way to purposely build your vocabulary .

Persistence in Reading Everyday

In addition to expanding your view of the world and yourself, reading can help you improve your writing. Reading allows you to learn by example; if you read Chinese daily, you will find that it is easier to write in Chinese because you have a greater scope of what you can do with the vocabulary that you’ve learned. Choose one favorite Chinese reading , Read it for an hour or 2,000 words or so in length each day.

Whenever you come across words or phrases in your reading that you don’t understand, take the time to check them in your dictionary and solidify your understanding of them. In your notebook, write the new word or phrase and create an example sentence using that new addition to your vocabulary. If you are unsure how to use it in a sentence, you can simply copy the sample sentence in your dictionary.

Reviewing the new vocabulary word is a good way to improve your memory of it; do this often to become familiar with these new words. The content of reading can be very broad. It can be from novels, or newspapers, and it can be about subjects like economics or psychology. Remember you should read about things you are interested in. After a certain period of accumulation by reading, you will greatly improve your Chinese writing.

Do Essay Writing Exercise on a Variety of Subjects

As the saying goes, “practice makes perfect.” In order to improve your China Essay Writing , you should engage in a variety of writing exercises. For beginners, you should start with basic topics such as your favorite hobby, future plans, favorite vacation spot, or any other topic that you can write about without difficulty.

For example :《我的一天》( Wǒ de yì tiān, my whole day’s life  ),《我喜欢的食物》( Wǒ xǐhuan de shíwù, my favorite food  ),《一次难忘的旅行》( yí cì nánwàng de lǚxíng, an unforgettable trip  ) etc.

Generally the writing topics can be classified into these categories: a recount of an incident,a description of something/someone, a letter, formulate your own opinion on an issue based on some quote or picture etc.

Takeaway to Improve Chinese Essay Writing

Keep an excel spreadsheet of 口语(Kǒuyǔ, spoken Chinese) –书面语(Shūmiànyǔ, written Chinese) pairs and quotes of sentences that you like. You should also be marking up books and articles that you read looking for new ways of expressing ideas. Using Chinese-Chinese dictionaries is really good for learning how to describe things in Chinese.

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The Guide to Writing Your First Mandarin Essay

When you want to be able to make writing your first Mandarin essay nice and easy, it pays to put plenty of thought and effort into the preparation. As the old saying goes ‘fail to prepare, prepare to fail.’ To give you plenty of food for thought we’ve put together everything you need to know to get things moving. All you need to do is work through the following steps, and you’ll be submitting your essay in no time at all.

Check you understand the basics

There are so many things you have to think about when writing an essay, particularly when it’s not in your native language. But as with any cognitively demanding task, the process for getting started is always the same. Check you understand the following basics and you’ll be heading in the right direction:

• Do you know what the question means?
• Have you made a note of the final submission date?
• Make sure you read some past examples to get a feel for what’s expected of you
• Do you understand the question that has been set?
• Do you know who you can talk to if you need advice along the way?
• Are there any restrictions on the dialect you should be aware of?

Once you can write the answers to the above down on a single side of the paper, you are ready to tackle the main part of the problem: putting pen to paper.

Set aside time to write

The chances are that you’re not going to be able to pen the entire essay in a single sitting, and that’s okay. It’s nothing to be ashamed of or to worry about, and it’s natural that you need to work across multiple days when writing your first essay.

If you want to be able to make great progress, the most important thing is sticking to a routine. You need to have consistency in your application, and you need to be able to know when you are at your most productive. It’s no good staying up late one night and then carrying on early the next morning. You’d be far better off writing for the same amount of time but on two successive afternoons. Think about how your studies fit in with the rest of your daily life, and then choose the time that seems most appropriate. If you box it off and decide it’s only for writing, you’ll be in a great routine before you even know it.

Clear space so you can focus

As well as having time to write each day, you need a place to write too. The world is full of distractions (most of them are digital and social) so that means you’re going to want to keep yourself to yourself, and your phone in a different room. It might seem a little boring or uncomfortable at first, but you need to practice the habit of deep work. It’s what will allow you to create the most in the shortest time — ideal if you want to have plenty of time leftover to spend doing the other things that matter to you.

Have a daily word count in mind

Telling yourself that you want to write an essay today is one thing, but if you’re really going to push yourself to stick to your goal then you need to get quantitative. If you have a word count in mind that you need to hit, then it will prevent you from giving up and throwing in the towel the minute you start having to think and concentrate more than feels normal. Just like working out in the gym, it’s the temporary moments of extra effort that really drive the big differences. It’s when you’ll see the biggest improvement in your writing ability, and the lessons you teach yourself will stay with you for years to come. Ideal if you want to become a fluent Mandarin writer, as well as an engaging face-to-face speaker.

Read widely to provide context

When you’re immersed in an essay it can be all too easy to become blinkered and fail to pay attention to everything else that’s going on around you. Of course, you want to be focused on the task at hand, but you don’t want to be single-minded to the point of ignoring other great learning resources that are just a click away.

Reading widely is one of the best ways to improve your essay writing because it exposes you to techniques and approaches used by the best of the best. You’re not expected to be able to instantly write like a native speaker after an hour of reading. But what you will be able to do with consistent application is build up confidence and familiarity with written Mandarin. Over time this will reflect on the quality and depth of your writing as you gradually improve and take onboard lessons you’ve learned.

Take a break before you proofread

Last but not least, you need to remember that essay writing is a marathon, not a sprint. It’s all about taking the time to get things written before you hand them in, not racing through to try and finish on time. If you want to get the most out of your writing you need to take a day off between finishing your draft and proofing it. That way your brain will have had plenty of time to reflect on the work you’ve produced, and you’ll be able to spot many more little mistakes and places for improvement than you would if you proofed right away.

Final Thoughts

Writing Mandarin is a challenging task that will test your language skills and make you think hard about how to apply what you’ve learned so far. It might be slow going to begin with, but that’s great as it means you’re pushing your limits and building on your existing skills. If you want to be able to master Mandarin, you need to persevere and stay the course. Once you do, you’ll start to improve a lot faster than you expect.

By Diana Adjadj | A Super Chineasian

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Chinese-English Translation, Editing, & Research

I’m available for hire as a Chinese-English translator, bilingual editor, and Chinese language researcher. (For projects related to sensitivity reading, click here .) If you’d like to discuss the possibility of working with me, please contact me and I’ll get back to you. 

Specializations:

As a literary translator, I specialize in translating speculative fiction, poetry written in modern and classical Chinese, children’s literature, and graphic forms from Chinese into English. I also have experience as a bilingual editor and have translated marketing and promotional materials for arts and non-profit organizations.  

I can help with:

• Translation of various texts, especially in the literary, creative, arts and culture, and academic fields, with a specialization in literary and fantasy fiction, poetry, and children’s and YA literature 
• Chinese-language research on topics like history, mythology, literature, social issues, and more
• English subtitles for videos and films.  
• Editing translations or bilingual projects, evaluating translations.

Qualifications:

• A native speaker of English, Mandarin, and the Sichuan (Yibin/Luzhou) dialect of Chinese, with knowledge of both simplified and traditional Chinese characters
• Experience as a translator/translation consultant for Chinese, Canadian, and American writers and creatives as well as arts and cultural organizations 
• Graduate Creative Writing MFA coursework in literary translation and undergraduate coursework in Chinese history, film, and literature
• A published writer of original work in English as well as a published translator of fiction and poetry
• Experience as an editor, editorial board member, and contest reader for publications such as Room Magazine  and  Prism International 

Examples of projects completed:

• Chinese-English literary translation: speculative fiction for The Way Spring Arrives anthology (Tor) and  Pathlight; poetry translations for numerous literary journals, including  Poetry Magazine, Guernica , and LA Review of Books China Channel
• English-Chinese literary translation: translating the picture book Amy Wu and The Patchwork Dragon (Simon & Schuster), book-length poetry collections and individual poems, and reading guides and news articles related to social justice, community organizing, and activism
• Chinese-English and English-Chinese translation for arts and non-profits organizations: marketing and promotional materials like posters and signage; public art projects; video subtitles 
• Chinese-English interpretation for visitors traveling in Suzhou, China
• Evaluating translations for literary contests and grants

Some Organizations and People I have Worked With

• Simon & Schuster, TorDotCom / Storycom, Canada Council for the Arts, Dr. Sun Yat Sen’s Garden, Access Gallery, Pathlight Magazine, and various private clients.
• My literary translations work have also been supported by a fellowship from the American Literary Translators Association (ALTA) and by a grant from the Access Copyright Foundation. 

