|This article needs additional citations for verification. (March 2011)|
Rickshaw Boy or Camel Xiangzi (Chinese: 骆驼祥子; pinyin: Luòtuo Xiángzi; literally "Camel Lucky Lad") is a novel by the Chinese author Lao She about the life of a fictional Beijing rickshaw man. It is considered a classic of 20th-century Chinese literature.
Lao She began the novel in spring, 1936, and it was published in installments in the magazine Yuzhoufeng beginning in January, 1937. Lao She returned to China from the United States after the establishment of the People's Republic of China in 1949. In an afterword dated September, 1954, included in the Foreign Languages Press edition of Rickshaw Boy, Lao She said that he had edited the manuscript ("taken out some of the coarser language and some unnecessary descriptions") and he expressed regret for the lack of hope expressed in the original edition.
In 1945, Evan King cut, rearranged, rewrote, invented characters, and changed the ending. The girl student and One Pock Li are King's, not Lao She's. King also added considerable embellishment to the two seduction scenes.
Subject matter and themes
The major subject matter of Rickshaw Boy is the way in which the hero makes his living pulling a rickshaw, the options he faces and choices he makes, and especially the fundamental issues of whether to work independently or as a servant to a family, and whether to rent or own a rickshaw.
Additionally, the novel describes a series of adventures he has and his interactions with a number of other characters.
The book explores the intimate relationship between man and machine (the rickshaw), and the evolution of that relationship. The relationship is both financial—requiring months and years of calculation to graduate from being a renter to being an owner—and physical. "His strength seemed to permeate every part of the rickshaw. . . . he was energetic, smooth in his motions, precise. He didn't appear to be in any hurry and yet he ran very fast . . . . " :7
An important theme of the book is the economic precariousness of the hero's life. "No matter how hard you work or how ambitious you are, you must not start a family, you must not get sick, and you must not make a single mistake!" :185 "If you avoid dying of starvation when young, good for you. But it was almost impossible to avoid dying of starvation when old." :95
Further, the book explores personality characteristics and their relationship to economic existence, especially tolerance for risk, tolerance for hard work, and assertiveness, and personal standards of human dignity. "He had a strong body, a patient disposition, ambition, yet he allowed people to treat him like a pig or a dog and he couldn't keep a job." :48
Isolation and individualism are important themes in the book. "His life might well be ruined by his own hands but he wasn't about to sacrifice anything for anybody. He who works for himself knows how to destroy himself. These are the two starting points of Individualism." :237
The characterization or point of view in Rickshaw Boy reflects the influence of Russian literature in China in general, and particularly on the way that influence was transferred to China by Lu Xun in stories such as The True Story of Ah Q and Diary of a Madman.
The subject matter of Rickshaw Boy aligned with concerns of Chinese leftists and the Chinese Communist Party. For instance, the final sentences read, "Handsome, ambitious, dreamer of fine dreams, selfish, individualistic sturdy, great Hsiang Tzu. No one knows how many funerals he marched in, and no one knows when or where he was able to get himself buried, that degenerate, selfish, unlucky offspring of society's diseased womb, a ghost caught in Individualism's blind alley." :249
Lao She went on to play a leading role in literary associations endorsed by the government, such as the All-China Federation of Literature and Art. According to the introductory section of the Foreign Languages Press (Beijing) English translation, "Before Liberation [Lao She] wrote many works of literature, including his best novel Camel Xiangzi (or Rickshaw Boy) to expose and denounce the old society. . . . He enjoys great prestige in China and was named a "People's Artist" and a "Great Master of Language."
Reynal & Hitchcock (New York) published an English translation by Evan King in 1945 under the English title Rickshaw Boy ("by Lau Shaw"). According to Jean M. James ("Note on the Text and the Translation" in the James edition), "King cut, rearrange, rewrote, invented characters, and changed the ending."
Foreign Languages Press (Beijing) published an English translation by Shi Xiaoqing in 1988 under the English title Camel Xiangzi.
The story was filmed as Rickshaw Boy (1982) directed by Zifeng Ling.
- How I came to write the novel "Camel Xiangzi", included in Foreign Languages Press edition.
- Lao She (1979). Rickshaw: the novel Lo-t'o Hsiang Tzu. Honolulu: University of Hawaii Press. Unknown parameter
- Douwe W. Fokkema, in "Lu Xun: The Impact of Russian Literature," in Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era (Cambridge: Harvard, 1977), writes, "The heroes in these stories are all outcasts and underdogs, in varying degrees . . . . Xiangzi, the main figure in Luotuo xiangzi (Rickshaw boy ), who becomes the victim of his own stubborn toiling, fits into this category." (p. 100)