Abstract

Abstract:“Modern Sexual Organicity” (《现代性器》 Xiàndài Xìngqì) and “Super Killer” (《大杀器》 Dà Shaqì) by Han Bo, which I translate and discuss here, unfold around the poet’s playfully sustained series of observations of the irreconcilable gaps and irreducible dissonances between Western modernity and Chinese contemporaneity. Focusing on the (post)structural dimension of the extreme intricacy and intensity of Han’s language game that polysemically intersects with traditional Chinese poetic moves as well, which itself mirrors the structurally (bi)polarized and gendered social realities in China, this essay highlights the unfused/able figure of the woman, a “farmwoman” on the train in particular, a moving image of precarious mobility, transience, and vitality.