{"paper_id":"12ef6e70-81b9-4d38-922b-e325423e09eb","body_text":"The emergence, reinforcement, and transcendence of China’s Dongbei in English translations of Shuang Xuetao’s works | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article The emergence, reinforcement, and transcendence of China’s Dongbei in English translations of Shuang Xuetao’s works Jiahao Guo This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7797213/v1 This work is licensed under a CC BY 4.0 License Status: Under Review Version 1 posted 5 You are reading this latest preprint version Abstract The term ‘Neo-Dongbei [Northeast China] writers’, formally proposed in 2019, refers to authors whose works address the mass layoffs in Dongbei during the 1990s and early 2000s. Shuang Xuetao is one such Neo-Dongbei writer, and his work expresses a universal working-class nostalgia through retrospection on the Dongbei region. English translations of Shuang’s works exemplify how literary concepts from a native culture interact with translation and representation in the target culture and how the latter, in turn, enriches the understanding of those concepts. English translations of Shuang’s work began with his exploration of mass layoffs. Seen through the lens of the Neo-Dongbei writer concept, Dongbei, as both a geographical focus and a literary landmark, is reinforced through text selection, naming, and later promotion in Shuang’s English-language anthology debut, Rouge Street. Although the later novellas by Shuang that were translated into English are not set in Dongbei, they were still presented Neo-Dongbei literary works in the paratexts. In this sense, the understanding of Dongbei in English transcends geographical boundaries. Against this background, the present article examines English translations of Shuang’s works and the evolving representation of Dongbei since 2015 in light of Genette Gerald’s paratextual theory, focusing on text selection and paratextual framing. The analysis explores how translators, publishers, and literary agents have shaped the representation of Dongbei in the Anglophone literary market and contributes to discussions on the translation of contemporary Chinese literature and the positioning of rising voices on the global stage. Humanities/Cultural and media studies Social science/Cultural and media studies Humanities/Language and linguistics Social science/Language and linguistics Humanities/Literature Figures Figure 1 Introduction ‘Dongbei’ literally means Northeast China and is the Rust Belt area of the People’s Republic of China (PRC), encompassing the provinces of Liaoning, Jilin, and Heilongjiang as well as parts of Inner Mongolia. It was a centre of heavy industry and rose to prominence as the ‘eldest son’ of the nation during the Mao Zedong era(1949–1976). However, Dongbei’s industry was hit seriously by the economic reforms of the 1990s, when millions of workers were laid off from formerly secure jobs at state-owned factories. Since the 2010s, Dongbei has once again loomed large in the Chinese imagination after decades of obscurity (Meaney, 2024 ). This rise in prominence is exemplified by discussions of the Dongbei Renaissance, a term coined by rapper Dong Baoshi to describe the revival of interest in Dongbei popular culture that began in the late 2010s and continues today. The term was later taken up in academic discussion. (Huang, 2020 ; Li and Yang, 2020). This trend has been echoed in overseas studies of China’s literature (Wang, 2019; Song, 2024 ), and books focusing on the identity of Dongbei (Chen et al, 2024 ) have been published outside China. In the field of literature, the Dongbei Renaissance is exemplified by the works of the Neo-Dongbei writers. The neo in the latter term distinguishes this genre from the literary category of Dongbei writers, who emerged at a crucial moment in Chinese history in the 1930s. On September 18, 1931, Japan’s Kwantung Army invaded Shenyang, marking the start of Japan’s full-scale invasion of China. The event prompted young northeastern writers to flee to Shanghai, where they depicted the resistance of the northeastern people, pioneered a distinctly Chinese nationalistic literature and laid the foundation for future explorations of Japan’s invasion in Chinese literature (Liu, 2024 ). Building on the concept of Dongbei writers, Huang ( 2020 , p. 174) introduced the term Neo-Dongbei writers, identifying Ban Yu, Zheng Zhi and Shuang Xuetao as the school’s core figures. It is by no means the case that Northeast China has produced only two distinct cohorts of writers over the course of nine decades, and the commonality of these two groups transcends mere geographical affiliation, being more profoundly rooted in their use of historical events in Northeast China as a pivotal entry point from which they explore universal themes and patterns of development. The corresponding translations of the appellations of the two literary schools in English are more revealing than their Chinese names. The group from the 1930s is referred to as northeastern writers (Goldblatt 1981 ; Kong 2015 ), whereas those from the 2020s are termed New/Neo-Dongbei (King 2022 ; Meaney 2024 ; Song 2024 ; Wang 2024 ; Yu 2024 ; Zhang 2022 ). This shift in terminology reflects an evolving external perspective on the development of Chinese literary classifications and provides valuable insights into the reception and reinterpretation of Chinese texts in the international discourse. Dongbei has transcended its original geographical meaning, as its cultural and identity connotations are now widely, even internationally, recognised. The works of Neo-Dongbei writers share a focus on the mass layoffs that occurred from the 1990s to the early 2000s, a topic that had previously been overlooked in Chinese literature (Guo, 2020 ). These works explore the hardships of individuals, portraying themes of loss, struggle, and the quest for hope, salvation, and resilience. Although these writers mainly set their works in Dongbei, their writings cannot be classified solely as regional literature. As Huang ( 2020 , pp. 176–177) argues in his explication of Neo-Dongbei literature, their works transcend regionalism, as they encapsulate a universal working-class nostalgia within localised narratives. Notably, the Dongbei experience, which was once central to Shuang’s works, has gradually receded in his post-2017 writings. As Wang and Zhang ( 2025 ) observed, his more recent storytelling has surpassed the geographical confines of Dongbei, embracing a broader thematic and geographical scope. Another defining feature of Neo-Dongbei writing is its dual narrative structure, which intertwines two distinct yet interconnected strands of storytelling: the experiences of the ‘child generation’ in the present and their reflections on the past experiences of the ‘parent generation’ (Huang, 2020 , p. 176). This generational dialogue departs from traditional linear narrative structures (Ji and Zheng, 2023 ; Wang, 2024 , p. 196) by employing fragmented storytelling to challenge overarching metanarratives. The Dongbei narratives on mass layoffs and marginalisation were pioneered by Shuang. Although Shuang’s debut novel, Chigui (Wing Ghost), won First Prize at the Taiwan Chinese-language World Film Novel Awards in 2011, he only gained recognition in mainland China after 2013, following the publication of his short stories exploring adolescence and individuality. With the story ‘The Master’ (2014), Shuang shifted his focus to the theme of layoffs in Northeast China. His story ‘Moses on the Plain’ (2016), which was published in Harvest – one of China’s most prestigious literary magazines – was acclaimed and acknowledged as a milestone in the maturation of writing on the post-80s generation of Chinese writers (Huang, 2017 ). The story sparked extensive literary criticism on the subject of the Dongbei layoffs (Fang, 2017 ; Huang, 2020 ; Li, 2016 ; Liu, 2021 ; Xu, 2021 ). Shuang’s subsequent works on this theme further cemented his status as a leading figure among Neo-Dongbei writers (Huang, 2020 , p. 174). The English translation of Shuang’s works commenced in 2015, with ‘The Master’, shortly after his exploration of Dongbei layoff, before the concept of Neo-Dongbei literature had emerged in literary studies. To date, nine of his stories and two anthologies have been translated into English, with three published consecutively in The New Yorker . The Rouge Street (Shuang, 2022b ) anthology was published in 2022. Curated specifically for the English market, it was included in The New Yorker ’s list of the best books of 2022 (The New Yorker, 2023 ). The translations were published relatively soon after the original works, and some works were published exclusively in English. This level of exposure is exceptionally rare for Chinese writers in the Anglophone literary sphere, indicating the breadth of the reception and appreciation of Shuang’s work in the English-speaking world. Thus, it is worthwhile exploring how Dongbei is represented in the English translations and promotion of Shuang’s work and whether the development of Neo-Dongbei literature in China has influenced the selection and translation of his works – and vice versa. However, research on English translations of his fiction is notably scant. Scholars such as Dylan Levi King ( 2022 ) and Liang ( 2023 ) have acknowledged the significance of these translations, but Guo and Kang’s (2025) study of readers’ reception of Rouge Street is the only one to focus on the translation of Neo-Dongbei work. To address this gap, the present article offers a novel contribution by offering insights into the representation of Dongbei in the English translations of Shuang’s works. This article seeks to answer three key research questions: a) What patterns and characteristics emerge in the selection of Shuang’s texts for translation into English? b) Has the development of Chinese literary concepts influenced the promotion of Shuang’s oeuvre in English? c) How do paratexts contribute to the representation of Dongbei, particularly in the case of Rouge Street ? Methods The data analysed in this article comprise nine short stories by Shuang that have been translated into English, the English novella collection Rouge Street , and corresponding paratextual information. In Gérard Genette’s framework (Genette, 1997 , p. 4), the paratext encompasses all the materials that mediate between a text and its readers. Genette distinguishes between peritexts (elements physically attached to the text, such as titles, prefaces, footnotes, and cover designs) and epitexts (materials external to the text, such as interviews, reviews, publicity, and media discourse). These elements collectively shape how a work is framed, received, and valued and are therefore crucial to understanding how translations position an author and their literature in new cultural contexts. Drawing on Genette’s ( 1997 ) theoretical framework, this article analyses both the peritexts and epitexts surrounding the translated works of Shuang. The study of paratexts involves examining the spatial, temporal, material, pragmatic, and functional characteristics of the message (Genette, 1997 , p. 4). While Genette acknowledges that this approach may be ‘a little simplistic’ (1997, p. 4), he argues that it effectively outlines the essential methods for such analysis. By systematically examining the paratexts, this article explores how translation agents have represented Shuang’s literary identity within the Anglophone context, with a particular focus on its connection to Neo-Dongbei writing. Document analysis is employed in data collection and text analysis. Paratexts are categorised following Genette’s ( 1997 ) distinction between peritexts (such as titles, prefaces, covers, blurbs, translators’ notes) and epitexts (such as reviews, author/translator interviews, publisher promotions, and online features). These materials are examined for their spatial (placement and medium), temporal (time of release relative to the text), material (form and design), pragmatic (intended audience and effect), and functional (role in shaping interpretation) characteristics. Document analysis involves identifying recurrent themes, such as a particularly regional identity, author positioning, and market strategies, and comparing their presence and framing across different paratextual forms. This procedure helps to clarify how translation agents have contributed to the Anglophone reception of Shuang and situates these practices within the broader discourse on Neo-Dongbei literature. Results Connecting Shuang with Dongbei: Translators as gatekeepers Before the publication of Rouge Street , three of Shuang’s short stories, ‘The Master’ (Shuang, 2015 ), ‘Teeter Tooter’ (Shuang, 2019 ), and ‘White Bird’ (Shuang, 2020 ), were translated into English and published in literary or translation-focused magazines. These three stories were selected and translated by Michael Day, Jeremy Tiang, and Kevin Wang, respectively. Day was the contract translator for Paper Republic. Wang is a Chinese American literary translator. Tiang, a translator and writer originally from Singapore and now based in the United States, has collaborated most extensively with Shuang, translating seven of his stories, two anthologies, and even Shuang’s responses to English language interviews. In addition to works by other Chinese writers (e.g., Can Xue’s Barefoot Doctor , Zhang Yueran’s Cocoon , and Liu Xinwu’s The Wedding Party ), Rouge Street was listed as one of The New Yorker ’s Best Books of 2022. The latter three were all translated by Tiang, whose contributions have been instrumental in introducing contemporary Chinese literature to Anglophone readers. As Shuang’s Chinese literary agent Peng ( 2020 ) observes, Tiang’s prominent role in the literary world, including his service as a judge for the International Booker Prize and the National Book Award for Translated Literature, has allowed him to leverage his connections in UK and US publishing circles to recommend Shuang’s works to the editors of prominent magazines. Shuang’s English literary agency, Rogers, Coleridge & White (RCW), was introduced to him by Tiang (Liu et al., 2024 ). Considering that Shuang was an up-and-coming author with limited literary capital in English-speaking contexts, his translators played a pivotal role in discovering and positioning his translations in suitable magazines. ‘The Master’, translated by Day, was the first of Shuang’s works to be made accessible to English-speaking readers. It was originally published in the August 2014 issue of Xihu magazine and received the ‘5th Xihu Award for Emerging Short Stories’ in September 2015. The English translation subsequently appeared in the Winter 2015 issue of Pathlight. This near-simultaneous recognition by both domestic and international literary magazines underscored Shuang’s rising prominence as an emerging writer. The publication of ‘The Master’ marked Shuang’s transition from youth literature to exploring themes related to layoffs in Dongbei (Liu, 2021 , p. 72). The story follows a laid-off worker struggling with alcoholism, illnesses, and