Winner of the 2021 Newman Prize for Chinese Literature
Nominated For The Principe De Asturias Prize For Letters 2017
Nominated For The Man Booker International Prize 2017
Finalist For The Man Booker International Prize 2016
Shortlisted For The FT/Oppenheimerfunds Emerging Voices Award 2016
Winner Of The Franz Kafka Book Prize 2014
Nominated For Czech Award Magnesia Litera 2014
Finalist For The Man Booker International Prize 2013
Winner Of The Hua Zhong World Chinese Literature Prize 2013
Shortlisted For The Independent Foreign Fiction Prize 2012
Shortlisted For The Man Asian Literary Prize 2011
Nominated For The Principe De Asturias Prize For Letters 2011
Born in 1958, Yan Lianke is the author of a huge number of novels and story collections, all remarkable for both their subject matter and their style. He has received many literary prizes, the most prestigious: the Lu Xun in 2000 and the Lao She in 2004.
The film adaptation of DREAM OF DING VILLAGE, renamed TILL DEATH DO US PART, was released in China on May 10 2011, starring Zhang Ziyi and Aaron Kwok. From acclaimed director, Changwei Gu, it was promoted at the Hong Kong International Film Festival and received excellent reviews (it’s still awaiting clearance by the Chinese censorship board).
The next novel to be published in English by Chatto & Windus, Grove Atlantic and Text Australia, being translated right now by Carlos Rojas is HARD LIKE WATER, a satire about love and revolution: a soldier decides to leave his unit and return to his hometown to contribute to the Cultural Revolution. Back home, he meets a young woman and they fall madly in love, despite both already being married, their sexual infatuation is interwoven with their revolutionary fervor. Rights to HARD LIKE WATER also sold to Editions Philippe Picquier France (publication 2020/21). HARD LIKE WATER has already been published to great success in Vietnam and Japan. It has been awarded an English PEN grant.
An excellent in depth article on Yan Lianke, his work, his life appeared in the New Yorker: Yan Lianke’s forbidden satires of China