Testimonials:

“In my experience, Yilin’s process of translation is incredibly intuitive, and considerate of contemporary and historical context. Yilin conducts herself with professionalism and efficiency, and I will gladly commission her again.”

– Brit Bachmann, Executive Director of UNIT/PITT Society of Art & Critical Awareness

“Yilin is very communicative and thoughtful in her approach to artwork and the translation of it. She asks the right questions to deliver core meanings and nuances of the original language. We highly recommend her!”

– Minah & Wrly, Art Action Earwig (via Access Gallery)

– Ellen Chang-Richardson, author and poet

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Grammar , Vocabulary

Useful Chinese Essay Phrases  

  July 8, 2020

By   Ellen

Nowadays, many international students have decided to study abroad, and China has become a highly popular destination. In universities, essay writing is a basic skill and the “Academic Writing” lectures are always attracting many students to attend.

Here we have summarized some “all-purpose” phrases and sentences which hopefully you would find useful.

Chinese Essay Phrases Used in Abstracts

The abstract should explain the purpose, method, results, and conclusion of your research, also highlighting the new ideas that you proposed; and do remember to keep your language concise while writing. The purpose of the abstract is to conclude and summarize the main contents of your essay so that the reader could have a brief understanding without having to read the entire paper. Chinese abstracts are usually around 200 characters.

Research Background, Significance, and Current Situation

Extremely useful/badly needed/affecting people’s lives (1-2 sentences)

Proposing the Object of Study 

Played a very important role (1-2 sentences)

Purpose of the Study or Study Aim

The role of A in B, perhaps remains to be seen (1 sentence)

Research Methods and Results

Through what means/technique/experiment we achieved what result (several sentences)

Research Results

The phenomenon of A in B, shows what the function of B is, theoretical and applied value (1-2 sentences)

via Pixabay

Chinese Essay Phrases: Main Body

The main body includes the introduction and the main text. The introduction section could use similar phrases that we have just listed, focusing on research objects and purposes. The main text should include research methods, research results, and discussion. Writers should keep their sentences to the point and avoid rambling, also avoid using too much subjective perspective discourses, which shouldn’t be used as arguments as well.

Theoretical Basis, Approaches, and Methods

To express opinions, to emphasis, transitional expressions, chinese essay phrases: conclusion.

At the ending section of the paper, the writer should provide an objective summary, list out the future research objectives and directions, and perhaps look into the future. Keep optimistic even if your experiment results were negative.

Research Impact and Value

There you go. We hope this article helps you write amazing essays. Best of luck!

Ellen is a language specialist from China. She grew up in the US and received a master’s degree from the St Andrews University of UK. The multicultural experiences attributes to her understanding of the differences and similarities between the English and Chinese language. She currently works as an editor specialized in Language learning books.

related posts:

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15 must-watch chinese movies for language learners, best chinese music playlists on spotify, get in touch.

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Overview of CCL 23-Eval Task 8: C hinese Essay Fluency Evaluation ( CEFE ) Task

Xinshu Shen , Hongyi Wu , Xiaopeng Bai , Yuanbin Wu , Aimin Zhou , Shaoguang Mao , Tao Ge , Yan Xia

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[Overview of CCL23-Eval Task 8: Chinese Essay Fluency Evaluation (CEFE) Task](https://aclanthology.org/2023.ccl-3.31) (Shen et al., CCL 2023)

• Overview of CCL23-Eval Task 8: Chinese Essay Fluency Evaluation (CEFE) Task (Shen et al., CCL 2023)
• Xinshu Shen, Hongyi Wu, Xiaopeng Bai, Yuanbin Wu, Aimin Zhou, Shaoguang Mao, Tao Ge, and Yan Xia. 2023. Overview of CCL23-Eval Task 8: Chinese Essay Fluency Evaluation (CEFE) Task . In Proceedings of the 22nd Chinese National Conference on Computational Linguistics (Volume 3: Evaluations) , pages 282–292, Harbin, China. Chinese Information Processing Society of China.

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The Chinese Essay

Edited and translated by David E. Pollard

Reviewed by Charles A. Laughlin MCLC Resource Center Publication (Copyright January 2004)

David E. Pollard, editor and translator. The Chinese Essay . New York: Columbia University Press, 2000. 372 pp. US $65.00, ISBN: 0-231-12118-0 (cloth); US $24.50, ISBN: 0-231-12119-9.

The Chinese Essay is the first anthology to provide a comprehensive introduction to Chinese literary non-fiction prose from earliest times to the present. Comparable collections in print, such as Richard Strassberg’s Inscribed Landscapes: Travel Writing from Imperial China and Sang Ye’s Vignettes from the Late Ming, are restricted to the premodern period, and until now modern essay translations (often Pollard’s) have only appeared scattered in journals like Renditions and Chinese Literature and in more general anthologies like The Literature of the Hundred Flowers , The Columbia Anthology of Modern Chinese Literature , and monographs devoted to individual authors such as Zhou Zuoren and Yu Pingbo. The selections in The Chinese Essay represent most of the best-known Chinese essayists, through some of their most anthologized and well-known works. Never have premodern and modern essays been placed next to each other, and never has the considerable tradition of the modern Chinese essay been presented so richly. Pollard’s effort is commendable, and should be interesting not only to the general reader but a great boon as well to instructors of courses devoted to Chinese literature or to the essay across cultures.

Pollard has translated all of the essays himself. As a much-published translator, and author of A Chinese Look at Literature: The Literary Values of Chou Tso-jen (Zhou Zuoren, the pioneer of the modern Chinese literary essay), there could hardly be a better choice for this task. Not only are the translations faithful to the semantic meaning of the original texts (as far as I can tell), but Pollard’s clipped, dry, and often humorous style is also often perfectly suited to the spirit of the essays presented here. The anthology also includes portraits or photographs of many of the authors as well as their calligraphy or handwriting. Though not numerous, these illustrations very effectively convey the love of writing and the emphasis on personal style that tie together the many phases of the Chinese literary essay’s long tradition.

Because of the infancy of the study of the Chinese essay in English, an anthology like this and its introduction are potentially seminal statements, situating this genre in the field of Chinese cultural studies in general, justifying our interest in it, and pointing the way to avenues of further inquiry. But if The Chinese Essay answers the question, Why publish or read such an anthology?, it does so only meekly. Pollard observes that there has not been a general anthology of Chinese essays published since Herbert Giles’ 1884 Gems of Chinese Literature , so his argument begins from a gap or lack in the representation of a genre. Rather than engage with this lack critically, Pollard goes on to assert two reasons for it, almost as if to justify it, namely, the inherent difficulty of representing and discussing linguistic style in a foreign language (but why should this not have been a hindrance to the translation and circulation of other Chinese literary genres?), and the decline in prestige of the essay in the English-speaking world. Thus, in effect, rather than answering the question of why he is offering this anthology now, Pollard is simply providing convincing reasons why it had not been done before. What is missing from this explanation is why the prestige of the essay in modern and contemporary China, unlike the English speaking world, has not declined. If this book could bring the English reader around to understand the power and agency of the essay in contemporary China, despite all that has been said in our field about the overwhelming importance of fiction, it would create more than enough motivation and capacity to appreciate the importance of the contents of this anthology on its own terms, even for a general reader.

The general reader, moreover, seems to be the main target of this anthology. Yet this general-audience orientation is belied by the inclusion of Chinese characters for authors’ names and titles to works. Indeed those who would benefit from the Chinese characters (most of the likely audience of this collection) will generally want more bibliographical information, as well as some engagement with scholarship in the field such as Yu-shih Chen’s Images and Ideas in Chinese Classical Prose: Studies of Four Masters , Chih-p’ing Chou’s Yuan Hung-tao and the Kung-an School . In addition to a more in-depth and informative introduction, I think the book as a whole could have included more scholarly apparatus, including a less sketchy, multi-lingual bibliography, without harming its appeal to a general audience.

If Pollard assumes anything about his audience, it is that they are familiar with the European prose essay, which I think leaves some room for doubt especially with respect to the younger generations. The European essay was of course an important context for the modern Chinese essay, but Pollard is probably putting unnecessary emphasis on features peculiar to the European tradition (“absence of dignity,” “refining and directing sensibilities to create a polity that was new and particular,” “entertainment value,” [p. xii-xiii] “independence of thought,” [p. 7] etc.) in the effort to define the Chinese essay for the general English reader. It might have been more effective and engaging to discuss what prose essays in China are like and what they are used for, rather than comparing them (often unfavorably) to the European tradition that the reader may not be very familiar with anyway.