other forms of hardship after his dismissal. Despite these struggles, he embodies a profound sense of spiritual resilience through playing Chinese chess, which is why he is acclaimed as a master. ‘Teeter-Totter’ went further in reflecting the precarious fate of ordinary workers amid the backdrop of state-owned enterprise reform. The two stories both take the omniscient perspective of the child generation, but ‘Teeter-Totter’ distinguishes itself with a dual-narrative structure, a suspenseful tone, and an open-ended conclusion. The concept of ‘Neo-Dongbei writers’ had not yet been proposed when these two stories were published. However, the selected works exhibit a focus on marginalised characters and are narrated from the child generation’s perspective, which are prominent features of Neo-Dongbei writing. Although the two selected stories are both related to the Dongbei layoffs, this background is not specified in the introduction to the two translations, where Shuang is introduced as a promising young writer. The English translation of ‘White Bird’ was published shortly after the concept of Neo-Dongbei literature was proposed; however, the story itself is not directly related to the Dongbei ethos or layoffs. With seven interconnected micro-stories unified by a shared narrator, the story expresses an overarching theme of loss and the tangible manifestations of personal narratives. However, the translator’s note by Wang was the first instance of explicitly linking Shuang to the Dongbei layoffs of the 1990s in a non-Chinese publication of his works. This note introduces the hardships experienced by workers during the economic transition and the impact of this transformation on Shuang’s literary creations. Wang’s decision to clarify the background suggests that the development of literary concepts within China actually influences the perspective from which authors are introduced and subsequently received during the overseas dissemination of literary works. In the initial stage of introducing Shuang to the English readers, the three translators named above acted as gatekeepers. The works they selected showcased Shuang’s concern with the Dongbei layoffs and distinctive style of weaving multiple narrative threads. Although it remains unclear whether the underlying motivations for the selection of materials stemmed from thematic considerations or creative techniques, the works chosen do indeed embody the core defining traits of Neo-Dongbei literature. The image of Dongbei emerged in the first English translations of Shuang’s oeuvre. ‘White Bird’ and ‘Teeter-Totter’ were reviewed by Brian Lax, an editor at Metropolitan Books, an imprint of Henry Holt. Impressed by the subtle and enigmatic style of the two stories as well as the uniqueness and captivating mystery of Shuang’s writing, Lax initiated the publication of Shuang’s work. This action expanded Shuang’s reach to a broader general audience, further solidifying his position as a critical voice in contemporary global literature. As Peng Lun observes, finding overseas publishers for Chinese works is challenging, as exemplified by the eight years it took for Tiang’s translation of Zou Jingzhi’s Ninth Building (longlisted for the 2023 International Booker Prize) to secure a publisher (Liu et al., 2023, p. 54). In contrast, the publication of Shuang’s works in literary magazines by his translators laid a crucial foundation for the subsequent release of his short story collections and their broader dissemination. Rouge Street: The reinforcement of Dongbei Rouge Street does not exist as a standalone collection in Chinese; rather, it is a curated anthology of novellas specifically targeted at the Anglophone market. The prototype for Rouge Street is Yanfen Street in Shenyang, a landmark frequently mentioned in the works of Neo-Dongbei writers. This collection of Chinese novels is not entirely themed around Dongbei. The anthology corresponds to the increasing scholarly attention paid to Neo-Dongbei writers in both domestic and international academia, demonstrating how the evolution of literary concepts can influence literary market dynamics. The reinforcement of Dongbei’s literary image in Rouge Street is analysed below from three aspects: the selection of material, peritexts, and epitexts. Material selection: Themes, characters, and the Dongbei experience Material selection defines which aspects of the author’s identity are emphasised for the target audience and which are deemphasised. Peng proposed the idea of curating a collection of novellas, and both Peng and Tiang suggested that a novella could serve as a distinctive medium for expressing Chinese culture (Beijing Contemporary Art Foundation [BCAF], 2022). Shuang prioritises thematic cohesion in his works. The anthology featured three novellas: ‘Bright Hall’ (光明堂) and ‘The Aeronaut’ (Shuang, 2017 ) (飞行家) from The Aeronaut and ‘Moses on the Plain’ from Moses on the Plain . All three are set in Dongbei during the transitional period spanning the 1990s to the early 2000s, focusing on the lives of laid-off workers, and this was Shuang’s first collection of novellas focusing on Dongbei. The nuanced exploration of resilience and redemption was a key characteristic across the novellas. While the novellas build an expectation of misfortune, they avoid the oppressive tone often found in other Chinese literature (BCAF, 2022). Instead, they adopt a lighter approach, encouraging readers to focus on the characters’ responses to challenges and creating an unexpectedly dynamic reading experience. Wang ( 2020 ) examined Shuang’s writing on Dongbei, coincidentally focusing on these novellas. Wang highlighted how, despite the characters’ struggles with poverty, alcoholism, and neglect, each is portrayed as performing at least one act of heroism or moral redemption. Employing multilinear narratives that weave together perspectives across time and space, the stories thematise fate, resilience, and redemption. Although Dongbei serves as a significant backdrop in the three works, restricting the significance of these works to their geographical setting might overlook the thematic and narrative threads that transcend regional boundaries, as noted in the existing literature. Nonetheless, peritextual and epitextual analyses further reveal the intentional framing of Dongbei as a central literary construct. This emphasis highlights the region’s cultural and historical significance, positioning it as a defining element that enhances the collection’s narrative depth and informs its promotional strategy. Peritext design: From Yanfen Street to the fictional Rouge Street The peritext of a book serves as readers’ first point of interaction with the text, shaping their initial impressions and influencing their engagement with and interpretation of it. The peritext also reflects the publisher’s strategy to frame the book’s meaning and reception, encompassing elements such as the title, foreword, translator’s note, and covers. Among these, the title is particularly important in establishing thematic resonance and guiding interpretation. In the story collections by Shuang that were published in China and later exported to South Korea (2019), Italy (2021), Spain (2023), and Poland (2024), the titles were typically taken from one of the stories in the anthology. However, Tiang argued that this approach might mislead readers into believing that the chosen story holds more significance than the others (Community Bookstore Live, 2022 ). To avoid this, Tiang suggested naming the collection after a shared setting – Yanfen Street (艳粉街) – to create a cohesive and memorable title that highlights their common backdrop (BCAF, 2022). Rather than serving as a central location, Yanfen Street functions as a recurring motif, frequently mentioned in the works of other Neo-Dongbei writers. In the anthology, Yanfen Street serves as the setting for ‘Bright Hall’, appears occasionally in ‘Moses on the Plain’, but is absent from ‘The Aeronaut’. Although Yanfen Street has a limited presence, naming the collection after it reinforces the thematic connections among the stories and highlights the location’s symbolic significance. Tiang’s decision recontextualises the place, offering a cross-cultural lens on Shuang’s depiction of Dongbei and underscoring the centrality of place in shaping the work’s thematic structure. This naming strategy anchors the stories within a specific cultural, historical, and social framework while emphasising the interplay between space and identity. Although ‘艳粉街’ is transliterated into pinyin as ‘Yanfen Street’ within the anthology, the title is translated as ‘Rouge Street’, which reflects a creative strategy to engage Anglophone readers. In the translator’s note, Tiang explains that ‘rouge’ connects to a legend about plants once cultivated in this area that were used in the makeup worn by ladies in the imperial palace. ‘Rouge Street’ evokes richer imagery and cultural associations than ‘Yanfen Street’, enhancing the text’s symbolic resonance. As Guo and Zou ( 2023 ) observe, the use of pinyin can be challenging for readers of translated Chinese literature. Translating the title as ‘Rouge Street’ not only improves accessibility but also broadens the work’s appeal to Anglophone audiences. The significance of Yanfen Street is further examined in the translator’s note and the foreword by Madeleine Thien, a celebrated Chinese-Canadian author and recipient of the Scotiabank Giller Prize. Thien’s foreword situates the three novellas within the socioeconomic landscape of Northeast China, particularly the industrial city of Shenyang. Once a symbol of the PRC’s industrial pride, the region experienced profound economic and social upheaval during the economic reforms of the 1990s. By framing the stories within this historical context, Thien offers readers a deeper understanding of the struggles and transformations depicted in the narratives. The translator’s note explores the cultural and symbolic significance of Yanfen Street. It underscores the term’s connection not only to the street’s legends but also to its representation in music and other cultural expressions, thereby enriching the reader’s appreciation of the book. Both the foreword and translator’s note reference Wang Bing’s internationally acclaimed documentary Tie Xi Qu: West of the Tracks , renowned for its vivid portrayal of Northeast China’s industrial decline, with Yanfen Street as one of its focal points. By invoking this celebrated cultural artefact, the foreword and translator’s note situate the anthology within a broader socio-historical framework, enhancing the reader’s understanding of its themes and settings. The cover design of Rouge Street by Jocelyn Tsaih further reinforces the thematic and emotional tone of the collection. As shown in Fig. 1 , the front cover features a grey-black background with a street grid pattern overlaid by the silhouette of a bowed figure whose arms encircle the grid, symbolising the street. The muted grey-white tones of the design contrast sharply with the title ‘Rouge Street’, written in bold red letters. Despite the overall sombre tone, the striking red of the title creates a powerful visual and emotional contrast. The cover was widely acclaimed for its artistic merit and was included in the ‘50 Best Covers of 2022’ by the American Institute of Graphic Arts (AIGA) (2023). The AIGA praised the design for its dual perspective: the street grid, viewed from above, doubles as both a street name and a portrait of a person constrained by domestic life. This layered interpretation evokes a melancholic yet thought-provoking atmosphere, inviting readers to deeply engage with the stories. Through its visual and symbolic elements, the cover encapsulates themes of constraint, resilience, and identity, which are all central to Rouge Street , thereby enhancing the reader’s experience of the collection. The back cover further emphasises the setting in Northeast China during the region’s economic transformation, ensuring that nearly all the peritexts are closely tied to the collection’s cultural and historical context. This cohesive interaction between the peritexts enhances the collection’s thematic resonance, firmly positioning it within the sociocultural and historical context of Northeast China. By reflecting on the region’s industrial decline and the mass layoffs and their impact on residents, these peritexts guide readers to approach the stories as profound explorations of Dongbei’s identity and transformations. Epitextual narratives: Exploring the stories of Dongbei The epitexts are crucial in guiding the reading process. A reader who first encounters a review of a book will approach the text with certain preconceptions based on that epitext (Munday et al., 2022 , p. 203). The epitexts discussed in this paper include academic discussions and book reviews. A week before Moses on the Plain was released, an online forum titled Moses on the Plain: Shuang Xuetao and Neo-Dongbei Literature was jointly hosted by David Der-wei Wang from Harvard University and Song Weijie from Rutgers University. The forum foreshadowed the association between Shuang’s publications and the concept of Neo-Dongbei literature. The discussion topics ranged from the portrayal of characters to the relationship between Yanfen Street and Shuang’s writing. By positioning Rouge Street within the framework of Northeast China’s historical, economic, and social contexts, the forum reinforced the book’s identity as a vital contribution to the emerging discourse on Neo-Dongbei literature, thereby solidifying its academic and cultural significance. Book reviews play a significant role in influencing book sales and increasing title visibility (Hill and Power, 2005 , p. 35). To enhance the circulation and reception of a work, publishers and literary agents often distribute advance copies to critics. These reviews help readers form initial impressions and expectations while shaping their interpretation of the work from specific perspectives. Rouge Street received a total of 12 book reviews, which were primarily characterised by their focus on introducing the plot. This approach contrasts with the academic forum, which emphasised the conceptual framework and defining features of Neo-Dongbei literature. Kirkus Reviews (February 2022) and Publishers Weekly (April 2022), both aimed at booksellers and librarians (Hill and Power, 2005 , p. 35), provided concise summaries of the storyline and its setting in Shenyang. Additionally, Publishers Weekly highlighted the presence of magical realism in the text. The other 10 reviews were aimed at general readers and can be divided into two categories. Those in the first category included a description of the book in the ‘book introduction’ section, where it is highlighted alongside other titles as one of the most anticipated of the week April. The earliest mentions appeared on Literary Hub and The Millions in January 2022. The New York Times , described as ‘arguably the most influential consumer-oriented book review publication’ (Hill and Power, 2015, p. 36), and The New Yorker both featured Rouge Street . They highlighted its