“In China, as in America, there is a debate about what constitutes popularity in fiction: Are Yu Hua’s best-selling novels a concession to China’s newly consumerist culture or a necessary response to the intellectually serious but hopelessly academic “postmodern” fiction in fashion 20 years ago in China? Whereas in the United States this discussion is an aesthetic one, the debate in China has sharper teeth; American writers may fear the culture mafia, but at least they don’t have to worry about the Ministry of Culture.”