After detailing in the Preface negative aspects of traditional Chinese culture and literary conventions that explain why premodern Chinese essays do not resemble those of Montaigne and Bacon, Pollard does go on to list what he feels are some of the positive aspects of the Chinese essay in general: “The qualities are on the one hand common to mankind, on the other particular to Chinese literary arts. The first kind includes the expression of character in the writer, either impressively strong or appealingly weak; the expression of sentiment, usually to commemorate friends and relatives; nostalgia for past times; appeals for justice and compassion; pleasure in diversions. The second kind concerns the musicality of the language, a prime and often, regrettably, the prime requirement for approval.” Then he goes on to explain why musicality cannot be translated. Thus, all of the positive aspects of the premodern Chinese essay that are particular to Chinese literary arts are here lost in translation, and what is left is a variety of expressions of ideas and sentiments. I am not certain, but a general English readership (which has already proven itself lukewarm to Chinese fiction and poetry in translation) may not be inclined to delve into this anthology thus described. Why not say more about the extraordinary personalities and intellectual genius evinced in included works by Tao Qian, Han Yu and Su Shi, Lu Xun, Zhou Zuoren, Feng Zikai and Zhang Ailing? Why not talk about some of the larger cultural themes for which the Chinese essay served as the principal vessel, and which through the essay traditional and modern writing are linked—the cultivation of the art of living, the struggle between transcendent and worldly values, or the contrarian resistance to “political correctness” of every imaginable kind?

In an anthology with such broad coverage but short length, the editor is obliged to explain his principles for selection, and Pollard very honestly acknowledges that it would have been impossible to adhere to a single principle. I applaud his insistence that personal taste—an important theme in ancient and modern essays—was his principal guide. This accounts for his enthusiastic inclusion of essays by Gui Youguang (1506-1571) despite their criticism by the modern essayist Lin Yutang, his exclusion of Lin Yutang’s own essays, and no doubt as well the inclusion of contemporary writer Yu Qiuyu, well-known for his popular, fictionalized imaginings of significant historical moments, over those with strong links to the Republican period essay tradition like Wang Zengqi, Zhang Zhongxing and Ji Xianlin. On the other hand, in his note on sources Pollard states that “the classical prose section consists almost entirely of anthology pieces; they had to be so in order to represent the classical heritage” (369). He also states that he felt he had to include certain perennial classics (both traditional and modern) that may not have been among his favorites, even when they were available in other collections. In saying this Pollard makes it clear that he intends this collection to represent the Chinese essay with some authority and self-sufficiency, which seems out of step with his claim of using personal taste as his guide. Nevertheless, I think the resulting balance between personal taste and the need to reflect the received canon makes for a selection that both makes good reading and a good textbook.

Though Pollard alludes to wide reading in anthologies, the only one he cites is a 1987 publication, implying that anthologies tend to select the same works for each author. I am currently in the midst of a survey of anthologies of premodern essays that so far suggests to me that selections vary significantly across eras (Qing, Republican, Taiwan, Early PRC, recent PRC) for various different reasons. For example, premodern anthologies such as the seventeenth-century Guwen guanzhi generally favor formal essays of serious import that cleave to Confucian values, while more modern collections increasingly favor heterodox views, and include more “individualistic” essays on small, private matters. This is in part due to the gradual acceptance in the late imperial period that informal or casual writing possesses its own aesthetic value that can be appreciated by posterity. Moreover certain Republican period publications such as Shen Qiwu’s 1932 Jindai sanwen chao (A selection of early modern essays), Zhang Dai’s Tao’an mengyi (Dreamlike remembrance) edited with prefaces by Yu Pingbo and Zhou Zuoren, and Shi Zhecun’s 1935 Wanming ershi jia xiaopin (The Late Ming xiaopin: twenty masters) exerted an influence on the modern Chinese essay, and these could at least have been mentioned. The reader who wants to explore the Chinese essay in more detail would have benefited greatly from some guidance as to which anthologies are best, and which exerted the greatest influence.

It is interesting that The Chinese Essay , covering both premodern and modern periods, devotes the lion’s share of its space to the modern period. There are about forty pages devoted to ancient-medieval times (through the Song Dynasty), forty to late imperial times (Ming and Qing dynasties), about 170 to the first half of the twentieth century, when the modern essay came into its own, and ninety to the post-war period; thus over seventy percent of this collection is from the past 100 years. The slant in favor of modern essay has the effect of showing the reader the pre-modern essay through modern eyes, which I applaud, but the editor could have been more forthcoming about this in the introduction. If, for example, the reader took The Chinese Essay to be a general survey of the Chinese essay from antiquity to the present, it would give the impression that the essays of the twentieth century are much more important than those in the more than two millennia before. Modern Chinese essays can often be understood better through their relationships (sometimes conspicuous) with premodern literary or philosophical trends, and these relationships do not in themselves lessen the modern texts’ “modernity,” but help constitute it. In this respect, if it was in fact Pollard’s intention to present premodern essays primarily as precursors to modern ones, he could have done more in the introduction, commentary and translator’s notes to emphasize which kinds of premodern texts have particularly exerted agency in modern times, which modern texts manifest their influence, and how.

Turning to the modern period, the cavalier dismissal of prose literature under leftism and socialism is unfortunate; the development of the genre of reportage is misrepresented in the introduction as originating as anti-Japanese propaganda in the War Against Japan and developing in Communist China only to extol the Party (p. 20), and no mention is made at all of prominent lyrical essayists within the socialist camp like Qin Mu, Yang Shuo and Liu Baiyu, leading to the mistaken impression that all socialist prose is reportage. The exclusion of all of this material detracts from the anthology’s authority as a survey of the genre. As I have argued elsewhere, reportage may be looked upon as the leftist answer to the essay, but it originates as a form of revolutionary social critique in the 1930s, and its use in the War Against Japan is much broader than just propaganda. Moreover, though it would not be appropriate to include examples in the anthology, it should have been pointed out in the introduction that reportage made an important revival in the 1980s and beyond in the hands of Liu Binyan, Su Xiaokang and others; the concern for the environment that Pollard so admiringly observes in the contemporary Taiwanese essay has been one of the major themes of mainland Chinese reportage literature for at least ten years.

Another ramification of the editor’s inattention to the condition of modernity is Pollard’s explanation of the Chinese term sanwen . Pollard presents the Chinese concept as stable and unchanging, and explains its meaning entirely in terms of contrasts with European concepts. But the term sanwen was not used to denote a literary genre until modern times and even now critics and literary historians struggle with the equivocal nature of the term (“literary genre” vs. “all kinds of writing not in verse form”). It would have been helpful to put more emphasis on the particular modes or genres that the premodern works belong to (memorials to the emperor, philosophical treatises, formal and informal correspondence, prefaces and colophons, travelogues, epitaphs, biographies, etc.). This is not to say that this variety of forms ought not to be placed in a more general category under the term “sanwen,” but it is regrettable that the modern cultural process by which this was achieved receives no emphasis or attention.

Pollard’s concern here with limiting the scope of the collection to a describable form (“a free-standing, self-contained, relatively short composition” that “surfaced in the stable empire of the Han dynasty”) is, I think, unnecessarily limiting, and in fact might hamper the uninformed reader’s understanding of the broader context of the Chinese essay’s evolution. On page 2 of the introduction, Pollard makes a convincing, if somewhat defensive, argument for excluding the writings of the ancient Daoist philosopher Zhuang Zi. However, informed readers reading through the selections throughout both premodern and modern periods will easily discern the pervasiveness of Zhuang Zi’s influence in this genre. Indeed, Zhuang Zi’s playful spirit and philosophical critique of Confucianism may be described as one of the principal characteristics that distinguish the Chinese informal essay, which was the principal model for the modern literary essay, from formal prose. Similarly, though he devotes a page or so to the tremendous significance of Sima Qian’s Records of the Grand Historian as a model for the spirit and the letter of prose writing, Pollard excludes it because, “[being] a work of objective history, however, or at least attempting to be such, the author’s own comments are minimal” (4), implying that self-expression is working as a criterion for selection (see also his comments on page 5 about Cao Pi’s use of the term qi to denote “the physical underpinning of the distinctive character, or personal stamp, that an author’s writing is imprinted with”), but that self-expression can only be manifested in the form of direct “comments.” How many readers of even a few biographies from the Shi ji , though, come away from it without feeling that Sima Qian has very forcefully expressed his own views through them? A similar example is the exclusion of the Six Dynasties collection of anecdotes, Shishuo xinyu (New account of tales of the world), of which a translation by Richard Mather was published a generation ago. Like Zhuang Zi and the wealth of apocryphal writings of the Daoist tradition, Liu Yiqing’s New Account , which describes remarkable events, actions and utterances of the medieval aristocracy, though perhaps not fitting. Pollard’s criterion, was an important and frequently imitated foundation of the Chinese essay tradition.