setting in post-industrial Shenyang during a period of economic transformation, addressing social issues such as poverty, unemployment, domestic violence, and alcoholism while emphasising its underlying themes of hope, aspiration, and resilience (Khatib, 2022). This type of plot summary is relatively simple and does not involve specific plots and characters. The second category of reviews was more focused and specific, concentrating on Rouge Street and providing introductions to its characters and main plotlines. Notably, following a brief mention in March 2022, The New York Times published a more comprehensive and targeted review by Jing Tsu in April 2022, just before the book’s official publication. These reviews praised Shuang’s multi-layered narrative style and his focus on marginalised characters (Hong, 2022 ; Tsu, 2022 ). They also referenced Thien’s foreword to examine the historical and cultural context of Northeast China, effectively situating the short story collection within this distinctive setting (Hong, 2022 ; Messud, 2022 ; Mond, 2022 ). Importantly, the reviews highlighted the transformation of Yanfen Street, which has evolved into a bustling suburb, ‘no longer the disreputable, rough neighbourhood’ of Shuang’s youth (Hong, 2022 ). Tsu ( 2022 ) further argued that this transformation has rendered the street distant even to contemporary Chinese society. This nuanced perspective contrasts with earlier studies that observed that foreign media often tend to steer readers towards political interpretations of Chinese literature, constructing a reductive and ideologically charged representation that overlooks the cultural and literary complexity of these works (Chen and Xu, 2018 ). These reviews of Rouge Street adopted a more positive and affirming tone, focusing on the work’s narrative depth, regional specificity, and universal values. This shift marks an important development in the reception of Chinese literature abroad, offering a fresh lens for examining the dissemination and interpretation of literary works in the context of globalisation. When Shuang’s novels were first published in China, they were not promoted with Northeast China as a key selling point. In fact, Rouge Street also offers a new perspective for understanding Shuang’s novels by situating them in the context of Yanfen Street. Here, we can also observe the interaction between literary concepts, translation, and overseas dissemination. Dongbei Renaissance: Transcending regional boundaries Following the success and positive reaction to Rouge Street , six of Shuang’s short stories were featured in prominent magazines, significantly enhancing his visibility within the Anglophone literary sphere. This exposure not only underscores the literary merit of his work but also demonstrates its ability to resonate with international audiences. However, Shuang’s subsequent works have gradually transcended the boundary of Dongbei, reflecting a shift towards more general themes and narratives that resonate with audiences. ‘Heart’ (Shuang, 2023 ), ‘Paris Friends’ (Shuang, 2024b ), and ‘Up the Stairs’ (Shuang, 2024c ) consecutively appeared in The New Yorker. While these narratives remain situated in Dongbei and continue to feature protagonists whose identities are deeply connected to the region, they employ a characteristic fusion of realism and understated fantastical elements. However, they also signify a notable shift away from Shuang’s established thematic preoccupation with socioeconomic issues. The stories thematise family, love, death, and the existential loneliness of individuals navigating unfamiliar worlds. ‘Heart’ and ‘Paris Friends’ respectively explore ‘father–son’ and ‘mother–son’ relationships, while ‘Up the Stairs’ tells the story of a grandfather from the perspective of his grandson. Notably, the English translation of ‘Paris Friends’ appeared just two months after the original publication in Chinese, and there is no Chinese version of ‘Up the Stairs’. The near-simultaneous publication and English special edition suggest increasing interest in Shuang’s works in the English-speaking market. ‘Bottlenose’ (Shuang, 2022a ), ‘Hunter’ (Shuang, 2024a ), and ‘Up at Night’ (Shuang, 2025 ), published in Astra, Granta , and Baffler , mark a notable departure from the theme of Dongbei, as their settings and protagonists have moved from the region. Instead, they explore the relationships between humans and nature as well as interpersonal connections in modern society. Notably, ‘Hunter’ was published as part of the ‘Dongbei Renaissance’ theme in Granta’s ‘China’ issue. As Thomas Meaney ( 2024 ) observes, ‘[t]he most fascinating aspect of their writing is how precisely it captures the lost yet resigned emotional structure that permeates society’. In Shuang’s second collection, Hunter (2025), half of the stories are set outside Northeast China. In the book reviews, ‘Dongbei Renaissance’ emerges as a key term, but the understanding of Dongbei has transcended geographical boundaries. Shenyang has become a symbolic landmark in the review (Piepenbring, 2025 ), often compared with Detroit. Shuang’s Dongbei narrative is widely regarded as reflecting the ‘lying flat’ in China, an equivalent to ‘quiet quitting’, as overworked people face diminishing returns on diligence (Hao, 2025 ). Meaney’s observation and the book reviews align with Huang’s definition of Neo-Dongbei literature, which transcends regional boundaries to embody a longing for an imagined past that is common in working-class communities globally interwoven with local narratives (Huang, 2017 ). It suggests that the international literary community’s understanding of Neo-Dongbei writing has expanded beyond the geographic boundaries of Northeast China, increasingly resonating with thematic and emotional concerns foregrounded in contemporary Chinese literature. Discussion This article has examined the evolution of the English translations of Shuang’s work through an analysis of text selection and paratexts. It highlights the recognition of the quality of Shuang’s work in both Chinese and international literary circles. The nearly simultaneous recognition of Shuang’s work in China and abroad is closely linked to his engagement with pressing social issues as well as his portrayal of humanity’s search for salvation, resilience, and hope. Furthermore, the article investigates how translation facilitates the interactions between literary concepts, text selection, and market strategies. While the theme of mass layoffs in Dongbei is evident in the early English translations of Shuang’s works, its explicit articulation within paratextual elements only gained prominence after the ‘Neo-Dongbei literature’ concept emerged in the late 2010s to early 2020s. The evolution of this literary framework not only enriched the thematic depth of Shuang’s works but also offered fresh perspectives on their commercialisation. The naming of Rouge Street , along with other peritextual elements, exemplifies how Dongbei is positioned strategically as a conceptual lens for readers. Significantly, Rouge Street remains the sole work in Shuang’s oeuvre explicitly titled to reflect a regional identity, in both its original Chinese and all translated versions. This choice underscores the phenomenon wherein the development of literary concepts within the source-language culture can profoundly shape the positioning of works within the target-language literary market. This article has investigated the dynamic and reciprocal relationship between peritext and epitext, emphasising their evolving influence over time in shaping a text’s reception and presentation. It contends that the initial framing of a book within its peritext plays a pivotal role in shaping its reception in epitextual reviews. These reviews, in turn, often reintegrate into the peritext of later editions, creating a feedback loop that not only informs the critical discourse surrounding the text but also redefines its presentation for subsequent readers. This process underscores the interconnection between textual framing and audience interpretation across temporal and contextual shifts. Shuang has demonstrated far more active engagement with literary magazines than earlier authors, and his works may offer a model for other emerging Chinese writers seeking international recognition. This effort has been further supported by the active involvement of his translators and other agents in the translation process. Among these, Tiang, who has played a key role in having Shuang’s works featured in prestigious literary outlets and maintaining his visibility on the global literary stage, deserves a special mention. While it may be unrealistic to expect all translators to take on such multifaceted responsibilities, the example of Tiang and other literary agents demonstrates the significance of a well-coordinated team in promoting the global success of Chinese writers. Taking Chinese literature to global audiences requires more than just skilled translators; it also needs translation agents who understand the international literary market and can strategically position such works to help Chinese authors reach a wider audience. By examining these dynamics, this article sheds light on the evolving infrastructure of global literary exchange and offers new insights into the mechanisms influencing the international positioning of Chinese literature. This study, like any other intellectual work, is not without limitations. Targeted interviews with the translator and literary agents could have provided deeper insights into the strategies behind his international promotion and reputation. Moreover, analysing the reception and strategies from national and regional perspectives could have provided valuable insights into how his works are received in the distinct English-speaking market. Declarations Funding Declaration This research was fund by Educational Department of Liaoning Province, grant number LJKQR20222492. Data Availability Data sharing is not applicable to this research as no data were generated or analysed. E thics Statement This article does not contain any studies with human participants performed by any of the authors. Author Contribution Guo Jiahao is the sole author of this article. References American Institute of Graphic Arts (2024) Rouge street. 50 books, 50 covers. https://50books50covers.secure-platform.com/a/gallery/rounds/310/details/60942 . Accessed 15 Sept 2024 Beijing Contemporary Art Foundation (2024) Pingyuan shang de moxi: Shuang xuetao yu xindongbei wenxue xianshang huigu (平原上的摩西: 双雪涛与新东北文学线上论坛回顾, Moses on the plain: Shuang Xuetao and Neo Dongbei literature). BCAF. https://bcaf.org.cn/26359057 . Accessed 20 Jun 2024 Chen D, Xu D (2018) Yinguo zhuliu meiti dui dangdai zhongguo wenxue depingjia yu jieshou (英国主流媒体对当代中国文学的评价与接受, The evaluation and reception of contemporary Chinese literature in mainstream British media). 小说评论4: 153–161 Chen Z, Han J, Kuang X, Liu X (eds) (2024) Identity, space, and everyday life in contemporary northeast China. Palgrave Macmillan,Singapore Community Bookstore Live (2022) Jeremy Tiang presents Shuang Xuetao’s Rouge street with Anton Hur. YouTube. https://www.youtube.com/watch?v=nPD4Sve30G8 . Accessed 23 Aug 2023 Fang Y (2017) Youer yu guaishou: Shuang Xuetao xiaoshuo zhong de lishi biaoqing (诱饵与怪兽—双雪涛小说中的历史表情, Bait and monsters: historical expressions in Shuang Xuetao’s novels). 当代作家评论2: 167–172 Genette G (1997) Paratexts: thresholds of interpretation. Cambridge University Press, Cambridge Goldblatt H (1981) The northeastern writers. In: Yang W, Yang N (eds) Modern Chinese fiction: a guide to its study and appreciation—essays and bibliographies. G. K. Hall & Co, Boston, pp 22–25 Guo Y (2020) xiagang ticai xiaoshuo zhong de ‘yinshen’ yu ‘fuchu’ (下岗题材小说的‘隐身’与‘复出’,The ‘Disappearance’ and ‘Resurgence’ of Novels on the Theme of Laid-off Workers). 文艺论坛6: 29–40 Guo J, Zou D (2023) Reception study: the omission of narrative text in the English translation of Mo Yan’s Life and Death Are Wearing Me Out. Front Communication 8:75–87 Hao T (2025) Hunter—Shuang Xuetao. The Full Stop. https://www.full-stop.net/2025/06/04/reviews/tony-hao/hunter-shuang-xuetao/ . Accessed 3 Jun 2025 Hill B, Power D (2005) The making of a bestseller: success stories from authors and the editors, agents, and booksellers behind them. Dearborn Trade Pub, Chicago Hong T (2022) Review: Rouge street: three novellas. Shelf Awareness. . Accessed 20 Jun 2024 Huang P (2017) Xinde meixue yuanze zai jueqi: yi Shuang Xuetao pingyuanshang de moxi weili (新的美学原则在崛起——以双雪涛《平原上的摩西》为例, New aesthetic principles are emerging—taking Shuang Xuetao’s Moses on the plain as an example]. 扬子江评论3: 12–18 Huang P (2020) Xindongebi zuojiaqun lungang (新东北作家群论纲,An outline of the ‘Neo-Dongbei writers). 吉林大学社会科学学报60 (1):174–182, 223 Ji X, Zheng Y (2023) Lun xindongbei zuojiaqun dui xiandai dongbei xushi de gengxu yu xinbian (论新东北作家群对现代东北叙事的赓续与新变—以双雪涛为典型案例, On the inheritance and innovation of northeast narrative tradition in Shuang Xuetao’s writings). 东北师大学报4: 85–93 King D (2022) The Rouge street blues: a new translation breathes life into China’s Rustbelt. The World of Chinese. . Accessed 18 Jul 2024 Kong H (2015) The significance of the northeastern writers in exile, 1931–1945. In: Zhang Y (ed) A companion to modern Chinese literature. Wiley Blackwell, London, pp 312–325 Li X (2016) Chengshi de xiangchou—tan. Shuang Xuetao de Shenyang gushi jianji yizhong chengshi wenxue (城市的乡愁—谈双雪涛的沈阳故事兼及一种城 市文学, Urban Nostalgia: on Shuang Xuetao’s Shenyang stories and urban literature). 当代作家评论6: 162–166 Liang B (2023) Xindongbei zuojiaqun haiwai yijie fangxingweiai (新东北作家群海外译介方兴未艾, The overseas translation of the ‘Neo-Northeast writers group’ is thriving). 中国社会科学报https://www.cssn.cn/skgz/bwyc/202302/t20230215_5588172.shtml.Accessed 3 Jun 2024 Liu L, Liu X, Tiang J (2024) Zhongguo dangdai wenxue de haiwai yijie chuanbo tansuo—hanxuejia Cheng Yi fangtanlu (中国当代文学的海外译介传播探索—汉学家程异教授访谈录, Exploring the overseas translation and dissemination of contemporary Chinese literature: an interview with Sinologist Jeremy Tiang). 外国语文研究 10(4): 50–57 Liu X (2021) Zouxiang dongbei yu zouchu dongbei (走向东北与走出东北, Entering and departing Northeast China). 百家评论55: 72–78 Liu X (2024) Cong dongbei wenxue dao xindongbei wenxue (从东北文学到新东北文学, From Dongbei literature to Neo-Dongbei literature). 中国文学批评4: 139–145 Meaney T (2024) China time. Granta. https://granta.com/china-time/ . Accessed 20 Dec 2024 Messud C (2022) New books. Harper’s Magazine. https://harpers.org/archive/2022/04/new-books-april-2022/ . Accessed 20 Jun 2024 Mond I (2022) Ian Mond reviews Rouge street: three novellas by Shuang Xuetao. Locus Online. https://locusmag.com/2022/07/ian-mond-reviews-rouge-street-three-novellas-by-shuang-xuetao/ . Accessed 20 Jun 2024 Munday J, Pinto SR, Blakesley J (2022) Introducing translation studies: theories and applications. Routledge, London Peng L (2020) Zhongguo wenxeu zouchuqu, xuyao zhuanye de xinxi wangluo (中国文学走出去, 需要专业的信息网络, For Chinese literature to go global, a professional information network is needed). 