Amazon page [Available September 3, 2019]
This short biography (under 100 pages) tells the story of the man who wrote the “Yellow River Cantata.” The subject, Guang Weiran, lived through interesting times during the early and middle 20th century when China experienced civil war, Japanese invasion, and post-revolutionary turmoil. Guang Weiran was heavily involved in the arts as a poet and leader in the arts community, but he was also a militant leader during the fight against the Japanese. The author, the subject’s son, wisely sticks to the more intriguing times of Guang Weiran’s life – particularly through his writing of the poem that would become song lyrics – and doesn’t get lost in the mundane.
Besides the short biography, the book also includes a great deal of art as well as a copy of the poem that served as the lyrics for the “Yellow River Cantata” in both English and Mandarin script. There are photos of the subject during some key life events, but the most common graphics are woodblock prints in which red is the only color displayed, which makes for an eye-popping visual effect. There are also some yellow-toned paintings interspersed with the poem / lyrics.
I found this little book to be interesting, and I enjoyed the art as well. If you’re interested in 20th century Chinese history, you might find the book worth a look.
This book’s paradoxical title is perfect for its paradoxical subject matter, which is famously expressed in such quotes as, “When nothing is done, nothing is left undone” [ver. 48 of the Tao Te Ching.] Slingerland lays down the ancient Chinese wisdom of wu-wei and de, but provides something novel by putting it in the context of the positive psychology and neuroscience of today. Wu-wei literally means “no doing,” but can be more meaningfully defined as “effortless action.” De (pronounced “duh”) is a charisma seen in people who have mastered the effortlessness and spontaneity of wu-wei.
While the book is built around the varied approaches of four Chinese philosophers—two Confucians (i.e. Confucius and Mencius) and two Taoists (i.e. Laozi and Zhuangzi)—the author relates this philosophy to the present-day thinking found in Daniel Kahneman’s “Thinking, Fast and Slow,” Mihaly Csikszentmihalyi’s conception of Flow, and the neuroscience of the subconscious.
The book consists of eight chapters. The introduction and the first two chapters outline the concepts of wu-wei and de using both Chinese and Western stories and examples to help clarify these arcane ideas and put them in the context of the social and spiritual spheres. Chapter 1 offers an extensive discussion of the operation of the brain as it relates to the discussion of effortlessness and spontaneity.
Chapters three through six make up the core of the book, and present the approach and thinking of Confucius, Laozi, Mencius, and Zhuangzi, respectively. This “boy-girl-boy-girl” Confucian-Taoist organization offers the reader sound insight into the varied approaches and allows one to see the evolution of thinking. Confucius gets the first cut, but his approach to effortlessness and spontaneity involves a great deal of effort and planning. It might seem that Laozi’s approach–which does away with effort and planning–might be more apropos, but it’s hard to imagine anything of benefit actually being spawned by such a loosy-goosy approach. The more nuanced approaches of Mencius and Zhuangzi offer additional insight, but do not eliminate the paradox. It’s this paradox that’s the subject of chapter seven.
The final chapter examines what the reader can take away–given that the paradox of wu-wei seems inescapable. The author proposes that, paradox or not, there is value in pursuit of effortlessness and spontaneity, and progress can be made by understanding and accepting said paradox.
The book has no graphics, but is annotated and has a bibliography–as well as an appendix table that summarizes the various approaches to wu-wei.
I enjoyed this book and found it fascinating. It’s highly readable, having humor and a wide range of examples from ancient myths to pop culture. The book offers a great value-added by considering the relevance of modern science and psychology to this ancient concept. I’d highly recommend this for individuals interested in Chinese / Eastern philosophy, as well as anyone hoping to bring a little more effortlessness and spontaneity into his or her life.
If you’re familiar with any Chinese folklore, it’s probably this story. But you probably know it as “Journey to the West.” It’s not only been released in numerous editions as a novel, it’s also been adapted for film, stage play, and I’m sure there must be a video game of it out there.
If you’re thinking, “Chinese folklore? Sounds boring.” Think again. This is a superhero story. Monkey, also known as the Monkey-King and “Great Sage Equal to Heaven,” is an immortal who has all manner of supernatural powers. He can fly. He can make copies of himself. He can transform himself—either disguising himself as another being or appearing as an inanimate object. He has an iron truncheon that can be the size of a sewing needle or a mile long and which is indestructible. Wielding said staff, he can defeat armies or deities.
In fact, the flaw in this story isn’t a lack of adventure or thrill. On the contrary, it’s one adventure after the next. If anything, the flaw is “Superman Syndrome.” That’s what I call it when the hero is so ridiculously overpowered that even when he’s fighting gods, dragons, or whole armies there’s still no doubt about the outcome.
Of course, the Monkey does eventually meet his match in the form of the Buddha. The Buddha defeats Monkey not in combat, but in a bet. That event shifts the direction of the story. In the early chapters, Monkey is goes about heaven and earth arrogantly wreaking havoc. He’s not altogether detestable. He does have his redeeming traits, but he’s insufferably arrogant and mischievous. After he’s imprisoned following his run-in with the Buddha, a monk is assigned to go to India to bring back scriptures (hence, a “journey to the west”) to China. Monkey is assigned to be the monk’s guardian and along with two others that they pick up along the way (Pigsy and Sandy) the monk is escorted on his journey. The party faces one challenge after the next, and the trip is long and arduous. Some of the challenges require brute force but in many cases they are battles of wits. So while Monkey may be overpowered, he does experience personal growth over the course of the story.
The story is told over 30 chapters, each set up with a cliffhanger. I enjoyed this translation by Arthur Waley. It is end-noted, which is useful given the historic and cultural nuances that may not be clear to readers.
It should be noted that this is unambiguously a Buddhist tale. There is a bias against Taoists and other non-Buddhist religions evident throughout the story. It’s not just the fact that the Buddha easily defeats Monkey when no other deity or group of deities can, there’s a steady stream of anti-Taoist sentiment. So, Taoists and Chinese Folk Religion practitioners be warned, I guess.
I would recommend this book for fiction readers, particularly if you have an interest in the superhero genre or Chinese literature.