The introductions to the sections on each author, though at times impressionistic, often include insightful analytical meditations or epigrammatic summaries of the author’s style that strike me as most apt and useful. However, I am not sure it is necessary for Pollard to separately include “commentary” and “translator’s notes” (sometimes both) before or after certain works in addition to the introductory sections on each author. Often the translator’s note will emphasize interpretation in a cross-cultural context, as in the case of Zhu Ziqing’s “View from the Rear” (Bei ying), but I feet that such considerations would have been much more effectively delivered in a critical essay that treats a variety of issues of style or interpretation, or this could have been integrated with the historical overview given in the introduction. The second of the three paragraphs of commentary on Zhuge Liang, for example, is almost identical in content to the last page of Zhuge Liang’s own text; the first paragraph of the “Translator’s Note” to Han Yu’s “Address to the Crocodiles of Chaozhou” simply reiterates the corresponding section of the biography of Han Yu given in the “Commentary” two pages before. Together with the functional overlap of the preface and introduction, the commentary and translators notes make The Chinese Essay overly complex in its multilayered contextualization of the translations and thus unnecessarily confusing.

Apart from stealing thunder from the essays themselves, the volume of notes and commentary raises an important question that plagues the translation of Chinese literature into English in general: can these texts not speak for themselves? If this collection really is intended for a general readership, I think it is safe to assume that such readers would be more interested in texts that speak directly to them without a great deal of explanation from the translator. And it is not only a question of “how much” explanation would be needed to supplement a “raw” translation; the act of translation itself imparts meaning. If scholarly semantic fidelity were relaxed to the degree that items were made easier for the general reader to relate to with a reduced amount of explanation, the potential impact of this book would be greatly enhanced.

The Chinese Essay does nevertheless fill a crucial gap in materials for courses on Chinese literature in translation. While most scholars in the field of Chinese literature are probably not going to set up a course exclusively devoted to the essay even with a comprehensive anthology available, the selections in this book would mix well with other genres and materials in a more general course. I could see using it this way in either premodern or modern Chinese literary courses, but more likely for the modern period because of the greater concentration of material there.

Charles A. Laughlin Associate Professor, Chinese Literature Department of East Asian Languages and Literatures Yale University

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Writing My Autobiography

A re you still writing?” he asked.

“I am,” I answered.

“What are you working on at the moment?”

“An autobiography,” I said.

“Interesting,” he replied. “Whose?”

The implication here, you will note, is that mine hasn’t been a life sufficiently interesting to merit an autobiography. The implication isn’t altogether foolish. Most autobiographies, at least the best autobiographies, have been written by people who have historical standing, or have known many important people, or have lived in significant times, or have noteworthy family connections or serious lessons to convey . I qualify on none of these grounds. Not that, roughly two years ago when I sat down to write my autobiography, I let that stop me.

An autobiography, to state the obvious, is at base a biography written by its own subject. But how is one to write it: as a matter of setting the record straight, as a form of confessional, as a mode of seeking justice, or as a justification of one’s life? “An autobiography,” wrote George Orwell, “is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats.” Is this true? I prefer to think not.

Autobiography is a complex enterprise, calling for its author not only to know himself but to be honest in conveying that knowledge. “I could inform the dullest author how he might write an interesting book,” wrote Samuel Taylor Coleridge. “Let him relate the events of his own life with Honesty, not disguising the feelings that accompanied them.” One of the nicest things about being a professor, it has been said, is that one gets to talk for fifty minutes without being interrupted. So one of the allurements of autobiography is that one gets to write hundreds of pages about that eminently fascinating character, oneself, even if in doing so one only establishes one’s insignificance.

The great autobiographies—of which there have not been all that many—have been wildly various. One of the first, that of the Renaissance sculptor Benvenuto Cellini, is marked by an almost unrelieved braggadocio: No artist was more perfect, no warrior more brave, no lover more pleasing than the author, or so he would have us believe. Edward Gibbon’s autobiography, though elegantly written, is disappointing in its brevity. That of Jean-Jacques Rousseau, heavily striking the confessional note, might have been told in a booth to a priest. Ben Franklin’s autobiography is full of advice on how the rest of us should live. John Stuart Mill’s is astounding in its account of its author’s prodigiously early education, which began with his learning Greek under his father’s instruction at the age of three. Then there is Henry Adams’s autobiography, suffused with disappointment over his feeling out of joint with his times and the world’s not recognizing his true value. In Making It , Norman Podhoretz wrote an autobiography informed by a single message, which he termed a “dirty little secret,” namely that there is nothing wrong with ambition and that success, despite what leftist intellectuals might claim, is nothing to be ashamed of.

Please note that all of these are books written by men. Might it be that women lack the vanity required to write—or should I say “indulge in”—the literary act of autobiography? In Mary Beard’s Emperor of Rome , I recently read that Agrippina the Younger, the mother of Nero, wrote her autobiography, which has not survived, and which Mary Beard counts as “one of the great losses of all classical literature.” I wish that Jane Austen had written an autobiography, and so too George Eliot and Willa Cather. Perhaps these three women, great writers all, were too sensibly modest for autobiography, that least modest of all literary forms.

A utobiography can be the making or breaking of writers who attempt it. John Stuart Mill’s autobiography has gone a long way toward humanizing a writer whose other writings tend toward the coldly formal. Harold Laski wrote that Mill’s “ Autobiography , in the end the most imperishable of his writings, is a record as noble as any in our literature of consistent devotion to the public good.”

If Mill’s autobiography humanized him, the autobiography of the novelist Anthony Trollope did for him something approaching the reverse. In An Autobiography , Trollope disdains the notion of an author’s needing inspiration to write well. He reports that “there was no day on which it was my positive duty to write for the publishers, as it was my duty to write reports for the Post Office,” where he had a regular job. “I was free to be idle if I pleased. But as I had made up my mind to undertake this second profession [that of novelist], I found it to be expedient to bind myself by certain self-imposed laws.” Trollope recounts—emphasis here on “counts”—that as a novelist he averages forty pages per week, at 250 words per page. He writes: “There are those who would be ashamed to subject themselves to such a taskmaster, and who think that the man who works with his imagination should allow himself to wait till inspiration moves him. When I have heard such doctrine preached, I have hardly been able to repress my scorn.” Trollope then mentions that on the day after he finished his novel Doctor Thorne , he began writing his next novel, The Bertrams . For a long spell the literati refused to forgive Trollope for shearing inspiration away from the creation of literary art, for comparing the job of the novelist to a job at the post office. Only the splendid quality of his many novels eventually won him forgiveness and proper recognition.

A serious biography takes up what the world thinks of its subject, what his friends and family think of him, and—if the information is available in letters, diaries, journals, or interviews—what he thinks of himself. An autobiography is ultimately about the last question: what the author thinks of himself. Yet how many of us have sufficient self-knowledge to give a convincing answer? In her splendid novel Memoirs of Hadrian , Marguerite Yourcenar has Hadrian note: “When I seek deep within me for knowledge of myself what I find is obscure, internal, unformulated, and as secret as any complicity.” The unexamined life may not be worth living, but the scrupulously examined one is rare indeed.

My own life has not provided the richest fodder for autobiography. For one thing, it has not featured much in the way of drama. For another, good fortune has allowed me the freedom to do with my life much as I have wished. I have given my autobiography the title Never Say You’ve Had a Lucky Life , with the subtitle Especially If You’ve Had a Lucky Life . Now well along in its closing chapter, mine, I contend, has been thus far—here I pause to touch wood—a most lucky life.

My title derives from the story of Croesus, who ruled the country of Lydia from circa 585–547 b.c. , and who is perhaps today best known for the phrase “rich as Croesus.” The vastly wealthy Croesus thought himself the luckiest man on earth and asked confirmation of this from Solon, the wise Athenian, who told him that in fact the luckiest man on earth was another Athenian who had two sons in that year’s Olympics. When Croesus asked who was second luckiest, Solon cited another Greek who had a most happy family life. Croesus was displeased but not convinced by Solon’s answers. Years later he was captured by the Persian Cyrus, divested of his kingdom and his wealth, and set on a pyre to be burned alive, before which he was heard to exclaim that Solon had been right. The moral of the story is, of course: Never say you have had a lucky life until you know how your life ends.