经济观察报. https://cj.sina.com.cn/articles/view/1641561812/61d83ed4001018y6s . Accessed 25 Jan 2025 Piepenbring D (2025) New books. Harper’s Magazine. https://harpers.org/archive/2025/06/new-books-dan-piepenbring-hunter-shuang-xuetao-the-spinach-king-john-seabrook-the-great-miscalculation-michael-greenburg/ . Accessed 30 June 2025 Shuang X (2015) The master(trans: Michael Day). In: Li D, Abrahamsen E (eds) Pathlight. Mobi Shuang X (2016) Pingyuan shang de moxi (平原上的摩西, Moses on the plain). Baihua Literature and Arts Publishing House, Tianjin Shuang X (2017) Feixingjia (飞行家,The aeronaut). Imaginist/Guangxi Normal University, Nanning Shuang X (2019) Teeter-totter (trans: Jeremy Tiang). Brick. https://brickmag.com/teeter-totter/ . Accessed 20 Jun 2024 Shuang X (2020) White bird (trans: Kevin Wang). Asymptote. . Accessed 20 Mar 2024 Shuang X (2022a) Bottlenose (trans: Jeremy Tiang). Astra. https://astra-mag.com/articles/bottlenose/ . Accessed 18 Mar 2024 Shuang X (2022b) Rouge street: three novellas (trans: Jeremy Tiang). Metropolitan Books, New York Shuang X (2023) Heart (trans: Jeremy Tiang). The New Yorker. http://www.newyorker.com/magazine/2023/10/09/heart-fiction-shuang-xuetao . Accessed 24 Jul 2024 Shuang X (2024a) Hunter (trans: Jeremy Tiang). Granta. https://granta.com/hunter-shuang-xuetao/ . Accessed 15 Nov 2024 Shuang X (2024b) Paris friends (trans: Jeremy Tiang). The New Yorker. . Accessed 15 Dec 2024 Shuang X (2024c) Up the stairs (trans: Jeremy Tiang). The New Yorker. . Accessed 25 Jul 2024 Shuang X (2025) Up the night (trans: Jeremy Tiang). The Baffler. https://thebaffler.com/latest/up-at-night-xuetao/ . Accessed 13 Jun 2025 Song W (2024) Northeast China in literature and film: Between suffering and salvation. Think China. https://www.thinkchina.sg/culture/northeast-china-literature-and-film-between-suffering-and-salvation-eye-dongbei-series . Accessed 15 Sept 2024 The New Yorker (2023) The best books of 2022. . Accessed 20 Jun 2024 Tsu J (2022) Left behind by China’s economic miracle. New York Times www nytimes com/2022/04/19/books/review/shuang-xuetao-rouge-street.html . Accessed 20 Jun 2024 Wang A (2024) Contemporary representation of alcoholism in Neo-Dongbei literature by Jia Hangjia and three icons of Dongbei Renaissance. In: Chen ZT (ed) Identity, space, and everyday life in contemporary Northeast China. Palgrave Macmillan, London, pp 195–222 Wang Q (2020) Shadows and voices: Shuang Xuetao’s fiction of Northeast China. MCLC Resource Center. https://u.osu.edu/mclc/online-series/qi-wang3/ . Accessed 20 Jun 2024 Wang Y, Zhang W (2025) Zouchu Dongbei: Guanyu Shuang Xuetao xiashuo Chuangzuo zhuangxiang de yizhong tihui (走出东北: 关于双雪涛小说创作转向的一种体会, Leaving the Northeast: reflections on the shift in Shuang Xuetao’s novel writing). 当代文坛 2:202–207 Xu M (2021) Dongbei jiyi yu ‘chengwei xiaoshuojia’—dui. Shuang Xuetao xiaoshuo yizhong shehuixue jiedu (东北记忆与‘成为小说家’——对双雪涛小说一种社会学解读的解读, Northeast memory and becoming a novelist: a sociological interpretation of Shuang Xuetao’s novels). 中国图书评论1:87–91 Yu X (2024) Crime as historical testimony: narrative suspense in Neo-Dongbei literature. In: Chen ZT (ed) Identity, space, and everyday life in contemporary Northeast China. Palgrave Macmillan, London, pp 223–246 Zhang H (2022) Shuang Xuetao: writing Rouge street: a home for exiles of Chinese modernity. Guernica. . Accessed 20 Jun 2022 Additional Declarations No competing interests reported. Cite Share Download PDF Status: Under Review Version 1 posted Reviewers invited by journal 17 Feb, 2026 Editor assigned by journal 10 Jan, 2026 Editor invited by journal 11 Nov, 2025 Submission checks completed at journal 30 Oct, 2025 First submitted to journal 30 Oct, 2025 You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {\"props\":{\"pageProps\":{\"initialData\":{\"identity\":\"rs-7797213\",\"acceptedTermsAndConditions\":true,\"allowDirectSubmit\":false,\"archivedVersions\":[],\"articleType\":\"Article\",\"associatedPublications\":[],\"authors\":[{\"id\":593543922,\"identity\":\"60fe4065-2d4a-41d4-a27c-4adc91de0cfa\",\"order_by\":0,\"name\":\"Jiahao Guo\",\"email\":\"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAA7klEQVRIie3NLwvCQBjH8WcIrpysnsW9hWfNoOxtGJ8xWFrYCzCYtPinKvoitmY8OTDtBUw0DIQls2gRTy0Wt0XDfcPBHffhB6DT/WlIIADMkSOg11V3qkuYQAEBr0dUinCqSeyBL6J8eLKt9jmWjDhYZohw3/4mThYQ0r5wVusgepP29ILGLC0hyxCRmtKIjyHK1o0DZiE2jHEVeUg3PqT4XnGriM0V8cbSizP2IcgrCLKC0JtLfzUNot2GOONpEe1mZSsTf+/crrK/MGWSX6jXsSZ+kt/LVgQ08fuBvQ7xG6iVETTysg86nU6ngyezelYgwhDNFwAAAABJRU5ErkJggg==\",\"orcid\":\"\",\"institution\":\"Fudan University\",\"correspondingAuthor\":true,\"prefix\":\"\",\"firstName\":\"Jiahao\",\"middleName\":\"\",\"lastName\":\"Guo\",\"suffix\":\"\"}],\"badges\":[],\"createdAt\":\"2025-10-07 08:08:28\",\"currentVersionCode\":1,\"declarations\":\"\",\"doi\":\"10.21203/rs.3.rs-7797213/v1\",\"doiUrl\":\"https://doi.org/10.21203/rs.3.rs-7797213/v1\",\"draftVersion\":[],\"editorialEvents\":[],\"editorialNote\":\"\",\"failedWorkflow\":false,\"files\":[{\"id\":103059744,\"identity\":\"7d4c86b7-5128-4567-bd8b-b3338c78d8f9\",\"added_by\":\"auto\",\"created_at\":\"2026-02-20 09:41:59\",\"extension\":\"jpeg\",\"order_by\":1,\"title\":\"Figure 1\",\"display\":\"\",\"copyAsset\":false,\"role\":\"figure\",\"size\":21541,\"visible\":true,\"origin\":\"\",\"legend\":\"\\u003cp\\u003eThe front cover of \\u003cem\\u003eRouge Street\\u003c/em\\u003e\\u003c/p\\u003e\",\"description\":\"\",\"filename\":\"floatimage1.jpeg\",\"url\":\"https://assets-eu.researchsquare.com/files/rs-7797213/v1/cb917a44acf8249031eef89e.jpeg\"},{\"id\":103504169,\"identity\":\"9480c4f8-886d-4545-b79a-be1f9a00a73c\",\"added_by\":\"auto\",\"created_at\":\"2026-02-26 13:18:03\",\"extension\":\"pdf\",\"order_by\":0,\"title\":\"\",\"display\":\"\",\"copyAsset\":false,\"role\":\"manuscript-pdf\",\"size\":560359,\"visible\":true,\"origin\":\"\",\"legend\":\"\",\"description\":\"\",\"filename\":\"manuscript.pdf\",\"url\":\"https://assets-eu.researchsquare.com/files/rs-7797213/v1/74ab395d-2a44-4185-aea7-b3a5d274ccbb.pdf\"}],\"financialInterests\":\"No competing interests reported.\",\"formattedTitle\":\"The emergence, reinforcement, and transcendence of China’s Dongbei in English translations of Shuang Xuetao’s works\",\"fulltext\":[{\"header\":\"Introduction\",\"content\":\"\\u003cp\\u003e\\u0026lsquo;Dongbei\\u0026rsquo; literally means Northeast China and is the Rust Belt area of the People\\u0026rsquo;s Republic of China (PRC), encompassing the provinces of Liaoning, Jilin, and Heilongjiang as well as parts of Inner Mongolia. It was a centre of heavy industry and rose to prominence as the \\u0026lsquo;eldest son\\u0026rsquo; of the nation during the Mao Zedong era(1949\\u0026ndash;1976). However, Dongbei\\u0026rsquo;s industry was hit seriously by the economic reforms of the 1990s, when millions of workers were laid off from formerly secure jobs at state-owned factories. Since the 2010s, Dongbei has once again loomed large in the Chinese imagination after decades of obscurity (Meaney, \\u003cspan citationid=\\\"CR25\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e). This rise in prominence is exemplified by discussions of the Dongbei Renaissance, a term coined by rapper Dong Baoshi to describe the revival of interest in Dongbei popular culture that began in the late 2010s and continues today. The term was later taken up in academic discussion. (Huang, \\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e; Li and Yang, 2020). This trend has been echoed in overseas studies of China\\u0026rsquo;s literature (Wang, 2019; Song, \\u003cspan citationid=\\\"CR43\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e), and books focusing on the identity of Dongbei (Chen et al, \\u003cspan citationid=\\\"CR4\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e) have been published outside China.\\u003c/p\\u003e \\u003cp\\u003eIn the field of literature, the Dongbei Renaissance is exemplified by the works of the Neo-Dongbei writers. The \\u003cem\\u003eneo\\u003c/em\\u003e in the latter term distinguishes this genre from the literary category of Dongbei writers, who emerged at a crucial moment in Chinese history in the 1930s. On September 18, 1931, Japan\\u0026rsquo;s Kwantung Army invaded Shenyang, marking the start of Japan\\u0026rsquo;s full-scale invasion of China. The event prompted young northeastern writers to flee to Shanghai, where they depicted the resistance of the northeastern people, pioneered a distinctly Chinese nationalistic literature and laid the foundation for future explorations of Japan\\u0026rsquo;s invasion in Chinese literature (Liu, \\u003cspan citationid=\\\"CR24\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e). Building on the concept of Dongbei writers, Huang (\\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e, p. 174) introduced the term Neo-Dongbei writers, identifying Ban Yu, Zheng Zhi and Shuang Xuetao as the school\\u0026rsquo;s core figures.\\u003c/p\\u003e \\u003cp\\u003eIt is by no means the case that Northeast China has produced only two distinct cohorts of writers over the course of nine decades, and the commonality of these two groups transcends mere geographical affiliation, being more profoundly rooted in their use of historical events in Northeast China as a pivotal entry point from which they explore universal themes and patterns of development. The corresponding translations of the appellations of the two literary schools in English are more revealing than their Chinese names. The group from the 1930s is referred to as northeastern writers (Goldblatt \\u003cspan citationid=\\\"CR8\\\" class=\\\"CitationRef\\\"\\u003e1981\\u003c/span\\u003e; Kong \\u003cspan citationid=\\\"CR18\\\" class=\\\"CitationRef\\\"\\u003e2015\\u003c/span\\u003e), whereas those from the 2020s are termed New/Neo-Dongbei (King \\u003cspan citationid=\\\"CR17\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e; Meaney \\u003cspan citationid=\\\"CR25\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e; Song \\u003cspan citationid=\\\"CR43\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e; Wang \\u003cspan citationid=\\\"CR46\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e; Yu \\u003cspan citationid=\\\"CR51\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e; Zhang \\u003cspan citationid=\\\"CR52\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e). This shift in terminology reflects an evolving external perspective on the development of Chinese literary classifications and provides valuable insights into the reception and reinterpretation of Chinese texts in the international discourse. \\u003cem\\u003eDongbei\\u003c/em\\u003e has transcended its original geographical meaning, as its cultural and identity connotations are now widely, even internationally, recognised.\\u003c/p\\u003e \\u003cp\\u003eThe works of Neo-Dongbei writers share a focus on the mass layoffs that occurred from the 1990s to the early 2000s, a topic that had previously been overlooked in Chinese literature (Guo, \\u003cspan citationid=\\\"CR9\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e). These works explore the hardships of individuals, portraying themes of loss, struggle, and the quest for hope, salvation, and resilience. Although these writers mainly set their works in Dongbei, their writings cannot be classified solely as regional literature. As Huang (\\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e, pp. 176\\u0026ndash;177) argues in his explication of Neo-Dongbei literature, their works transcend regionalism, as they encapsulate a universal working-class nostalgia within localised narratives. Notably, the Dongbei experience, which was once central to Shuang\\u0026rsquo;s works, has gradually receded in his post-2017 writings. As Wang and Zhang (\\u003cspan citationid=\\\"CR48\\\" class=\\\"CitationRef\\\"\\u003e2025\\u003c/span\\u003e) observed, his more recent storytelling has surpassed the geographical confines of Dongbei, embracing a broader thematic and geographical scope.\\u003c/p\\u003e \\u003cp\\u003eAnother defining feature of Neo-Dongbei writing is its dual narrative structure, which intertwines two distinct yet interconnected strands of storytelling: the experiences of the \\u0026lsquo;child generation\\u0026rsquo; in the present and their reflections on the past experiences of the \\u0026lsquo;parent generation\\u0026rsquo; (Huang, \\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e, p. 176). This generational dialogue departs from traditional linear narrative structures (Ji and Zheng, \\u003cspan citationid=\\\"CR16\\\" class=\\\"CitationRef\\\"\\u003e2023\\u003c/span\\u003e; Wang, \\u003cspan citationid=\\\"CR46\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e, p. 196) by employing fragmented storytelling to challenge overarching metanarratives.\\u003c/p\\u003e \\u003cp\\u003eThe Dongbei narratives on mass layoffs and marginalisation were pioneered by Shuang. Although Shuang\\u0026rsquo;s debut novel, \\u003cem\\u003eChigui\\u003c/em\\u003e (Wing Ghost), won First Prize at the Taiwan Chinese-language World Film Novel Awards in 2011, he only gained recognition in mainland China after 2013, following the publication of his short stories exploring adolescence and individuality. With the story \\u0026lsquo;The Master\\u0026rsquo; (2014), Shuang shifted his focus to the theme of layoffs in Northeast China. His story \\u0026lsquo;Moses on the Plain\\u0026rsquo; (2016), which was published in \\u003cem\\u003eHarvest\\u003c/em\\u003e \\u0026ndash; one of China\\u0026rsquo;s most prestigious literary magazines \\u0026ndash; was acclaimed and acknowledged as a milestone in the maturation of writing on the post-80s generation of Chinese writers (Huang, \\u003cspan citationid=\\\"CR14\\\" class=\\\"CitationRef\\\"\\u003e2017\\u003c/span\\u003e). The story sparked extensive literary criticism on the subject of the Dongbei layoffs (Fang, \\u003cspan citationid=\\\"CR6\\\" class=\\\"CitationRef\\\"\\u003e2017\\u003c/span\\u003e; Huang, \\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e; Li, \\u003cspan citationid=\\\"CR19\\\" class=\\\"CitationRef\\\"\\u003e2016\\u003c/span\\u003e; Liu, \\u003cspan citationid=\\\"CR23\\\" class=\\\"CitationRef\\\"\\u003e2021\\u003c/span\\u003e; Xu, \\u003cspan citationid=\\\"CR49\\\" class=\\\"CitationRef\\\"\\u003e2021\\u003c/span\\u003e). Shuang\\u0026rsquo;s subsequent works on this theme further cemented his status as a leading figure among Neo-Dongbei writers (Huang, \\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e, p. 174).