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Laikwan, Pang. The Art of Cloning. London: Verso, 2017. Web.

Lee, Hsiu-chuan. "Writing, History, and Music in Do Not Say We Have Nothing: A Conversation with Madeleine Thien." Canadian Literature 238 (2019): 13-28; 183.

Luo, Mengyu. "Cultural policy and revolutionary music during China's Cultural Revolution: the case of Shanghai Symphony Orchestra." International Journal of Cultural Policy 24.4 (2018): 431-450.

Schwab, Gabriele. Haunting legacies. New York: Columbia University Press, 2010.

Thien, Madeleine. Do not say we have nothing. London: Granta Publications, 2016.

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1. Why does the party aim for music that is easily understood?

2. Why is Western music considered inappropriate?

3. How can music be dangerous?

4. What kind of music was allowed to be played/composed during the cultural revolution?

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“Literature is central to my project because it is through literature (and artistic works more generally) that one can tap into experiences that were never fully known but have nonetheless left their traces.” (Schwab 2010: 7)

“Literature and the arts can become transformational objects in the sense that they endow this knowledge with a symbolic form of expression and thereby not only change its status but also make it indirectly accessible to others” (Schwab 2010: 8)

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1. What happens to the landlords during the land reform? Why is it frowned upon to own land? What does the party try to achieve through the denuciation of land owners?

2. How is censorship represented in the storyline? How would your life be influenced by this system?

3. What role does individuality play in the book and in the context of the Cultural Revolution/Maoist China?

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“The Square is our headquarters,” Lily said. “If we lose the Square, we lose everything. Everything. Do you even know what they did to the protestors in 1977? That’s what scares me. Nobody even remembers.”

p. 403

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“The legacies of violence not only haunt the victims but also are passed on through the generations” (Schwab 2010: 1)

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“All these slogans and songs had been handed down, she thought, and if the words were not theirs was the emotion that propelled them borrowed, too? What about the students’ desire, their idealism, their righteousness, how many contradictory desires did it serve? Only idealism had belonged to Chairman Mao, the revolutionaries, the heroic Eighth Route Army. Had their generation inherited it? How could a person know the difference between what was real and what was merely illusion, or see when a truth transformed into its opposite? What was theirs and what was something handed down, only a repetition?”

p. 404

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"The things you experience,” she continued, “are written on your cells as memories and patterns, which are reprinted again on the next generation. (...) All we have on this earth, all we are, is a record.”,
p. 235

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From Hangzhou I took the train to Shanghai, where I visited the Conservatory. I found nothing on Kai, Zhuli or Sparrow; it was as if they had never been.”

p. 198

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“People are forbidden to fabricate or spread rumours, network, make public speeches, distribute leaflets, or incite social turmoil.... As if words alone could make reality, as if there were no people involved, as if words alone could make someone a criminal...”

p. 405

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“Mao: If no one attacks me, I attack no one. But if people attack me, I must attack them.“
p. 431

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“Chairman Mao says we must defend the Revolution by identifying everyone and everything that is counter-revolutionary”

p. 209