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  • Yan Lianke is one of China’s most interesting writers and a master of imaginative satire

    Isabel Hilton, Guardian
  • Lenin's Kisses is a grand comic novel, wild in spirit and inventive in technique. It's a rhapsody that blends the imaginary with the real, raves about the absurd and the truthful, inspires both laughter and tears... The publication of this magnificent work in English should be an occasion for celebration.

    Ha Jin, author of Waiting
  • The award-winning novelist Yan Lianke is one of China's most interesting writers and a master of imaginative satire

    Isabel Hilton, Guardian
  • Yan Lianke movingly chronicles the price that Communist China's rush to get rich has exacted from its vulnerable majority

  • A hugely ambitious political fable ... a great ripping yarn

    Xiaolu Guo, Independent
  • Yan’s postmodern cartoon of the Communist dream caving to run-amok capitalism is fiendishly clever

    New York Times Book Review
  • Yan, one of China’s most successful writers, is still gaining attention abroad, but this story of a village that decides to buy Lenin’s corpse is Yan at the peak of his absurdist powers. He writes in the spirit of the dissident writer Vladimir Voinovich, who observed that “reality and satire are the same”

    Evan Osnos, New Yorker, Best Books of 2012
  • I read Lenin’s Kisses, a fierce, funny, painful and playful novel by a great Chinese writer; Yan Lianke. It is much more than just a poignant, daring political parody: it is also a subtle study of evil and stupidity, misery and compassion

    Amos Oz, New York Times
  • This is a tale of modern China with all its wonders, marvels and absurdities and ironies roped together, making it a must-read. It’s little wonder that the author has won both China's equivalences of the National Book Award and the Pulitzer Prize.

    Da Chen, author of My Last Empress
  • Lenin's Kisses wickedly satirizes a sycophantic society where money and power are indiscriminately worshiped ... As the traveling circus gains fans across the country, it becomes clear that the officials behind the scenes, not the performers, are the true freaks

    Clarissa Sebag-Montefiore, Wall Street Journal

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