I have known serious sadness in my life. I have undergone a divorce. I have become a member of that most dolorous of clubs, parents who have buried one of their children. Yet I have had much to be grateful for. In the final paragraph of a book I wrote some years ago on the subject of ambition, I noted that “We do not choose our parents. We do not choose our historical epoch, or the country of our birth, or the immediate circumstances of our upbringing.” In all these realms, I lucked out. I was born to intelligent, kindly parents; at a time that, though I was drafted into the army, allowed me to miss being called up to fight in any wars; and in the largely unmitigated prosperity enjoyed by the world’s most interesting country, the United States of America.

Writing is a form of discovery. Yet can even writing ferret out the quality and meaning of one’s own life? Alexis de Tocqueville, the endlessly quotable Tocqueville, wrote: “The fate of individuals is still more hidden than that of peoples,” and “the destinies of individuals are often as uncertain as those of nations.” Fate, destiny, those two great tricksters, who knows what they have in store for one, even in the final days of one’s life? I, for example, as late as the age of eighteen, had never heard the word “intellectual.” If you had asked me what a man of letters was, I would have said a guy who works at the post office. Yet I have been destined to function as an intellectual for the better part of my adult life, and have more than once been called a man of letters. Fate, destiny, go figure!

T he first question that arises in writing one’s autobiography is what to include and what to exclude. Take, for starters, sex. In his nearly seven-hundred-page autobiography, Journeys of the Mind , the historian of late antiquity Peter Brown waits until page 581 to mention, in the most glancing way, that he is married. Forty or so pages later, the name of a second wife is mentioned. Whether he had children with either of these wives, we never learn. But then, Brown’s is a purely intellectual autobiography, concerned all but exclusively with the development of the author’s mind and those who influenced that development.

My autobiography, though less than half the length of Brown’s, allowed no such luxury of reticence. Sex, especially when I was an adolescent, was a central subject, close to a preoccupation. After all, boys—as I frequently instructed my beautiful granddaughter Annabelle when she was growing up—are brutes. I came of age BP, or Before the Pill, and consummated sex, known in that day as “going all the way,” was not then a serious possibility. Too much was at risk—pregnancy, loss of reputation—for middle-class girls. My friends and I turned to prostitution.

Apart from occasionally picking up streetwalkers on some of Chicago’s darker streets, prostitution for the most part meant trips of sixty or so miles to the bordellos of Braidwood or Kankakee, Illinois. The sex, costing $3, was less than perfunctory. (“Don’t bother to take off your socks or that sweater,” one was instructed.) What was entailed was less sensual pleasure than a rite of passage, of becoming a man, of “losing your cherry,” a phrase I have only recently learned means forgoing one’s innocence. We usually went on these trips in groups of five or six in one or another of our fathers’ cars. Much joking on the way up and even more on the way back. Along Chicago’s Outer Drive, which we took home in those days, there was a Dad’s Old Fashioned Root Beer sign that read, “Have you had it lately?,” which always got a good laugh.

I like to think of myself as a shy pornographer, or, perhaps better, a sly pornographer. By this I mean that in my fiction and where necessary in my essays I do not shy away from the subject of sex, only from the need to describe it in any of its lurid details. So I have done in my autobiography. On the subject of sex in my first marriage (of two), for example, I say merely, “I did not want my money back.” But, then, all sex, if one comes to think about it, is essentially comic, except of course one’s own.

On the inclusion-exclusion question, the next subject I had to consider was money, or my personal finances. Financially I have nothing to brag about. In my autobiography I do, though, occasionally give the exact salaries—none of them spectacular—of the jobs I’ve held. With some hesitation (lest it seem boasting) I mention that a book I wrote on the subject of snobbery earned, with its paperback sale, roughly half-a-million dollars. I fail to mention those of my books that earned paltry royalties, or, as I came to think of them, peasantries. In my autobiography, I contented myself with noting my good fortune in being able to earn enough money doing pretty much what I wished to do and ending up having acquired enough money not to worry overmuch about financial matters. Like the man said, a lucky life.

If I deal glancingly in my autobiography with sex and personal finances, I tried to take a pass on politics. My own political development is of little interest. I started out in my political life a fairly standard liberal—which in those days meant despising Richard Nixon—and have ended up today contemptuous of both our political parties: Tweedledum and Tweedledumber, as the critic Dwight Macdonald referred to them. Forgive the self-congratulatory note, but in politics I prefer to think myself a member in good standing of that third American political party, never alas on the ballot, the anti-BS party.

Of course, sometimes one needs to have a politics, if only to fight off the politics of others. Ours is a time when politics seems to be swamping all else: art, education, journalism, culture generally. I have had the dubious distinction of having been “canceled,” for what were thought my political views, and I write about this experience in my autobiography. I was fired from the editorship of Phi Beta Kappa’s quarterly magazine, the American Scholar —a job I had held for more than twenty years—because of my ostensibly conservative, I suppose I ought to make that “right-wing,” politics. My chief cancellers were two academic feminists and an African-American historian-biographer, who sat on the senate, or governing board, of Phi Beta Kappa.

T he official version given out by Phi Beta Kappa for my cancellation—in those days still known as a firing—was that the magazine was losing subscribers and needed to seek younger readers. Neither assertion was true, but both currently appear in the Wikipedia entry under my name. The New York Times also printed this “official” but untrue version of my cancellation. In fact, I was canceled because I had failed to run anything in the magazine about academic feminism or race, both subjects that had already been done to death elsewhere and that I thought cliché-ridden and hence of little interest for a magazine I specifically tried to keep apolitical. During my twenty-two years at the American Scholar , the name of no current United States president was mentioned. If anything resembling a theme emerged during my editorship, it was the preservation of the tradition of the liberal arts, a subject on which I was able to acquire contributions from Jacques Barzun, Paul Kristeller, Hugh Trevor-Roper, Frederick Crews, and others.

That I was fired not for anything I had done but for things I had failed to do is an indication of how far we had come in the realm of political correctness. I take up this topic in my autobiography, one theme of which is the vast changes that have taken place in American culture over my lifetime. A notable example is an essay on homosexuality that I wrote and published in Harper’s in 1970, a mere fifty-three years ago. The essay made the points that we still did not know much about the origin of male homosexuality, that there was much hypocrisy concerning the subject, that homosexuals were living under considerable social pressure and prejudice, and that given a choice, most people would prefer that their children not be homosexual. This, as I say, was in 1970, before the gay liberation movement had got underway in earnest. The essay attracted a vast number of letters in opposition, and a man named Merle Miller, who claimed I was calling for genocide of homosexuals, wrote a book based on the essay. Gore Vidal, never known for his temperate reasoning, claimed my argument was ad Hitlerum . (Vidal, after contracting Epstein-Barr virus late in life, claimed that “Joseph Epstein gave it to me.”) I have never reprinted the essay in any of my collections because I felt that it would stir up too much strong feeling. For what it is worth, I also happen to be pleased by the greater tolerance accorded homosexuality in the half century since my essay was published.

The larger point is that today neither Harper’s nor any other mainstream magazine would dare to publish that essay. Yet a few years after the essay was published, I was offered a job teaching in the English Department of Northwestern University, and the year after that, I was appointed editor of the American Scholar. Today, of course, neither job would have been available to me.

Do these matters—my cancellation from the American Scholar , my unearned reputation as a homophobe—come under the heading of self-justification? Perhaps so. But then, what better, or at least more convenient, place to attempt to justify oneself than in one’s autobiography?

Many changes have taken place in my lifetime, some for the better, some for the worse, some whose value cannot yet be known. I note, for example, if not the death then the attenuation of the extended family (nephews, nieces, cousins) in American life. Whereas much of my parents’ social life revolved around an extensive cousinage, I today have grandnephews and grandnieces living on both coasts whom I have never met and probably never shall. I imagine some of them one day being notified of my death and responding, “Really? [Pause] What’s for dinner?”

I take up in my autobiography what Philip Rieff called, in his book of this title, the Triumph of the Therapeutic, a development that has altered child-rearing, artistic creation, and much else in our culture. Although the doctrines of Sigmund Freud, Carl Jung, and others are no longer taken as gospel, their secondary influence has conquered much of modern culture. My parents’ generation did not hold with therapeutic culture, which contends that the essentials of life are the achievement of self-esteem and individual happiness, replacing honor, courage, kindness, and generosity.