\\u003c/p\\u003e \\u003cp\\u003eThe English translation of Shuang\\u0026rsquo;s works commenced in 2015, with \\u0026lsquo;The Master\\u0026rsquo;, shortly after his exploration of Dongbei layoff, before the concept of Neo-Dongbei literature had emerged in literary studies. To date, nine of his stories and two anthologies have been translated into English, with three published consecutively in \\u003cem\\u003eThe New Yorker\\u003c/em\\u003e. The \\u003cem\\u003eRouge Street\\u003c/em\\u003e (Shuang, \\u003cspan citationid=\\\"CR37\\\" class=\\\"CitationRef\\\"\\u003e2022b\\u003c/span\\u003e) anthology was published in 2022. Curated specifically for the English market, it was included in \\u003cem\\u003eThe New Yorker\\u003c/em\\u003e\\u0026rsquo;s list of the best books of 2022 (The New Yorker, \\u003cspan citationid=\\\"CR44\\\" class=\\\"CitationRef\\\"\\u003e2023\\u003c/span\\u003e). The translations were published relatively soon after the original works, and some works were published exclusively in English. This level of exposure is exceptionally rare for Chinese writers in the Anglophone literary sphere, indicating the breadth of the reception and appreciation of Shuang\\u0026rsquo;s work in the English-speaking world. Thus, it is worthwhile exploring how Dongbei is represented in the English translations and promotion of Shuang\\u0026rsquo;s work and whether the development of Neo-Dongbei literature in China has influenced the selection and translation of his works \\u0026ndash; and vice versa. However, research on English translations of his fiction is notably scant. Scholars such as Dylan Levi King (\\u003cspan citationid=\\\"CR17\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e) and Liang (\\u003cspan citationid=\\\"CR21\\\" class=\\\"CitationRef\\\"\\u003e2023\\u003c/span\\u003e) have acknowledged the significance of these translations, but Guo and Kang\\u0026rsquo;s (2025) study of readers\\u0026rsquo; reception of \\u003cem\\u003eRouge Street\\u003c/em\\u003e is the only one to focus on the translation of Neo-Dongbei work.\\u003c/p\\u003e \\u003cp\\u003eTo address this gap, the present article offers a novel contribution by offering insights into the representation of Dongbei in the English translations of Shuang\\u0026rsquo;s works. This article seeks to answer three key research questions:\\u003c/p\\u003e \\u003cp\\u003ea) What patterns and characteristics emerge in the selection of Shuang\\u0026rsquo;s texts for translation into English?\\u003c/p\\u003e \\u003cp\\u003eb) Has the development of Chinese literary concepts influenced the promotion of Shuang\\u0026rsquo;s oeuvre in English?\\u003c/p\\u003e \\u003cp\\u003ec) How do paratexts contribute to the representation of Dongbei, particularly in the case of \\u003cem\\u003eRouge Street\\u003c/em\\u003e?\\u003c/p\\u003e \"},{\"header\":\"Methods\",\"content\":\"\\u003cp\\u003eThe data analysed in this article comprise nine short stories by Shuang that have been translated into English, the English novella collection \\u003cem\\u003eRouge Street\\u003c/em\\u003e, and corresponding paratextual information.\\u003c/p\\u003e \\u003cp\\u003eIn G\\u0026eacute;rard Genette\\u0026rsquo;s framework (Genette, \\u003cspan citationid=\\\"CR7\\\" class=\\\"CitationRef\\\"\\u003e1997\\u003c/span\\u003e, p. 4), the paratext encompasses all the materials that mediate between a text and its readers. Genette distinguishes between peritexts (elements physically attached to the text, such as titles, prefaces, footnotes, and cover designs) and epitexts (materials external to the text, such as interviews, reviews, publicity, and media discourse). These elements collectively shape how a work is framed, received, and valued and are therefore crucial to understanding how translations position an author and their literature in new cultural contexts.\\u003c/p\\u003e \\u003cp\\u003eDrawing on Genette\\u0026rsquo;s (\\u003cspan citationid=\\\"CR7\\\" class=\\\"CitationRef\\\"\\u003e1997\\u003c/span\\u003e) theoretical framework, this article analyses both the peritexts and epitexts surrounding the translated works of Shuang. The study of paratexts involves examining the spatial, temporal, material, pragmatic, and functional characteristics of the message (Genette, \\u003cspan citationid=\\\"CR7\\\" class=\\\"CitationRef\\\"\\u003e1997\\u003c/span\\u003e, p. 4). While Genette acknowledges that this approach may be \\u0026lsquo;a little simplistic\\u0026rsquo; (1997, p. 4), he argues that it effectively outlines the essential methods for such analysis. By systematically examining the paratexts, this article explores how translation agents have represented Shuang\\u0026rsquo;s literary identity within the Anglophone context, with a particular focus on its connection to Neo-Dongbei writing. Document analysis is employed in data collection and text analysis.\\u003c/p\\u003e \\u003cp\\u003eParatexts are categorised following Genette\\u0026rsquo;s (\\u003cspan citationid=\\\"CR7\\\" class=\\\"CitationRef\\\"\\u003e1997\\u003c/span\\u003e) distinction between peritexts (such as titles, prefaces, covers, blurbs, translators\\u0026rsquo; notes) and epitexts (such as reviews, author/translator interviews, publisher promotions, and online features). These materials are examined for their spatial (placement and medium), temporal (time of release relative to the text), material (form and design), pragmatic (intended audience and effect), and functional (role in shaping interpretation) characteristics. Document analysis involves identifying recurrent themes, such as a particularly regional identity, author positioning, and market strategies, and comparing their presence and framing across different paratextual forms. This procedure helps to clarify how translation agents have contributed to the Anglophone reception of Shuang and situates these practices within the broader discourse on Neo-Dongbei literature.\\u003c/p\\u003e\"},{\"header\":\"Results\",\"content\":\"\\u003cdiv id=\\\"Sec4\\\" class=\\\"Section2\\\"\\u003e \\u003ch2\\u003eConnecting Shuang with Dongbei: Translators as gatekeepers\\u003c/h2\\u003e \\u003cp\\u003eBefore the publication of \\u003cem\\u003eRouge Street\\u003c/em\\u003e, three of Shuang\\u0026rsquo;s short stories, \\u0026lsquo;The Master\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR31\\\" class=\\\"CitationRef\\\"\\u003e2015\\u003c/span\\u003e), \\u0026lsquo;Teeter Tooter\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR34\\\" class=\\\"CitationRef\\\"\\u003e2019\\u003c/span\\u003e), and \\u0026lsquo;White Bird\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR15\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e), were translated into English and published in literary or translation-focused magazines. These three stories were selected and translated by Michael Day, Jeremy Tiang, and Kevin Wang, respectively. Day was the contract translator for Paper Republic. Wang is a Chinese American literary translator. Tiang, a translator and writer originally from Singapore and now based in the United States, has collaborated most extensively with Shuang, translating seven of his stories, two anthologies, and even Shuang\\u0026rsquo;s responses to English language interviews. In addition to works by other Chinese writers (e.g., Can Xue\\u0026rsquo;s \\u003cem\\u003eBarefoot Doctor\\u003c/em\\u003e, Zhang Yueran\\u0026rsquo;s \\u003cem\\u003eCocoon\\u003c/em\\u003e, and Liu Xinwu\\u0026rsquo;s \\u003cem\\u003eThe Wedding Party\\u003c/em\\u003e), \\u003cem\\u003eRouge Street\\u003c/em\\u003e was listed as one of \\u003cem\\u003eThe New Yorker\\u003c/em\\u003e\\u0026rsquo;s Best Books of 2022. The latter three were all translated by Tiang, whose contributions have been instrumental in introducing contemporary Chinese literature to Anglophone readers. As Shuang\\u0026rsquo;s Chinese literary agent Peng (\\u003cspan citationid=\\\"CR29\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e) observes, Tiang\\u0026rsquo;s prominent role in the literary world, including his service as a judge for the International Booker Prize and the National Book Award for Translated Literature, has allowed him to leverage his connections in UK and US publishing circles to recommend Shuang\\u0026rsquo;s works to the editors of prominent magazines. Shuang\\u0026rsquo;s English literary agency, Rogers, Coleridge \\u0026amp; White (RCW), was introduced to him by Tiang (Liu et al., \\u003cspan citationid=\\\"CR22\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e). Considering that Shuang was an up-and-coming author with limited literary capital in English-speaking contexts, his translators played a pivotal role in discovering and positioning his translations in suitable magazines.\\u003c/p\\u003e \\u003cp\\u003e\\u0026lsquo;The Master\\u0026rsquo;, translated by Day, was the first of Shuang\\u0026rsquo;s works to be made accessible to English-speaking readers. It was originally published in the August 2014 issue of \\u003cem\\u003eXihu\\u003c/em\\u003e magazine and received the \\u0026lsquo;5th Xihu Award for Emerging Short Stories\\u0026rsquo; in September 2015. The English translation subsequently appeared in the Winter 2015 issue of \\u003cem\\u003ePathlight.\\u003c/em\\u003e This near-simultaneous recognition by both domestic and international literary magazines underscored Shuang\\u0026rsquo;s rising prominence as an emerging writer. The publication of \\u0026lsquo;The Master\\u0026rsquo; marked Shuang\\u0026rsquo;s transition from youth literature to exploring themes related to layoffs in Dongbei (Liu, \\u003cspan citationid=\\\"CR23\\\" class=\\\"CitationRef\\\"\\u003e2021\\u003c/span\\u003e, p. 72). The story follows a laid-off worker struggling with alcoholism, illnesses, and other forms of hardship after his dismissal. Despite these struggles, he embodies a profound sense of spiritual resilience through playing Chinese chess, which is why he is acclaimed as a master. \\u0026lsquo;Teeter-Totter\\u0026rsquo; went further in reflecting the precarious fate of ordinary workers amid the backdrop of state-owned enterprise reform. The two stories both take the omniscient perspective of the child generation, but \\u0026lsquo;Teeter-Totter\\u0026rsquo; distinguishes itself with a dual-narrative structure, a suspenseful tone, and an open-ended conclusion.\\u003c/p\\u003e \\u003cp\\u003eThe concept of \\u0026lsquo;Neo-Dongbei writers\\u0026rsquo; had not yet been proposed when these two stories were published. However, the selected works exhibit a focus on marginalised characters and are narrated from the child generation\\u0026rsquo;s perspective, which are prominent features of Neo-Dongbei writing. Although the two selected stories are both related to the Dongbei layoffs, this background is not specified in the introduction to the two translations, where Shuang is introduced as a promising young writer.\\u003c/p\\u003e \\u003cp\\u003eThe English translation of \\u0026lsquo;White Bird\\u0026rsquo; was published shortly after the concept of Neo-Dongbei literature was proposed; however, the story itself is not directly related to the Dongbei ethos or layoffs. With seven interconnected micro-stories unified by a shared narrator, the story expresses an overarching theme of loss and the tangible manifestations of personal narratives. However, the translator\\u0026rsquo;s note by Wang was the first instance of explicitly linking Shuang to the Dongbei layoffs of the 1990s in a non-Chinese publication of his works. This note introduces the hardships experienced by workers during the economic transition and the impact of this transformation on Shuang\\u0026rsquo;s literary creations. Wang\\u0026rsquo;s decision to clarify the background suggests that the development of literary concepts within China actually influences the perspective from which authors are introduced and subsequently received during the overseas dissemination of literary works.\\u003c/p\\u003e \\u003cp\\u003eIn the initial stage of introducing Shuang to the English readers, the three translators named above acted as gatekeepers. The works they selected showcased Shuang\\u0026rsquo;s concern with the Dongbei layoffs and distinctive style of weaving multiple narrative threads. Although it remains unclear whether the underlying motivations for the selection of materials stemmed from thematic considerations or creative techniques, the works chosen do indeed embody the core defining traits of Neo-Dongbei literature. The image of Dongbei emerged in the first English translations of Shuang\\u0026rsquo;s oeuvre.\\u003c/p\\u003e \\u003cp\\u003e\\u0026lsquo;White Bird\\u0026rsquo; and \\u0026lsquo;Teeter-Totter\\u0026rsquo; were reviewed by Brian Lax, an editor at Metropolitan Books, an imprint of Henry Holt. Impressed by the subtle and enigmatic style of the two stories as well as the uniqueness and captivating mystery of Shuang\\u0026rsquo;s writing, Lax initiated the publication of Shuang\\u0026rsquo;s work. This action expanded Shuang\\u0026rsquo;s reach to a broader general audience, further solidifying his position as a critical voice in contemporary global literature. As Peng Lun observes, finding overseas publishers for Chinese works is challenging, as exemplified by the eight years it took for Tiang\\u0026rsquo;s translation of Zou Jingzhi\\u0026rsquo;s \\u003cem\\u003eNinth Building\\u003c/em\\u003e (longlisted for the 2023 International Booker Prize) to secure a publisher (Liu et al., 2023, p. 54). In contrast, the publication of Shuang\\u0026rsquo;s works in literary magazines by his translators laid a crucial foundation for the subsequent release of his short story collections and their broader dissemination.\\u003c/p\\u003e \\u003c/div\\u003e\\n\\u003ch3\\u003eRouge Street: The reinforcement of Dongbei\\u003c/h3\\u003e\\n\\u003cp\\u003e \\u003cem\\u003eRouge Street\\u003c/em\\u003e does not exist as a standalone collection in Chinese; rather, it is a curated anthology of novellas specifically targeted at the Anglophone market. The prototype for \\u003cem\\u003eRouge Street\\u003c/em\\u003e is Yanfen Street in Shenyang, a landmark frequently mentioned in the works of Neo-Dongbei writers. This collection of Chinese novels is not entirely themed around Dongbei. The anthology corresponds to the increasing scholarly attention paid to Neo-Dongbei writers in both domestic and international academia, demonstrating how the evolution of literary concepts can influence literary market dynamics. The reinforcement of Dongbei\\u0026rsquo;s literary image in \\u003cem\\u003eRouge Street\\u003c/em\\u003e is analysed below from three aspects: the selection of material, peritexts, and epitexts.\\u003c/p\\u003e\\n\\u003ch3\\u003eMaterial selection: Themes, characters, and the Dongbei experience\\u003c/h3\\u003e\\n\\u003cp\\u003eMaterial selection defines which aspects of the author\\u0026rsquo;s identity are emphasised for the target audience and which are deemphasised. Peng proposed the idea of curating a collection of novellas, and both Peng and Tiang suggested that a novella could serve as a distinctive medium for expressing Chinese culture (Beijing Contemporary Art Foundation [BCAF], 2022). Shuang prioritises thematic cohesion in his works. The anthology featured three novellas: \\u0026lsquo;Bright Hall\\u0026rsquo; (光明堂) and \\u0026lsquo;The Aeronaut\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR14\\\" class=\\\"CitationRef\\\"\\u003e2017\\u003c/span\\u003e) (飞行家) from \\u003cem\\u003eThe Aeronaut\\u003c/em\\u003e and \\u0026lsquo;Moses on the Plain\\u0026rsquo; from \\u003cem\\u003eMoses on the Plain\\u003c/em\\u003e. All three are set in Dongbei during the transitional period spanning the 1990s to the early 2000s, focusing on the lives of laid-off workers, and this was Shuang\\u0026rsquo;s first collection of novellas focusing on Dongbei.