Fans pick 100 books like Sources of Chinese Tradition

I’ve always turned to historical fiction to deepen my understanding of an era and help spark my imagination for class prep.

This book, set in late nineteenth-century China, helped me better contextualize the challenges confronting Chinese women at that time—and how they overcame, or at least endured them. I recently had the privilege of hearing Lisa See speak on her research and writing—she was quite engaging and shared much about her process.

She’s a passionate, dedicated, and disciplined scholar. This shines through in all her work, especially this bittersweet tale of friendship, love, and heartbreak.

I was fortunate to have met Da Chen when he was keynote speaker for our high school’s annual teen writer’s conference. I had read and recommended to my AP World History students his riveting Colors of the Mountain. 

He was warm with students and staff, regaling my class with stories of life in post-Mao China. Da Chen’s interest in people is evident in his engaging Colors of the Mountain. A tale of triumph against all odds, Da Chen’s memoir chronicles how he and his family survived China’s Cultural Revolution (1966-1976).

Despite the harshness of the times, Da Chen tells his story with uncommon grace and humor. I return to his work time and again, not just for preparation in teaching 20th-century China, but also for personal inspiration.

The late and highly regarded scholar Jonathon Spence, prolific author of ground-breaking texts, takes on one of nineteenth-century China’s strangest political mysteries.

In God’s Chinese Son, he asks: how did Hong Xiuquan, the so-called Chinese younger brother of Jesus Christ, manage to gain thousands of followers—and nearly topple Qing dynasty(1644-1912)? 

As an educator, I needed more than a pat answer regarding how the Taiping Rebellion endured for decades and upended Qing norms. Spence provides this depth.

Prior to reading this, I had no real concept of the disaster that was the Taiping Rebellion. Spence’s compelling and deeply researched tale of a failed scholar’s vision—and the disaster that followed—is a riveting ride through China’s traumatic nineteenth century, and a glimpse of what would come. 

My future husband and I read excerpts of this book as undergraduates—great preparation for our post-graduation trek into China. We were determined to track down his great-aunt in Chengdu—no mean feat in the late 80s, given the absence of cellphones and internet.

A cover blurb notes this book is in the “tradition of Orwell and Solzhenitsyn” but I’d point instead to Heller (Catch-22) for context on China’s Cultural Revolution. “Chairman Mao is a Rotten Egg,” for example, reveals strategies that made sense when we met my then-fiancé’s great aunt. She shared how her husband was thrown in jail given his training as a doctor, and how she responded to the Red Guards who had come for him: “Good! Take him away,” she feigned bravery, “he’s a pain.” They brought him back two days later.

What the Manuels did for the West, Bauer did for China. Sometimes we think of the Chinese as eminently practical people, but they had their dreams of perfect worlds as well. And these dreams were not necessarily kept to the world of sleep but found expression in the lives of individuals and communities. The Manuels confronted the fact that dreams fade with a touch of cynicism, Bauer with a touch of melancholy.  

Enriched by more than 200 pictures, mostly in color, as well as maps and line drawings, it is an illuminating and succinct account of Chines civilization from prehistoric times through the rise of the “Three Teachings” (Confucianism, Taoism, and Buddhism) to the modern communist state. As someone who taught a popular undergraduate college course on Chinese civilization for many years, I can testify that the overall length (384 pages) of the book and its structure of 12 chapters plus an epilogue make it a perfect choice of required texts.

This is the second book by Peter Hessler that I have read (River Town was the first). Having visited China several times since the 1980s, when the country was first open to visitors from the West to my more recent trips, I have seen so much change. What I like about this book is how Hessler, a reporter who has lived and taught English in China, tries to describe and explain these changes.

This fascinating book explains China from a historical perspective. It presents a detailed look at how China has transformed from its past to today, from the Middle Kingdom to Red Communist. 4,000 years of history is almost impossible to fit in a single-volume book, yet this book did its best and successfully summarized the most fundamental parts of the country’s history, introducing one of the oldest civilizations alive on earth to those who wish to learn more about China.

Culture is how we group ourselves. Culture is how we see. To make ourselves understood by people of other cultures, we have to lend them our eyes. That’s hard, but Yu Hua meets that challenge for me. His book China in Ten Words offers ten essays about China, each with a one-word title: Revolution. Reading. Copycat. Words like that. Each essay surrounds its title-word with content until one understands what the word means, not to oneself, but to Hua. The essays work like a fusion of memoir and history. They draw the reader into one man’s experience; and at the same time they illuminate a broad patch of history—Maoist and post-Maoist China.

Wang Hui changed the way I look at Chinese intellectual history and the above book is a translation of the introduction to his magnum opus, The Rise of Modern Chinese Thought. The book argues for an indigenous proto or early modernity emerging during the Song Dynasty or the tenth century in China. He shows how Chinese thinkers expressed ideas of equality and had fairly sophisticated bureaucracies by the tenth century. Moreover, through his analysis, he challenges the distinction between the nation-state and empire. Normally, we think of modernity as connected to premodernity and the nation connected to the modern. However, looking at the Chinese context, Wang shows that although the Song had certain characteristics of a nation-state, the Yuan was an empire, followed by the Ming, which again resembled a nation, but this was followed by the Qing, which was another multi-ethnic empire. Moreover, each of these dynasties continued… show more.