In my autobiography, I note that when my mother was depressed by her knowledge that she was dying of cancer, a friend suggested that there were support groups for people with terminal diseases, one of which might be helpful. I imagined telling my mother about such groups, and her response: “Let me see,” she is likely to have said. “You want me to go into a room with strangers, where I will listen to their problems and then I’ll tell them mine, and this will make me feel better.” Pause. “Is this the kind of idiot I’ve raised as a son?”

T hen there is digital culture, the verdict on which is not yet in. Digital culture has changed the way we read, think, make social connections, do business, and so much more. I write in my autobiography that in its consequences digital culture is up there with the printing press and the automobile. Its influence is still far from fully fathomed.

One of my challenges in writing my autobiography was to avoid seeming to brag about my quite modest accomplishments. In the Rhetoric , Aristotle writes: “Speaking at length about oneself, making false claims, taking the credit for what another has done, these are signs of boastfulness.” I tried not to lapse into boasting. Yet at one point I quote Jacques Barzun, in a letter to me, claiming that as a writer I am in the direct line of William Hazlitt, though in some ways better, for my task—that of finding the proper language to establish both intimacy and critical distance—is in the current day more difficult than in Hazlitt’s. At least I deliberately neglected to mention that, in response to my being fired from the American Scholar, Daniel Patrick Moynihan flew an American flag at half-mast over the Capitol, a flag he sent to me as a souvenir. Quoting others about my accomplishments, is this anything other than boasting by other means? I hope so, though even now I’m not altogether sure.

I have a certain pride in these modest accomplishments. Setting out in life, I never thought I should publish some thirty-odd books or have the good luck to continue writing well into my eighties. The question for me as an autobiographer was how to express that pride without preening. The most efficient way, of course, is never to write an autobiography.

Why, then, did I write mine? Although I have earlier characterized writing as a form of discovery, I did not, in writing my autobiography, expect to discover many radically new things about my character or the general lineaments of my life. Nor did I think that my life bore any lessons that were important to others. I had, and still have, little to confess; I have no hidden desire to be spanked by an NFL linebacker in a nun’s habit. A writer, a mere scribbler, I have led a largely spectatorial life, standing on the sidelines, glass of wine in hand, watching the circus pass before me.

Still, I wrote my autobiography, based in a loose way on Wordsworth’s notion that poetry arises from “emotion recollected in tranquility.” Writing it gave me an opportunity to review my life at the end of my life in a tranquil manner. I was able to note certain trends, parallels, and phenomena that have marked my life and set my destiny.

The first of these, as I remarked earlier, was the fortunate time in which I was born, namely the tail end of the Great Depression—to be specific, in 1937. Because of the Depression, people were having fewer children, and often having them later. (My mother was twenty-seven, my father thirty at my birth.) Born when it was, my generation, though subject to the draft—not, in my experience of it, a bad thing—danced between the wars: We were too young for Korea, too old for Vietnam. We were also children during World War II, the last war the country fully supported, which gave us a love of our country. Ours was a low-population generation, untroubled by the vagaries of college admissions or the trauma of rejection by the school of one’s choice. Colleges, in fact, wanted us.

Or consider parents, another fateful phenomenon over which one has no choice. To be born to thoughtless, or disagreeable, or depressed, or deeply neurotic parents cannot but substantially affect all one’s days. Having a father who is hugely successful in the world can be as dampening to the spirit as having a father who is a failure. And yet about all this one has no say. I have given the chapter on my parents the title “A Winning Ticket in the Parents Lottery,” for my own parents, though neither went to college, were thoughtful, honorable, and in no way psychologically crushing. They gave my younger brother and me the freedom to develop on our own; they never told me what schools to attend, what work to seek, whom or when to marry. I knew I was never at the center of my parents’ lives, yet I also knew I could count on them when I needed their support, which more than once I did, and they did not fail to come through. As I say, a winning ticket.

As one writes about one’s own life, certain themes are likely to emerge that hadn’t previously stood out so emphatically. In my case, one persistent motif is that of older boys, then older men, who have supported or aided me in various ways. A boy nearly two years older than I named Jack Libby saw to it that I wasn’t bullied or pushed around in a neighborhood where I was the youngest kid on the block. In high school, a boy to whom I have given the name Jeremy Klein taught me a thing or two about gambling and corruption generally. Later in life, men eight, nine, ten, even twenty or more years older than I promoted my career: Hilton Kramer in promoting my candidacy for the editorship of the American Scholar , Irving Howe in helping me get a teaching job (without an advanced degree) at Northwestern, John Gross in publishing me regularly on important subjects in the Times Literary Supplement , Edward Shils in ways too numerous to mention. Something there was about me, evidently, that was highly protégéable.

I  haven’t yet seen the index for my autobiography, but my guess is that it could have been name-ier. I failed, for example, to include my brief but pleasing friendship with Sol Linowitz. Sol was the chairman of Xerox, and later served the Johnson administration as ambassador to the Organization of American States. He also happened to be a reader of mine, and on my various trips to Washington I was often his guest at the F Street Club, a political lunch club where he reserved a private room in which we told each other jokes, chiefly Jewish jokes. I might also have added my six years as a member of the National Council of the National Endowment for the Arts, whose members included the actors Robert Stack and Celeste Holm, the Balanchine dancer Arthur Mitchell, Robert Joffrey, the soprano Renée Fleming, the novelist Toni Morrison, the dancer and choreographer Martha Graham, the architect I. M. Pei, the painter Helen Frankenthaler, and other highly droppable names.

Confronting one’s regrets is another inescapable element in writing one’s autobiography. Ah, regrets: the red MG convertible one didn’t buy in one’s twenties, the elegant young Asian woman one should have asked to dinner, the year one failed to spend in Paris. The greater the number of one’s regrets, the grander their scope, the sadder, at its close, one’s life figures to be. I come out fairly well in the regrets ledger. I regret not having studied classics at university, and so today I cannot read ancient Greek. I regret not having been a better father to my sons. I regret not asking my mother more questions about her family and not telling my father what a good man I thought he was. As regrets go, these are not minor, yet neither have I found them to be crippling.

Then there is the matter of recognizing one’s quirks, or peculiar habits. A notable one of mine, acquired late in life, is to have become near to the reverse of a hypochondriac. I have not yet reached the stage of anosognosia, or the belief that one is well when one is ill—a stage, by the way, that Chekhov, himself a physician, seems to have attained. I take vitamins, get flu and Covid shots, and watch what I eat, but I try to steer clear of physicians. This tendency kicked in not long after my decades-long primary care physician retired. In his The Body: A Guide for Occupants , Bill Bryson defines good health as the health enjoyed by someone who hasn’t had a physical lately. The ancients made this point more directly, advising bene caca et declina medicos (translation on request) . For a variety of reasons, physicians of the current day are fond of sending patients for a multiplicity of tests: bone density tests, colonoscopies, biopsies, X-rays of all sorts, CT scans, MRIs, stopping only at SATs. I am not keen to discover ailments that don’t bother me. At the age of eighty-seven, I figure I am playing with house money, and I have no wish to upset the house by prodding my health in search of imperfections any more than is absolutely necessary.

The older one gets, unless one’s life is lived in pain or deepest regret, the more fortunate one feels. Not always, not everyone, I suppose. “The longer I live, the more I am inclined to the belief that this earth is used by other planets as a lunatic asylum,” said George Bernard Shaw, who lived to age ninety-four. Though the world seems to be in a hell of a shape just now, I nonetheless prefer to delay my exit for as long as I can. I like it here, continue to find much that is interesting and amusing, and have no wish to depart the planet.

Still, with advancing years I have found my interests narrowing. Not least among my waning interests is that in travel. I like my domestic routine too much to abandon it for foreign countries where the natives figure to be wearing Air Jordan shoes, Ralph Lauren shirts, and cargo pants. Magazines that I once looked forward to, many of which I have written for in the past, no longer contain much that I find worth reading. A former moviegoer, I haven’t been to a movie theater in at least a decade. The high price of concert and opera tickets has driven me away. The supposedly great American playwrights—Arthur Miller, Tennessee Williams, Eugene O’Neill, Edward Albee—have never seemed all that good to me, and I miss them not at all. If all this sounds like a complaint that the culture has deserted me, I don’t feel that it has. I can still listen to my beloved Mozart on discs, read Tolstoy, Jane Austen, Dickens, George Eliot, Willa Cather, and the other great novelists, watch the splendid movies of earlier days on Turner Classics and HBO—live, in other words, on the culture of the past.