\\u003c/p\\u003e \\u003cp\\u003eThe nuanced exploration of resilience and redemption was a key characteristic across the novellas. While the novellas build an expectation of misfortune, they avoid the oppressive tone often found in other Chinese literature (BCAF, 2022). Instead, they adopt a lighter approach, encouraging readers to focus on the characters\\u0026rsquo; responses to challenges and creating an unexpectedly dynamic reading experience. Wang (\\u003cspan citationid=\\\"CR47\\\" class=\\\"CitationRef\\\"\\u003e2020\\u003c/span\\u003e) examined Shuang\\u0026rsquo;s writing on Dongbei, coincidentally focusing on these novellas. Wang highlighted how, despite the characters\\u0026rsquo; struggles with poverty, alcoholism, and neglect, each is portrayed as performing at least one act of heroism or moral redemption. Employing multilinear narratives that weave together perspectives across time and space, the stories thematise fate, resilience, and redemption.\\u003c/p\\u003e \\u003cp\\u003eAlthough Dongbei serves as a significant backdrop in the three works, restricting the significance of these works to their geographical setting might overlook the thematic and narrative threads that transcend regional boundaries, as noted in the existing literature. Nonetheless, peritextual and epitextual analyses further reveal the intentional framing of Dongbei as a central literary construct. This emphasis highlights the region\\u0026rsquo;s cultural and historical significance, positioning it as a defining element that enhances the collection\\u0026rsquo;s narrative depth and informs its promotional strategy.\\u003c/p\\u003e\\n\\u003ch3\\u003ePeritext design: From Yanfen Street to the fictional Rouge Street\\u003c/h3\\u003e\\n\\u003cp\\u003eThe peritext of a book serves as readers\\u0026rsquo; first point of interaction with the text, shaping their initial impressions and influencing their engagement with and interpretation of it. The peritext also reflects the publisher\\u0026rsquo;s strategy to frame the book\\u0026rsquo;s meaning and reception, encompassing elements such as the title, foreword, translator\\u0026rsquo;s note, and covers.\\u003c/p\\u003e \\u003cp\\u003eAmong these, the title is particularly important in establishing thematic resonance and guiding interpretation. In the story collections by Shuang that were published in China and later exported to South Korea (2019), Italy (2021), Spain (2023), and Poland (2024), the titles were typically taken from one of the stories in the anthology. However, Tiang argued that this approach might mislead readers into believing that the chosen story holds more significance than the others (Community Bookstore Live, \\u003cspan citationid=\\\"CR5\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e). To avoid this, Tiang suggested naming the collection after a shared setting \\u0026ndash; Yanfen Street (艳粉街) \\u0026ndash; to create a cohesive and memorable title that highlights their common backdrop (BCAF, 2022). Rather than serving as a central location, Yanfen Street functions as a recurring motif, frequently mentioned in the works of other Neo-Dongbei writers. In the anthology, Yanfen Street serves as the setting for \\u0026lsquo;Bright Hall\\u0026rsquo;, appears occasionally in \\u0026lsquo;Moses on the Plain\\u0026rsquo;, but is absent from \\u0026lsquo;The Aeronaut\\u0026rsquo;. Although Yanfen Street has a limited presence, naming the collection after it reinforces the thematic connections among the stories and highlights the location\\u0026rsquo;s symbolic significance. Tiang\\u0026rsquo;s decision recontextualises the place, offering a cross-cultural lens on Shuang\\u0026rsquo;s depiction of Dongbei and underscoring the centrality of place in shaping the work\\u0026rsquo;s thematic structure. This naming strategy anchors the stories within a specific cultural, historical, and social framework while emphasising the interplay between space and identity.\\u003c/p\\u003e \\u003cp\\u003eAlthough \\u0026lsquo;艳粉街\\u0026rsquo; is transliterated into \\u003cem\\u003epinyin\\u003c/em\\u003e as \\u0026lsquo;Yanfen Street\\u0026rsquo; within the anthology, the title is translated as \\u0026lsquo;Rouge Street\\u0026rsquo;, which reflects a creative strategy to engage Anglophone readers. In the translator\\u0026rsquo;s note, Tiang explains that \\u0026lsquo;rouge\\u0026rsquo; connects to a legend about plants once cultivated in this area that were used in the makeup worn by ladies in the imperial palace. \\u0026lsquo;Rouge Street\\u0026rsquo; evokes richer imagery and cultural associations than \\u0026lsquo;Yanfen Street\\u0026rsquo;, enhancing the text\\u0026rsquo;s symbolic resonance. As Guo and Zou (\\u003cspan citationid=\\\"CR10\\\" class=\\\"CitationRef\\\"\\u003e2023\\u003c/span\\u003e) observe, the use of \\u003cem\\u003epinyin\\u003c/em\\u003e can be challenging for readers of translated Chinese literature. Translating the title as \\u0026lsquo;Rouge Street\\u0026rsquo; not only improves accessibility but also broadens the work\\u0026rsquo;s appeal to Anglophone audiences.\\u003c/p\\u003e \\u003cp\\u003eThe significance of Yanfen Street is further examined in the translator\\u0026rsquo;s note and the foreword by Madeleine Thien, a celebrated Chinese-Canadian author and recipient of the Scotiabank Giller Prize. Thien\\u0026rsquo;s foreword situates the three novellas within the socioeconomic landscape of Northeast China, particularly the industrial city of Shenyang. Once a symbol of the PRC\\u0026rsquo;s industrial pride, the region experienced profound economic and social upheaval during the economic reforms of the 1990s. By framing the stories within this historical context, Thien offers readers a deeper understanding of the struggles and transformations depicted in the narratives. The translator\\u0026rsquo;s note explores the cultural and symbolic significance of Yanfen Street. It underscores the term\\u0026rsquo;s connection not only to the street\\u0026rsquo;s legends but also to its representation in music and other cultural expressions, thereby enriching the reader\\u0026rsquo;s appreciation of the book. Both the foreword and translator\\u0026rsquo;s note reference Wang Bing\\u0026rsquo;s internationally acclaimed documentary \\u003cem\\u003eTie Xi Qu: West of the Tracks\\u003c/em\\u003e, renowned for its vivid portrayal of Northeast China\\u0026rsquo;s industrial decline, with Yanfen Street as one of its focal points. By invoking this celebrated cultural artefact, the foreword and translator\\u0026rsquo;s note situate the anthology within a broader socio-historical framework, enhancing the reader\\u0026rsquo;s understanding of its themes and settings.\\u003c/p\\u003e \\u003cp\\u003eThe cover design of \\u003cem\\u003eRouge Street\\u003c/em\\u003e by Jocelyn Tsaih further reinforces the thematic and emotional tone of the collection. As shown in Fig.\\u0026nbsp;\\u003cspan refid=\\\"Fig1\\\" class=\\\"InternalRef\\\"\\u003e1\\u003c/span\\u003e, the front cover features a grey-black background with a street grid pattern overlaid by the silhouette of a bowed figure whose arms encircle the grid, symbolising the street. The muted grey-white tones of the design contrast sharply with the title \\u0026lsquo;Rouge Street\\u0026rsquo;, written in bold red letters. Despite the overall sombre tone, the striking red of the title creates a powerful visual and emotional contrast. The cover was widely acclaimed for its artistic merit and was included in the \\u0026lsquo;50 Best Covers of 2022\\u0026rsquo; by the American Institute of Graphic Arts (AIGA) (2023). The AIGA praised the design for its dual perspective: the street grid, viewed from above, doubles as both a street name and a portrait of a person constrained by domestic life. This layered interpretation evokes a melancholic yet thought-provoking atmosphere, inviting readers to deeply engage with the stories. Through its visual and symbolic elements, the cover encapsulates themes of constraint, resilience, and identity, which are all central to \\u003cem\\u003eRouge Street\\u003c/em\\u003e, thereby enhancing the reader\\u0026rsquo;s experience of the collection. The back cover further emphasises the setting in Northeast China during the region\\u0026rsquo;s economic transformation, ensuring that nearly all the peritexts are closely tied to the collection\\u0026rsquo;s cultural and historical context.\\u003c/p\\u003e \\u003cp\\u003e \\u003c/p\\u003e \\u003cp\\u003eThis cohesive interaction between the peritexts enhances the collection\\u0026rsquo;s thematic resonance, firmly positioning it within the sociocultural and historical context of Northeast China. By reflecting on the region\\u0026rsquo;s industrial decline and the mass layoffs and their impact on residents, these peritexts guide readers to approach the stories as profound explorations of Dongbei\\u0026rsquo;s identity and transformations.\\u003c/p\\u003e \\u003cdiv id=\\\"Sec8\\\" class=\\\"Section2\\\"\\u003e \\u003ch2\\u003eEpitextual narratives: Exploring the stories of Dongbei\\u003c/h2\\u003e \\u003cp\\u003eThe epitexts are crucial in guiding the reading process. A reader who first encounters a review of a book will approach the text with certain preconceptions based on that epitext (Munday et al., \\u003cspan citationid=\\\"CR28\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e, p. 203). The epitexts discussed in this paper include academic discussions and book reviews.\\u003c/p\\u003e \\u003cp\\u003eA week before \\u003cem\\u003eMoses on the Plain\\u003c/em\\u003e was released, an online forum titled \\u003cem\\u003eMoses on the Plain: Shuang Xuetao and Neo-Dongbei Literature\\u003c/em\\u003e was jointly hosted by David Der-wei Wang from Harvard University and Song Weijie from Rutgers University. The forum foreshadowed the association between Shuang\\u0026rsquo;s publications and the concept of Neo-Dongbei literature. The discussion topics ranged from the portrayal of characters to the relationship between Yanfen Street and Shuang\\u0026rsquo;s writing. By positioning \\u003cem\\u003eRouge Street\\u003c/em\\u003e within the framework of Northeast China\\u0026rsquo;s historical, economic, and social contexts, the forum reinforced the book\\u0026rsquo;s identity as a vital contribution to the emerging discourse on Neo-Dongbei literature, thereby solidifying its academic and cultural significance.\\u003c/p\\u003e \\u003cp\\u003eBook reviews play a significant role in influencing book sales and increasing title visibility (Hill and Power, \\u003cspan citationid=\\\"CR12\\\" class=\\\"CitationRef\\\"\\u003e2005\\u003c/span\\u003e, p. 35). To enhance the circulation and reception of a work, publishers and literary agents often distribute advance copies to critics. These reviews help readers form initial impressions and expectations while shaping their interpretation of the work from specific perspectives. \\u003cem\\u003eRouge Street\\u003c/em\\u003e received a total of 12 book reviews, which were primarily characterised by their focus on introducing the plot. This approach contrasts with the academic forum, which emphasised the conceptual framework and defining features of Neo-Dongbei literature.\\u003c/p\\u003e \\u003cp\\u003e \\u003cem\\u003eKirkus Reviews\\u003c/em\\u003e (February 2022) and \\u003cem\\u003ePublishers Weekly\\u003c/em\\u003e (April 2022), both aimed at booksellers and librarians (Hill and Power, \\u003cspan citationid=\\\"CR12\\\" class=\\\"CitationRef\\\"\\u003e2005\\u003c/span\\u003e, p. 35), provided concise summaries of the storyline and its setting in Shenyang. Additionally, \\u003cem\\u003ePublishers Weekly\\u003c/em\\u003e highlighted the presence of magical realism in the text. The other 10 reviews were aimed at general readers and can be divided into two categories. Those in the first category included a description of the book in the \\u0026lsquo;book introduction\\u0026rsquo; section, where it is highlighted alongside other titles as one of the most anticipated of the week April. The earliest mentions appeared on \\u003cem\\u003eLiterary Hub\\u003c/em\\u003e and \\u003cem\\u003eThe Millions\\u003c/em\\u003e in January 2022. \\u003cem\\u003eThe New York Times\\u003c/em\\u003e, described as \\u0026lsquo;arguably the most influential consumer-oriented book review publication\\u0026rsquo; (Hill and Power, 2015, p. 36), and \\u003cem\\u003eThe New Yorker\\u003c/em\\u003e both featured \\u003cem\\u003eRouge Street\\u003c/em\\u003e. They highlighted its setting in post-industrial Shenyang during a period of economic transformation, addressing social issues such as poverty, unemployment, domestic violence, and alcoholism while emphasising its underlying themes of hope, aspiration, and resilience (Khatib, 2022). This type of plot summary is relatively simple and does not involve specific plots and characters.\\u003c/p\\u003e \\u003cp\\u003eThe second category of reviews was more focused and specific, concentrating on \\u003cem\\u003eRouge Street\\u003c/em\\u003e and providing introductions to its characters and main plotlines. Notably, following a brief mention in March 2022, \\u003cem\\u003eThe New York Times\\u003c/em\\u003e published a more comprehensive and targeted review by Jing Tsu in April 2022, just before the book\\u0026rsquo;s official publication. These reviews praised Shuang\\u0026rsquo;s multi-layered narrative style and his focus on marginalised characters (Hong, \\u003cspan citationid=\\\"CR13\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e; Tsu, \\u003cspan citationid=\\\"CR45\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e). They also referenced Thien\\u0026rsquo;s foreword to examine the historical and cultural context of Northeast China, effectively situating the short story collection within this distinctive setting (Hong, \\u003cspan citationid=\\\"CR13\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e; Messud, \\u003cspan citationid=\\\"CR26\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e; Mond, \\u003cspan citationid=\\\"CR27\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e). Importantly, the reviews highlighted the transformation of Yanfen Street, which has evolved into a bustling suburb, \\u0026lsquo;no longer the disreputable, rough neighbourhood\\u0026rsquo; of Shuang\\u0026rsquo;s youth (Hong, \\u003cspan citationid=\\\"CR13\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e). Tsu (\\u003cspan citationid=\\\"CR45\\\" class=\\\"CitationRef\\\"\\u003e2022\\u003c/span\\u003e) further argued that this transformation has rendered the street distant even to contemporary Chinese society. This nuanced perspective contrasts with earlier studies that observed that foreign media often tend to steer readers towards political interpretations of Chinese literature, constructing a reductive and ideologically charged representation that overlooks the cultural and literary complexity of these works (Chen and Xu, \\u003cspan citationid=\\\"CR3\\\" class=\\\"CitationRef\\\"\\u003e2018\\u003c/span\\u003e). These reviews of \\u003cem\\u003eRouge Street\\u003c/em\\u003e adopted a more positive and affirming tone, focusing on the work\\u0026rsquo;s narrative depth, regional specificity, and universal values. This shift marks an important development in the reception of Chinese literature abroad, offering a fresh lens for examining the dissemination and interpretation of literary works in the context of globalisation.