Yu Hua begins his narrative by describing his visit to Oslo in 2006, coinciding with the centennial of the famous Norwegian playwright Henrik Ibsen’s death. Upon arriving at the airport, Yu Hua noticed Ibsen’s portrait on the tail of the Norwegian Air jet that would fly him to Oslo. Once in the city, he observed banners bearing the same portrait fluttering on both sides of the road, creating a striking visual of countless Ibsens gazing at him through the gentle drizzle. The memory of this experience prompts Yu Hua to reflect on the influence and changing perception of the Chinese writer Lu Xun, who introduced Ibsen to Chinese readers in the early 20th century. Yu Hua wonders if Lu Xun, a pivotal figure in modern Chinese literature, would have been equally curious about his own work had they lived in the same era.

During the years of the Cultural Revolution, Lu Xun and Mao Zedong were the only authors whose works were studied in Chinese schools. Lu Xun’s critical writings were wielded as tools to condemn the old society and expose its perceived evils. Lu Xun was elevated to the status of a great author, thinker, and

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