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By J. R. Thornton

A coming-of-age tale set in modern-day China centering at the friendship among an American and a chinese language boy who meet whereas education with Beijing’s Junior nationwide Tennis Team.

Chase Robertson arrives in Beijing as a fourteen-year-old boy nonetheless stricken by way of the hot demise of his older brother. He discovers a rustic in transition; a society during which the twin platforms of Communist period kingdom keep an eye on and an rising entrepreneurial tradition exist in paradox.

A most sensible ranked junior tennis participant within the united states, Chase joins the practices of the Beijing nationwide Junior Tennis crew and is immersed within the brutal, cut-throat international of chinese language activity. it's a international during which talented young ones are chosen on the a long time of six or seven for specialised activity faculties the place they dedicate their whole formative years to the pursuit of athletic excellence and are paid as pros by means of the nation. Athletes locate themselves pressured to do something attainable to succeed—right or fallacious. Those who fail to arrive the top are forged apart and are left dealing with a determined destiny with no hope.

In China, Chase earnings entry to a tradition infrequently open to Westerners, and shortly unearths himself stuck up in secrets and techniques. while his closest pal and teammate turns to him for aid, Chase is confronted with the predicament of what to do while friendship, ideas, and morals are in conflict.

A big-hearted debut, Beautiful Country explores a friendship opposed to the backdrop of a fast altering state.

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They fully eclipse, at least according to this account, in­di­vidual artists’ and featured authors’ control over the final appearance of their published work. The publication assumes its final shape as a result of the magazine’s technical specifications and printing exigencies, much more so than it reflects a meeting of the minds between the represented subject and the literary creator of that representation. ” Realism’s prose descriptions originated with realism’s business strategies for sharing space with visual art, more so than with readers’ empathy for actual fig­ures among the “uncomfortable” classes.

They imagine “how the other half lives,” without repelling the richer “half ” of their readership in turn. My test cases, finally, make no claim that illustrations, in and of themselves, lessen (or aggravate) racism, sexism, or xenophobia in texts we receive as twenty-first-century readers. It is not my aim to determine “who is to blame” for insensitive or offensive imagery. Whenever we accuse or exonerate writers of what we see as racism, sexism, or xenophobia, I suggest we consider their visual as well as verbal fields and that we read authorial hesitations as instances of handing responsibility for representation to artists working in alternative artistic modes.

An article on “The Making of an Illustrated Magazine” from 1893, for example, obscures authors’ and artists’ degrees of agency amid evasive, passive-­ voice constructions. Editorial decisions about written copy have played out at a magazine’s offices and in the “meantime, the manuscript has been the object of repeated consultation regarding its illustration”: “Various members of the staff have written out their ideas as to the best material at hand for illustrative purposes, with suggestions as to the artist most likely to do justice to the work.

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