\\u003c/p\\u003e \\u003cp\\u003eWhen Shuang\\u0026rsquo;s novels were first published in China, they were not promoted with Northeast China as a key selling point. In fact, \\u003cem\\u003eRouge Street\\u003c/em\\u003e also offers a new perspective for understanding Shuang\\u0026rsquo;s novels by situating them in the context of Yanfen Street. Here, we can also observe the interaction between literary concepts, translation, and overseas dissemination.\\u003c/p\\u003e \\u003c/div\\u003e\\n\\u003ch3\\u003eDongbei Renaissance: Transcending regional boundaries\\u003c/h3\\u003e\\n\\u003cp\\u003eFollowing the success and positive reaction to \\u003cem\\u003eRouge Street\\u003c/em\\u003e, six of Shuang\\u0026rsquo;s short stories were featured in prominent magazines, significantly enhancing his visibility within the Anglophone literary sphere. This exposure not only underscores the literary merit of his work but also demonstrates its ability to resonate with international audiences. However, Shuang\\u0026rsquo;s subsequent works have gradually transcended the boundary of Dongbei, reflecting a shift towards more general themes and narratives that resonate with audiences.\\u003c/p\\u003e \\u003cp\\u003e\\u0026lsquo;Heart\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR38\\\" class=\\\"CitationRef\\\"\\u003e2023\\u003c/span\\u003e), \\u0026lsquo;Paris Friends\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR40\\\" class=\\\"CitationRef\\\"\\u003e2024b\\u003c/span\\u003e), and \\u0026lsquo;Up the Stairs\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR41\\\" class=\\\"CitationRef\\\"\\u003e2024c\\u003c/span\\u003e) consecutively appeared in \\u003cem\\u003eThe New Yorker.\\u003c/em\\u003e While these narratives remain situated in Dongbei and continue to feature protagonists whose identities are deeply connected to the region, they employ a characteristic fusion of realism and understated fantastical elements. However, they also signify a notable shift away from Shuang\\u0026rsquo;s established thematic preoccupation with socioeconomic issues. The stories thematise family, love, death, and the existential loneliness of individuals navigating unfamiliar worlds. \\u0026lsquo;Heart\\u0026rsquo; and \\u0026lsquo;Paris Friends\\u0026rsquo; respectively explore \\u0026lsquo;father\\u0026ndash;son\\u0026rsquo; and \\u0026lsquo;mother\\u0026ndash;son\\u0026rsquo; relationships, while \\u0026lsquo;Up the Stairs\\u0026rsquo; tells the story of a grandfather from the perspective of his grandson. Notably, the English translation of \\u0026lsquo;Paris Friends\\u0026rsquo; appeared just two months after the original publication in Chinese, and there is no Chinese version of \\u0026lsquo;Up the Stairs\\u0026rsquo;. The near-simultaneous publication and English special edition suggest increasing interest in Shuang\\u0026rsquo;s works in the English-speaking market.\\u003c/p\\u003e \\u003cp\\u003e\\u0026lsquo;Bottlenose\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR36\\\" class=\\\"CitationRef\\\"\\u003e2022a\\u003c/span\\u003e), \\u0026lsquo;Hunter\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR39\\\" class=\\\"CitationRef\\\"\\u003e2024a\\u003c/span\\u003e), and \\u0026lsquo;Up at Night\\u0026rsquo; (Shuang, \\u003cspan citationid=\\\"CR42\\\" class=\\\"CitationRef\\\"\\u003e2025\\u003c/span\\u003e), published in \\u003cem\\u003eAstra, Granta\\u003c/em\\u003e, and \\u003cem\\u003eBaffler\\u003c/em\\u003e, mark a notable departure from the theme of Dongbei, as their settings and protagonists have moved from the region. Instead, they explore the relationships between humans and nature as well as interpersonal connections in modern society. Notably, \\u0026lsquo;Hunter\\u0026rsquo; was published as part of the \\u0026lsquo;Dongbei Renaissance\\u0026rsquo; theme in Granta\\u0026rsquo;s \\u0026lsquo;China\\u0026rsquo; issue. As Thomas Meaney (\\u003cspan citationid=\\\"CR25\\\" class=\\\"CitationRef\\\"\\u003e2024\\u003c/span\\u003e) observes, \\u0026lsquo;[t]he most fascinating aspect of their writing is how precisely it captures the lost yet resigned emotional structure that permeates society\\u0026rsquo;. In Shuang\\u0026rsquo;s second collection, \\u003cem\\u003eHunter\\u003c/em\\u003e (2025), half of the stories are set outside Northeast China. In the book reviews, \\u0026lsquo;Dongbei Renaissance\\u0026rsquo; emerges as a key term, but the understanding of Dongbei has transcended geographical boundaries. Shenyang has become a symbolic landmark in the review (Piepenbring, \\u003cspan citationid=\\\"CR30\\\" class=\\\"CitationRef\\\"\\u003e2025\\u003c/span\\u003e), often compared with Detroit. Shuang\\u0026rsquo;s Dongbei narrative is widely regarded as reflecting the \\u0026lsquo;lying flat\\u0026rsquo; in China, an equivalent to \\u0026lsquo;quiet quitting\\u0026rsquo;, as overworked people face diminishing returns on diligence (Hao, \\u003cspan citationid=\\\"CR11\\\" class=\\\"CitationRef\\\"\\u003e2025\\u003c/span\\u003e). Meaney\\u0026rsquo;s observation and the book reviews align with Huang\\u0026rsquo;s definition of Neo-Dongbei literature, which transcends regional boundaries to embody a longing for an imagined past that is common in working-class communities globally interwoven with local narratives (Huang, \\u003cspan citationid=\\\"CR14\\\" class=\\\"CitationRef\\\"\\u003e2017\\u003c/span\\u003e). It suggests that the international literary community\\u0026rsquo;s understanding of Neo-Dongbei writing has expanded beyond the geographic boundaries of Northeast China, increasingly resonating with thematic and emotional concerns foregrounded in contemporary Chinese literature.\\u003c/p\\u003e\"},{\"header\":\"Discussion\",\"content\":\"\\u003cp\\u003eThis article has examined the evolution of the English translations of Shuang\\u0026rsquo;s work through an analysis of text selection and paratexts. It highlights the recognition of the quality of Shuang\\u0026rsquo;s work in both Chinese and international literary circles. The nearly simultaneous recognition of Shuang\\u0026rsquo;s work in China and abroad is closely linked to his engagement with pressing social issues as well as his portrayal of humanity\\u0026rsquo;s search for salvation, resilience, and hope. Furthermore, the article investigates how translation facilitates the interactions between literary concepts, text selection, and market strategies. While the theme of mass layoffs in Dongbei is evident in the early English translations of Shuang\\u0026rsquo;s works, its explicit articulation within paratextual elements only gained prominence after the \\u0026lsquo;Neo-Dongbei literature\\u0026rsquo; concept emerged in the late 2010s to early 2020s. The evolution of this literary framework not only enriched the thematic depth of Shuang\\u0026rsquo;s works but also offered fresh perspectives on their commercialisation. The naming of \\u003cem\\u003eRouge Street\\u003c/em\\u003e, along with other peritextual elements, exemplifies how Dongbei is positioned strategically as a conceptual lens for readers. Significantly, \\u003cem\\u003eRouge Street\\u003c/em\\u003e remains the sole work in Shuang\\u0026rsquo;s oeuvre explicitly titled to reflect a regional identity, in both its original Chinese and all translated versions. This choice underscores the phenomenon wherein the development of literary concepts within the source-language culture can profoundly shape the positioning of works within the target-language literary market.\\u003c/p\\u003e \\u003cp\\u003eThis article has investigated the dynamic and reciprocal relationship between peritext and epitext, emphasising their evolving influence over time in shaping a text\\u0026rsquo;s reception and presentation. It contends that the initial framing of a book within its peritext plays a pivotal role in shaping its reception in epitextual reviews. These reviews, in turn, often reintegrate into the peritext of later editions, creating a feedback loop that not only informs the critical discourse surrounding the text but also redefines its presentation for subsequent readers. This process underscores the interconnection between textual framing and audience interpretation across temporal and contextual shifts.\\u003c/p\\u003e \\u003cp\\u003eShuang has demonstrated far more active engagement with literary magazines than earlier authors, and his works may offer a model for other emerging Chinese writers seeking international recognition. This effort has been further supported by the active involvement of his translators and other agents in the translation process. Among these, Tiang, who has played a key role in having Shuang\\u0026rsquo;s works featured in prestigious literary outlets and maintaining his visibility on the global literary stage, deserves a special mention. While it may be unrealistic to expect all translators to take on such multifaceted responsibilities, the example of Tiang and other literary agents demonstrates the significance of a well-coordinated team in promoting the global success of Chinese writers. Taking Chinese literature to global audiences requires more than just skilled translators; it also needs translation agents who understand the international literary market and can strategically position such works to help Chinese authors reach a wider audience. By examining these dynamics, this article sheds light on the evolving infrastructure of global literary exchange and offers new insights into the mechanisms influencing the international positioning of Chinese literature.\\u003c/p\\u003e \\u003cp\\u003eThis study, like any other intellectual work, is not without limitations. Targeted interviews with the translator and literary agents could have provided deeper insights into the strategies behind his international promotion and reputation. Moreover, analysing the reception and strategies from national and regional perspectives could have provided valuable insights into how his works are received in the distinct English-speaking market.\\u003c/p\\u003e\"},{\"header\":\"Declarations\",\"content\":\"\\u003cp\\u003e\\u003cstrong\\u003eFunding Declaration\\u003c/strong\\u003e\\u003c/p\\u003e\\n\\u003cp\\u003eThis research was fund by Educational Department of Liaoning Province, grant number LJKQR20222492.\\u003c/p\\u003e\\n\\u003cp\\u003e\\u003cstrong\\u003eData Availability\\u003c/strong\\u003e\\u003c/p\\u003e\\n\\u003cp\\u003eData sharing is not applicable to this research as no data were generated or analysed.\\u003c/p\\u003e\\n\\u003cp\\u003e\\u003cstrong\\u003eE\\u003c/strong\\u003e\\u003cstrong\\u003ethics Statement\\u003c/strong\\u003e\\u003c/p\\u003e\\n\\u003cp\\u003eThis article does not contain any studies with human participants performed by any of the authors.\\u003c/p\\u003e\\u003ch2\\u003eAuthor Contribution\\u003c/h2\\u003e\\u003cp\\u003eGuo Jiahao is the sole author of this article.\\u003c/p\\u003e\"},{\"header\":\"References\",\"content\":\"\\u003col\\u003e\\u003cli\\u003e\\u003cspan\\u003eAmerican Institute of Graphic Arts (2024) Rouge street. 50 books, 50 covers. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://50books50covers.secure-platform.com/a/gallery/rounds/310/details/60942\\u003c/span\\u003e\\u003cspan address=\\\"https://50books50covers.secure-platform.com/a/gallery/rounds/310/details/60942\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 15 Sept 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eBeijing Contemporary Art Foundation (2024) Pingyuan shang de moxi: Shuang xuetao yu xindongbei wenxue xianshang huigu (平原上的摩西: 双雪涛与新东北文学线上论坛回顾, Moses on the plain: Shuang Xuetao and Neo Dongbei literature). BCAF. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://bcaf.org.cn/26359057\\u003c/span\\u003e\\u003cspan address=\\\"https://bcaf.org.cn/26359057\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. 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YouTube. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://www.youtube.com/watch?v=nPD4Sve30G8\\u003c/span\\u003e\\u003cspan address=\\\"https://www.youtube.com/watch?v=nPD4Sve30G8\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 23 Aug 2023\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eFang Y (2017) Youer yu guaishou: Shuang Xuetao xiaoshuo zhong de lishi biaoqing (诱饵与怪兽\\u0026mdash;双雪涛小说中的历史表情, Bait and monsters: historical expressions in Shuang Xuetao\\u0026rsquo;s novels). 当代作家评论2: 167\\u0026ndash;172\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eGenette G (1997) Paratexts: thresholds of interpretation. Cambridge University Press, Cambridge\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eGoldblatt H (1981) The northeastern writers. In: Yang W, Yang N (eds) Modern Chinese fiction: a guide to its study and appreciation\\u0026mdash;essays and bibliographies. G. K. Hall \\u0026amp; Co, Boston, pp 22\\u0026ndash;25\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eGuo Y (2020) xiagang ticai xiaoshuo zhong de \\u0026lsquo;yinshen\\u0026rsquo; yu \\u0026lsquo;fuchu\\u0026rsquo; (下岗题材小说的\\u0026lsquo;隐身\\u0026rsquo;与\\u0026lsquo;复出\\u0026rsquo;,The \\u0026lsquo;Disappearance\\u0026rsquo; and \\u0026lsquo;Resurgence\\u0026rsquo; of Novels on the Theme of Laid-off Workers). 文艺论坛6: 29\\u0026ndash;40\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eGuo J, Zou D (2023) Reception study: the omission of narrative text in the English translation of Mo Yan\\u0026rsquo;s Life and Death Are Wearing Me Out. Front Communication 8:75\\u0026ndash;87\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eHao T (2025) Hunter\\u0026mdash;Shuang Xuetao. The Full Stop. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://www.full-stop.net/2025/06/04/reviews/tony-hao/hunter-shuang-xuetao/\\u003c/span\\u003e\\u003cspan address=\\\"https://www.full-stop.net/2025/06/04/reviews/tony-hao/hunter-shuang-xuetao/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 3 Jun 2025\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eHill B, Power D (2005) The making of a bestseller: success stories from authors and the editors, agents, and booksellers behind them. Dearborn Trade Pub, Chicago\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eHong T (2022) Review: Rouge street: three novellas. Shelf Awareness. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.shelf-awareness.com/issue.html?issue=4193#m55672\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eHuang P (2017) Xinde meixue yuanze zai jueqi: yi Shuang Xuetao pingyuanshang de moxi weili (新的美学原则在崛起\\u0026mdash;\\u0026mdash;以双雪涛《平原上的摩西》为例, New aesthetic principles are emerging\\u0026mdash;taking Shuang Xuetao\\u0026rsquo;s Moses on the plain as an example]. 扬子江评论3: 12\\u0026ndash;18\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eHuang P (2020) Xindongebi zuojiaqun lungang (新东北作家群论纲,An outline of the \\u0026lsquo;Neo-Dongbei writers). 