“Vho needs dis?” Igor Stravinsky is supposed to have remarked when presented with some new phenomena of the avant-garde or other work in the realm of art without obvious benefit. “Vho needs dis?” is a question that occurred to me more than once or twice as I wrote my autobiography. All I can say is that those who read my autobiography will read of the life of a man lucky enough to have devoted the better part of his days to fitting words together into sentences, sentences into paragraphs, and paragraphs into essays and stories on a wide variety of topics. Now in his autobiography all the sentences and paragraphs are about his own life. He hopes that these sentences are well made, these paragraphs have a point, and together they attain to a respectable truth quotient, containing no falsehoods whatsoever. He hopes that, on these modest grounds at least, his autobiography qualifies as worth reading.

Joseph Epstein  is author of  Gallimaufry , a collection of essays and reviews.

Image by  Museum Rotterdam on Wikimedia Commons , licensed via Creative Commons . Image cropped. 

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Illegal Chinese migrant arrested after breaching Marine base in California and refusing to leave: Border agents investigating amid fears Beijing spies are trying to infiltrate U.S. military facilities

• An illegal Chinese migrant was arrested in California after sneaking onto a military base and refusing to leave 
• This most recent breach comes as the U.S. is increasingly dealing with sensitive military bases being infiltrated by the Chinese
• There have been more than 100 instances in which U.S. military bases were infiltrated by Chinese nationals in recent years

An illegal Chinese migrant was arrested in California  after sneaking onto a military base and refusing to leave, heightening fears Beijing spies are trying to infiltrate sensitive sites in the U.S.

Border Patrol agents  headed to a Marine Corps base after an unnamed  Chinese national 'who entered the base [without] authorization' also 'ignored orders to leave.'

'Subject was confirmed to be in the country illegally. His purpose & intent behind his actions are still being investigated,' Chief Patrol Agent Gregory Bovino wrote on X Friday.

This most recent breach comes as the U.S. is increasingly dealing with sensitive military bases being infiltrated by the Chinese. 

There have been more than 100 instances in which U.S. military bases were infiltrated by Chinese nationals over the last several years . 

Chinese nationals posing as 'tourists' wandered onto a missile launch site in New Mexico , according to a Wall Street Journal report last year.

Others staged as scuba divers in order to get close to a  Florida rocket launch site, and another group claimed to be staying on an Army base in Alaska . 

The operatives have reportedly claimed to be tourists who are 'lost' and unable to find their way to a Burger King or McDonalds coincidentally close to a U.S. military base.

Government officials say that Chinese nationals are often 'pressed into service' and required to report their findings back to the Chinese government. 

According to the report, the FBI , Defense Department and other agencies have been aware of the infiltrations and have held summits in order to address the problem. 

The infiltration comes just months after the Chinese spy balloon crossed over the U.S.,  which officials say had rudimentary flight controls, passed over a number of nuclear missile facilities in late January and early February.

The balloon was eventually  shot down by an F-22 Raptor  fighter off the coast of South Carolina. 

President Joe Biden caught heat for downplaying the Chinese spy balloon that drifted across the U.S., alleging that Beijing may not have known about the operation. 

Most of the Chinese nationals who are caught are cited, given small fines and asked not to return, as trespassing is generally not considered a federal crime.

A spokesperson with the Chinese embassy in D.C. called the report 'purely ill-intentioned fabrications.'

'We urge the relevant U.S. officials to abandon the Cold War mentality, stop groundless accusations, and do more things that are conducive to enhancing mutual trust between the two countries and friendship between the two peoples,' Liu Pengyu said. 

In what the Journal described as a 'recent case,' a group of Chinese citizens claimed that they were staying a Holiday Inn which is located in Fort Wainright, Alaska. 

Security at the base became immediately suspicious as tourism in the area is extremely unusual. The base plays host to the US Army's 11th Airborne Division. 

Emily Harding, a former official with the Senate Select Committee on Intelligence, told WSJ that the Chinese spy operation is more of a numbers game. 

'The advantage the Chinese have is they are willing to throw people at collection in large numbers. If a few of them get caught, it will be very difficult for the U.S. government to prove anything beyond trespassing, and those who don't get caught are likely to collect something useful,' Harding said. 

In 2019, three Chinese nationals were sentenced to prison for illegally taking photographs at a Florida Navy base.

Lyuyou Liao, 27, was sentenced to 12 months in prison, after pleading guilty to illegally entering NAS Key West and taking photographs and video footage of property on the Truman Annex of the station.

Two others, Jielun Zhang, 25, and Yuhao Wang, 24, were sentenced to 12 months and nine months in prison, respectively, for entering the base in January 2019, and taking photographs of military and naval infrastructure.

The same year, a Chinese woman was sentenced to eight months in prison after she entered then-President Donald Trump's estate Mar-a-Lago along while carrying electronic devices and two passports. 

Also in 2019, two Chinese citizens were expelled from the U.S. after attempting to drive on to the Joint Expeditionary Base Little Creek-Fort Story in Virginia Beach, reported the Virginia Pilot.  

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Guest Essay

Hong Kongers Are Purging the Evidence of Their Lost Freedom

By Maya Wang

Ms. Wang is the acting China director for Human Rights Watch.

“What should I do with those copies of Apple Daily ?”

Someone in Hong Kong I was chatting with on the phone recently had suddenly dropped her voice to ask that question, referring to the pro-democracy newspaper that the government forced to shut down in 2021.

“Should I toss them or send them to you?”

My conversations with Hong Kong friends are peppered with such whispers these days. Last week, the city enacted a draconian security law — its second serious legislative assault on Hong Kong’s freedoms since 2020. Known as Article 23 , the new law expands the National Security Law and criminalizes such vague behavior as the possession of information that is “directly or indirectly useful to an external force.”

Hong Kong was once a place where people did not live in fear. It had rule of law, a rowdy press and a semi-democratic legislature that kept the powerful in check. The result was a city with a freewheeling energy unmatched in China. Anyone who grew up in China in the 1980s and 1990s could sing the Cantopop songs of Hong Kong stars like Anita Mui, and that was a problem for Beijing: Freedom was glamorous, desirable.

When Britain handed Hong Kong back to China in 1997, the city’s people accepted, in good faith, Beijing’s promises that its capitalist system and way of life would remain unchanged for 50 years and that the city would move toward universal suffrage in the election of its leader.

Not anymore. Now Hong Kong people are quietly taking precautions, getting rid of books, T-shirts, film footage, computer files and other documents from the heady days when this international financial center was also known for its residents’ passionate desire for freedom.

I used to joke that I never needed to watch dystopian series like “The Handmaid’s Tale” or “The Hunger Games.” As someone who has lived and worked for years in Hong Kong and China, I know what it feels like to descend into deepening repression, remembering our free lives.

As Beijing kept breaking its promises over the years, Hong Kongers took to the streets to defend their freedoms nearly every sweltering summer. In 2003, demonstrations by half a million people forced Hong Kong’s government to shelve an earlier attempt to introduce Article 23. In 2014, hundreds of thousands peacefully occupied parts of the city for 79 days to protest moves by Beijing to ensure that only candidates acceptable to the Communist Party could run for election as Hong Kong’s top leader.

But Hong Kongers were unprepared for the coming of President Xi Jinping of China, the architect of another frightening crackdown far away on the mainland.

In 2017, I started to receive reports that Uyghurs and other Turkic Muslim minorities were disappearing into “ political education” camps in the northwestern region of Xinjiang . People who had managed to get out told me how Xinjiang’s borders were suddenly closed, escape was becoming impossible and speech or behavior that was once acceptable — like simply praying at a neighbor’s house — could get you jailed. Officials would enter homes to inspect books and decorations. Uyghurs were discarding copies of the Quran or books written in Arabic, fearing they would be disappeared or jailed for insufficient loyalty to the Chinese Communist Party. One man told me he had burned a T-shirt with a map of Kazakhstan on it — many of Xinjiang’s inhabitants are ethnic Kazakhs with family members across the border — because any foreign connection had become risky.

As these stories of repression and fear emerged from Xinjiang, they were instantly recognizable in Hong Kong. In 2019, the city’s government proposed a bill that would have allowed extradition to China. Fear and anger — and the feeling that Hong Kong people needed to make one last stand while they could — exploded in months of protest .

One of the 2019 protest slogans — “Today’s Xinjiang is tomorrow’s Hong Kong”— sounded to me like hyperbole at the time. Now, five years later, it feels prescient. Today, it’s Hong Kongers who are disposing of dangerous books and T-shirts. Some people I know have quietly left an online chat group that includes foreign organizations and individuals; such contact could put the group’s Hong Kong members at risk. Others are quitting social media; tens of thousands have already left Hong Kong.

