Reviews 73 tion sits comfortably with some recent interpretations of European imperialism. Daniel R. Headrick, for example, has argued along the same lines in his The Tools ofEmpire (1981) and The Tentacles ofProgress (1988). Perhaps the publication of Hsieh Fucheng's diary will help to reinvigorate discussion of a subject that to date has been organized primarily around divisions between "traditional" and "modern" worlds, between civilizations or cultures, and between backward-looking and progressive intellectuals. Perhaps it will also help to encourage the historicization of the post- 1911 historiography of nine- teenth-century Qing foreign relations. James L. Hevia North Carolina A&T State University mm Chin Shunshin. Murder in a Peking Studio. Translated by Joshua A. Fogel. Tempe, Arizona: Arizona State University Center for Asian Studies, 1986. Paperback $10.00. Chin Shunshin (b. 1924) is a Japanese writer who has been recognized as one of the most important modern writers in Japan because his work has blurred the distinction between the so-called taishü bungaku (popular literature) and jun bungaku (pure literature). His work includes historical novels, detective fiction, and essays. Chin provides his readers not only with writing of beauty and intelligence, but also with his tremendous knowledge of Chinese and Japanese
China Review International – University of Hawai'I Press
Published: Mar 30, 1995
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