After Beijing imposed the National Security Law in Hong Kong in 2020, it used the law to decimate the city’s pro-democracy movement by jailing its leaders. More than 1,000 people remain in jail. Fearful of arrest, independent labor unions and media outlets disbanded. Libraries pulled hundreds of books off shelves. Films and plays were censored. Civil servants can no longer stay neutral and are forced to pledge allegiance to the government.

Both the National Security Law and Article 23, passed last week, are broad, vague and blunt instruments intended to critically wound civil liberties and transform institutions that protected people’s freedoms into tools of repression. Under Article 23, anyone found guilty of participating in a meeting of a “prohibited organization” or who discloses “unlawful” and vaguely defined “state secrets” could face a decade behind bars.

Beijing has couched this repression in terms like “the rule of law,” and visitors to Hong Kong often fail to recognize the transformations taking place beneath the enduring glitz of the city. That leaves the rest of the world detached from the reality on the ground — unable to sympathize with Beijing’s victims or to feel their breathlessness under this growing weight.

One acquaintance in Hong Kong told me that people he knew had become blasé about their sudden loss of freedom and were just coldly watching the destruction of the city and what it stood for. But others, toughened over the years, still express hope and defiance. The solidarity forged through nearly two decades of widespread activism won’t die easily. A Pew Research Center survey this month found that more than 80 percent of Hong Kongers still want democracy, however remote that possibility looks today.

The Chinese government wants the world to forget about Hong Kong, to forget what the city once was, to forget Beijing’s broken promises. But Hong Kong’s people will never forget. Don’t look away.

Maya Wang (@wang_maya) is acting China director for Human Rights Watch.

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The Cowardice of Guernica

The literary magazine Guernica ’s decision to retract an essay about the Israeli-Palestinian conflict reveals much about how the war is hardening human sentiment.

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Produced by ElevenLabs and News Over Audio (NOA) using AI narration.

In the days after October 7, the writer and translator Joanna Chen spoke with a neighbor in Israel whose children were frightened by the constant sound of warplanes. “I tell them these are good booms,” the neighbor said to Chen with a grimace. “I understood the subtext,” Chen wrote later in an essay published in Guernica magazine on March 4, titled “From the Edges of a Broken World.” The booms were, of course, the Israeli army bombing Gaza, part of a campaign that has left at least 30,000 civilians and combatants dead so far.

The moment is just one observation in a much longer meditative piece of writing in which Chen weighs her principles—for years she has volunteered at a charity providing transportation for Palestinian children needing medical care, and works on Arabic and Hebrew translations to bridge cultural divides—against the more turbulent feelings of fear, inadequacy, and split allegiances that have cropped up for her after October 7, when 1,200 people were killed and 250 taken hostage in Hamas’s assault on Israel. But the conversation with the neighbor is a sharp, novelistic, and telling moment. The mother, aware of the perversity of recasting bombs killing children mere miles away as “good booms,” does so anyway because she is a mother, and her children are frightened. The act, at once callous and caring, will stay with me.

Not with the readers of Guernica , though. The magazine , once a prominent publication for fiction, poetry, and literary nonfiction, with a focus on global art and politics, quickly found itself imploding as its all-volunteer staff revolted over the essay. One of the magazine’s nonfiction editors posted on social media that she was leaving over Chen’s publication. “Parts of the essay felt particularly harmful and disorienting to read, such as the line where a person is quoted saying ‘I tell them these are good booms.’” Soon a poetry editor resigned as well, calling Chen’s essay a “horrific settler normalization essay”— settler here seeming to refer to all Israelis, because Chen does not live in the occupied territories. More staff members followed, including the senior nonfiction editor and one of the co-publishers (who criticized the essay as “a hand-wringing apologia for Zionism”). Amid this flurry of cascading outrage, on March 10 Guernica pulled the essay from its website, with the note: “ Guernica regrets having published this piece, and has retracted it. A more fulsome explanation will follow.” As of today, this explanation is still pending, and my request for comment from the editor in chief, Jina Moore Ngarambe, has gone unanswered.

Read: Beware the language that erases reality

Blowups at literary journals are not the most pressing news of the day, but the incident at Guernica reveals the extent to which elite American literary outlets may now be beholden to the narrowest polemical and moralistic approaches to literature. After the publication of Chen’s essay, a parade of mutual incomprehension occurred across social media, with pro-Palestine writers announcing what they declared to be the self-evident awfulness of the essay (publishing the essay made Guernica “a pillar of eugenicist white colonialism masquerading as goodness,” wrote one of the now-former editors), while reader after reader who came to it because of the controversy—an archived version can still be accessed—commented that they didn’t understand what was objectionable. One reader seemed to have mistakenly assumed that Guernica had pulled the essay in response to pressure from pro-Israel critics. “Oh buddy you can’t have your civilian population empathizing with the people you’re ethnically cleansing,” he wrote, with obvious sarcasm. When another reader pointed out that he had it backwards, he responded, “This chain of events is bizarre.”

Some people saw anti-Semitism in the decision. James Palmer, a deputy editor of Foreign Policy , noted how absurd it was to suggest that the author approved of the “good bombs” sentiment, and wrote that the outcry was “one step toward trying to exclude Jews from discourse altogether.” And it is hard not to see some anti-Semitism at play. One of the resigning editors claimed that the essay “includes random untrue fantasies about Hamas and centers the suffering of oppressors” (Chen briefly mentions the well-documented atrocities of October 7; caring for an Israeli family that lost a daughter, son-in-law, and nephew; and her worries about the fate of Palestinians she knows who have links to Israel).

Madhuri Sastry, one of the co-publishers, notes in her resignation post that she’d earlier successfully insisted on barring a previous essay of Chen’s from the magazine’s Voices on Palestine compilation. In that same compilation, Guernica chose to include an interview with Alice Walker, the author of a poem that asks “Are Goyim (us) meant to be slaves of Jews,” and who once recommended to readers of The New York Times a book that claims that “a small Jewish clique” helped plan the Russian Revolution, World Wars I and II, and “coldly calculated” the Holocaust. No one at Guernica publicly resigned over the magazine’s association with Walker.

However, to merely dismiss all of the critics out of hand as insane or intolerant or anti-Semitic would ironically run counter to the spirit of Chen’s essay itself. She writes of her desire to reach out to those on the other side of the conflict, people she’s worked with or known and who would be angered or horrified by some of the other experiences she relates in the essay, such as the conversation about the “good booms.” Given the realities of the conflict, she knows this attempt to connect is just a first step, and an often-frustrating one. Writing to a Palestinian she’d once worked with as a reporter, she laments her failure to come up with something meaningful to say: “I also felt stupid—this was war, and whether I liked it or not, Nuha and I were standing at opposite ends of the very bridge I hoped to cross. I had been naive … I was inadequate.” In another scene, she notes how even before October 7, when groups of Palestinians and Israelis joined together to share their stories, their goodwill failed “to straddle the chasm that divided us.”

Read: Why activism leads to so much bad writing

After the publication of Chen’s essay, one writer after another pulled their work from the magazine. One wrote, “I will not allow my work to be curated alongside settler angst,” while another, the Texas-based Palestinian American poet Fady Joudah, wrote that Chen’s essay “is humiliating to Palestinians in any time let alone during a genocide. An essay as if a dispatch from a colonial century ago. Oh how good you are to the natives.” I find it hard to read the essay that way, but it would be a mistake, as Chen herself suggests, to ignore such sentiments. For those who more naturally sympathize with the Israeli mother than the Gazan hiding from the bombs, these responses exist across that chasm Chen describes, one that empathy alone is incapable of bridging.

That doesn’t mean empathy isn’t a start, though. Which is why the retraction of the article is more than an act of cowardice and a betrayal of a writer whose work the magazine shepherded to publication. It’s a betrayal of the task of literature, which cannot end wars but can help us see why people wage them, oppose them, or become complicit in them.

Empathy here does not justify or condemn. Empathy is just a tool. The writer needs it to accurately depict their subject; the peacemaker needs it to be able to trace the possibilities for negotiation; even the soldier needs it to understand his adversary. Before we act, we must see war’s human terrain in all its complexity, no matter how disorienting and painful that might be. Which means seeing Israelis as well as Palestinians—and not simply the mother comforting her children as the bombs fall and the essayist reaching out across the divide, but far harsher and more unsettling perspectives. Peace is not made between angels and demons but between human beings, and the real hell of life, as Jean Renoir once noted, is that everybody has their reasons. If your journal can’t publish work that deals with such messy realities, then your editors might as well resign, because you’ve turned your back on literature.