吉林大学社会科学学报60 (1):174\\u0026ndash;182, 223\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eJi X, Zheng Y (2023) Lun xindongbei zuojiaqun dui xiandai dongbei xushi de gengxu yu xinbian (论新东北作家群对现代东北叙事的赓续与新变\\u0026mdash;以双雪涛为典型案例, On the inheritance and innovation of northeast narrative tradition in Shuang Xuetao\\u0026rsquo;s writings). 东北师大学报4: 85\\u0026ndash;93\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eKing D (2022) The Rouge street blues: a new translation breathes life into China\\u0026rsquo;s Rustbelt. The World of Chinese. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.theworldofchinese.com/2022/06/the-rouge-street-blues-a-new-translation-breathes-life-into-chinas-rustbelt/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 18 Jul 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eKong H (2015) The significance of the northeastern writers in exile, 1931\\u0026ndash;1945. In: Zhang Y (ed) A companion to modern Chinese literature. Wiley Blackwell, London, pp 312\\u0026ndash;325\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eLi X (2016) Chengshi de xiangchou\\u0026mdash;tan. Shuang Xuetao de Shenyang gushi jianji\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eyizhong chengshi wenxue (城市的乡愁\\u0026mdash;谈双雪涛的沈阳故事兼及一种城 市文学, Urban Nostalgia: on Shuang Xuetao\\u0026rsquo;s Shenyang stories and urban literature). 当代作家评论6: 162\\u0026ndash;166\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eLiang B (2023) Xindongbei zuojiaqun haiwai yijie fangxingweiai (新东北作家群海外译介方兴未艾, The overseas translation of the \\u0026lsquo;Neo-Northeast writers group\\u0026rsquo; is thriving). \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e中国社会科学报https://www.cssn.cn/skgz/bwyc/202302/t20230215_5588172.shtml.Accessed\\u003c/span\\u003e\\u003cspan address=\\\"http://中国社会科学报https://www.cssn.cn/skgz/bwyc/202302/t20230215_5588172.shtml.Accessed\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e 3 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eLiu L, Liu X, Tiang J (2024) Zhongguo dangdai wenxue de haiwai yijie chuanbo tansuo\\u0026mdash;hanxuejia Cheng Yi fangtanlu (中国当代文学的海外译介传播探索\\u0026mdash;汉学家程异教授访谈录, Exploring the overseas translation and dissemination of contemporary Chinese literature: an interview with Sinologist Jeremy Tiang). 外国语文研究 10(4): 50\\u0026ndash;57\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eLiu X (2021) Zouxiang dongbei yu zouchu dongbei (走向东北与走出东北, Entering and departing Northeast China). 百家评论55: 72\\u0026ndash;78\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eLiu X (2024) Cong dongbei wenxue dao xindongbei wenxue (从东北文学到新东北文学, From Dongbei literature to Neo-Dongbei literature). 中国文学批评4: 139\\u0026ndash;145\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eMeaney T (2024) China time. Granta. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://granta.com/china-time/\\u003c/span\\u003e\\u003cspan address=\\\"https://granta.com/china-time/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Dec 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eMessud C (2022) New books. Harper\\u0026rsquo;s Magazine. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://harpers.org/archive/2022/04/new-books-april-2022/\\u003c/span\\u003e\\u003cspan address=\\\"https://harpers.org/archive/2022/04/new-books-april-2022/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eMond I (2022) Ian Mond reviews Rouge street: three novellas by Shuang Xuetao. 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Routledge, London\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003ePeng L (2020) Zhongguo wenxeu zouchuqu, xuyao zhuanye de xinxi wangluo (中国文学走出去, 需要专业的信息网络, For Chinese literature to go global, a professional information network is needed). 经济观察报. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://cj.sina.com.cn/articles/view/1641561812/61d83ed4001018y6s\\u003c/span\\u003e\\u003cspan address=\\\"https://cj.sina.com.cn/articles/view/1641561812/61d83ed4001018y6s\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 25 Jan 2025\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003ePiepenbring D (2025) New books. \\u003cem\\u003eHarper\\u0026rsquo;s Magazine.\\u003c/em\\u003e \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://harpers.org/archive/2025/06/new-books-dan-piepenbring-hunter-shuang-xuetao-the-spinach-king-john-seabrook-the-great-miscalculation-michael-greenburg/\\u003c/span\\u003e\\u003cspan address=\\\"https://harpers.org/archive/2025/06/new-books-dan-piepenbring-hunter-shuang-xuetao-the-spinach-king-john-seabrook-the-great-miscalculation-michael-greenburg/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 30 June 2025\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2015) The master(trans: Michael Day). In: Li D, Abrahamsen E (eds) Pathlight. Mobi\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2016) Pingyuan shang de moxi (平原上的摩西, Moses on the plain). Baihua Literature and Arts Publishing House, Tianjin\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2017) Feixingjia (飞行家,The aeronaut). Imaginist/Guangxi Normal University, Nanning\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2019) Teeter-totter (trans: Jeremy Tiang). Brick. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://brickmag.com/teeter-totter/\\u003c/span\\u003e\\u003cspan address=\\\"https://brickmag.com/teeter-totter/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2020) White bird (trans: Kevin Wang). Asymptote. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.asymptotejournal.com/special-feature/shuang-xuetao-white-bird/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Mar 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2022a) Bottlenose (trans: Jeremy Tiang). Astra. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://astra-mag.com/articles/bottlenose/\\u003c/span\\u003e\\u003cspan address=\\\"https://astra-mag.com/articles/bottlenose/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 18 Mar 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2022b) Rouge street: three novellas (trans: Jeremy Tiang). Metropolitan Books, New York\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2023) Heart (trans: Jeremy Tiang). The New Yorker. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttp://www.newyorker.com/magazine/2023/10/09/heart-fiction-shuang-xuetao\\u003c/span\\u003e\\u003cspan address=\\\"http://www.newyorker.com/magazine/2023/10/09/heart-fiction-shuang-xuetao\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 24 Jul 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2024a) Hunter (trans: Jeremy Tiang). Granta. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://granta.com/hunter-shuang-xuetao/\\u003c/span\\u003e\\u003cspan address=\\\"https://granta.com/hunter-shuang-xuetao/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 15 Nov 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2024b) Paris friends (trans: Jeremy Tiang). The New Yorker. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.newyorker.com/magazine/2024/12/02/paris-friend-fiction-shuang-xuetao\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 15 Dec 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2024c) Up the stairs (trans: Jeremy Tiang). The New Yorker. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.newyorker.com/magazine/2024/07/08/up-the-stairs-shuang-xuetao\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 25 Jul 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eShuang X (2025) Up the night (trans: Jeremy Tiang). The Baffler. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://thebaffler.com/latest/up-at-night-xuetao/\\u003c/span\\u003e\\u003cspan address=\\\"https://thebaffler.com/latest/up-at-night-xuetao/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 13 Jun 2025\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eSong W (2024) Northeast China in literature and film: Between suffering and salvation. Think China. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://www.thinkchina.sg/culture/northeast-china-literature-and-film-between-suffering-and-salvation-eye-dongbei-series\\u003c/span\\u003e\\u003cspan address=\\\"https://www.thinkchina.sg/culture/northeast-china-literature-and-film-between-suffering-and-salvation-eye-dongbei-series\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 15 Sept 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eThe New Yorker (2023) The best books of 2022. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.newyorker.com/best-books-2022\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eTsu J (2022) Left behind by China\\u0026rsquo;s economic miracle. New York Times www nytimes \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ecom/2022/04/19/books/review/shuang-xuetao-rouge-street.html\\u003c/span\\u003e\\u003cspan address=\\\"http://com/2022/04/19/books/review/shuang-xuetao-rouge-street.html\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eWang A (2024) Contemporary representation of alcoholism in Neo-Dongbei literature by Jia Hangjia and three icons of Dongbei Renaissance. In: Chen ZT (ed) Identity, space, and everyday life in contemporary Northeast China. Palgrave Macmillan, London, pp 195\\u0026ndash;222\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eWang Q (2020) Shadows and voices: Shuang Xuetao\\u0026rsquo;s fiction of Northeast China. MCLC Resource Center. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003ehttps://u.osu.edu/mclc/online-series/qi-wang3/\\u003c/span\\u003e\\u003cspan address=\\\"https://u.osu.edu/mclc/online-series/qi-wang3/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2024\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eWang Y, Zhang W (2025) Zouchu Dongbei: Guanyu Shuang Xuetao xiashuo Chuangzuo zhuangxiang de yizhong tihui (走出东北: 关于双雪涛小说创作转向的一种体会, Leaving the Northeast: reflections on the shift in Shuang Xuetao\\u0026rsquo;s novel writing). 当代文坛 2:202\\u0026ndash;207\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eXu M (2021) Dongbei jiyi yu \\u0026lsquo;chengwei xiaoshuojia\\u0026rsquo;\\u0026mdash;dui. Shuang Xuetao xiaoshuo\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eyizhong shehuixue jiedu (东北记忆与\\u0026lsquo;成为小说家\\u0026rsquo;\\u0026mdash;\\u0026mdash;对双雪涛小说一种社会学解读的解读, Northeast memory and becoming a novelist: a sociological interpretation of Shuang Xuetao\\u0026rsquo;s novels). 中国图书评论1:87\\u0026ndash;91\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eYu X (2024) Crime as historical testimony: narrative suspense in Neo-Dongbei literature. In: Chen ZT (ed) Identity, space, and everyday life in contemporary Northeast China. Palgrave Macmillan, London, pp 223\\u0026ndash;246\\u003c/span\\u003e\\u003c/li\\u003e \\u003cli\\u003e\\u003cspan\\u003eZhang H (2022) Shuang Xuetao: writing Rouge street: a home for exiles of Chinese modernity. Guernica. \\u003cspan class=\\\"ExternalRef\\\"\\u003e\\u003cspan class=\\\"RefSource\\\"\\u003e\\u003c/span\\u003e\\u003cspan address=\\\"http://www.guernicamag.com/shuang-xuetao-writing-rouge-street-a-home-for-exiles-of-chinese-modernity/\\\" targettype=\\\"URL\\\" class=\\\"RefTarget\\\"\\u003e\\u003c/span\\u003e\\u003c/span\\u003e. Accessed 20 Jun 2022\\u003c/span\\u003e\\u003c/li\\u003e\\u003c/ol\\u003e\"}],\"fulltextSource\":\"\",\"fullText\":\"\",\"funders\":[],\"hasAdminPriorityOnWorkflow\":false,\"hasManuscriptDocX\":true,\"hasOptedInToPreprint\":true,\"hasPassedJournalQc\":\"\",\"hasAnyPriority\":false,\"hideJournal\":false,\"highlight\":\"\",\"institution\":\"\",\"isAcceptedByJournal\":false,\"isAuthorSuppliedPdf\":false,\"isDeskRejected\":\"\",\"isHiddenFromSearch\":false,\"isInQc\":false,\"isInWorkflow\":false,\"isPdf\":false,\"isPdfUpToDate\":true,\"isWithdrawnOrRetracted\":false,\"journal\":{\"display\":true,\"email\":\"info@researchsquare.com\",\"identity\":\"humanities-and-social-sciences-communications\",\"isNatureJournal\":false,\"hasQc\":true,\"allowDirectSubmit\":false,\"externalIdentity\":\"palcomms\",\"sideBox\":\"Learn more about [Humanities \\u0026 Social Sciences Communications](http://www.nature.com/palcomms/)\",\"snPcode\":\"41599\",\"submissionUrl\":\"https://submission.springernature.com/new-submission/41599/3\",\"title\":\"Humanities and Social Sciences Communications\",\"twitterHandle\":\"\",\"acdcEnabled\":true,\"dfaEnabled\":true,\"editorialSystem\":\"stoa\",\"reportingPortfolio\":\"Nature AJ\",\"inReviewEnabled\":true,\"inReviewRevisionsEnabled\":false},\"keywords\":\"\",\"lastPublishedDoi\":\"10.21203/rs.3.rs-7797213/v1\",\"lastPublishedDoiUrl\":\"https://doi.org/10.21203/rs.3.rs-7797213/v1\",\"license\":{\"name\":\"CC BY 4.0\",\"url\":\"https://creativecommons.org/licenses/by/4.0/\"},\"manuscriptAbstract\":\"\\u003cp\\u003eThe term \\u0026lsquo;Neo-Dongbei [Northeast China] writers\\u0026rsquo;, formally proposed in 2019, refers to authors whose works address the mass layoffs in Dongbei during the 1990s and early 2000s. Shuang Xuetao is one such Neo-Dongbei writer, and his work expresses a universal working-class nostalgia through retrospection on the Dongbei region. English translations of Shuang\\u0026rsquo;s works exemplify how literary concepts from a native culture interact with translation and representation in the target culture and how the latter, in turn, enriches the understanding of those concepts. English translations of Shuang\\u0026rsquo;s work began with his exploration of mass layoffs. Seen through the lens of the Neo-Dongbei writer concept, Dongbei, as both a geographical focus and a literary landmark, is reinforced through text selection, naming, and later promotion in Shuang\\u0026rsquo;s English-language anthology debut, \\u003cem\\u003eRouge Street.\\u003c/em\\u003e Although the later novellas by Shuang that were translated into English are not set in Dongbei, they were still presented Neo-Dongbei literary works in the paratexts. In this sense, the understanding of Dongbei in English transcends geographical boundaries. Against this background, the present article examines English translations of Shuang\\u0026rsquo;s works and the evolving representation of Dongbei since 2015 in light of Genette Gerald\\u0026rsquo;s paratextual theory, focusing on text selection and paratextual framing. The analysis explores how translators, publishers, and literary agents have shaped the representation of Dongbei in the Anglophone literary market and contributes to discussions on the translation of contemporary Chinese literature and the positioning of rising voices on the global stage.\\u003c/p\\u003e\",\"manuscriptTitle\":\"The emergence, reinforcement, and transcendence of China’s Dongbei in English translations of Shuang Xuetao’s works\",\"msid\":\"\",\"msnumber\":\"\",\"nonDraftVersions\":[{\"code\":1,\"date\":\"2026-02-20 09:41:54\",\"doi\":\"10.21203/rs.3.rs-7797213/v1\",\"editorialEvents\":[{\"type\":\"communityComments\",\"content\":0},{\"type\":\"reviewersInvited\",\"content\":\"\",\"date\":\"2026-02-17T23:34:40+00:00\",\"index\":\"\",\"fulltext\":\"\"},{\"type\":\"editorAssigned\",\"content\":\"\",\"date\":\"2026-01-10T08:10:37+00:00\",\"index\":\"\",\"fulltext\":\"\"},{\"type\":\"editorInvited\",\"content\":\"\",\"date\":\"2025-11-11T07:52:44+00:00\",\"index\":\"\",\"fulltext\":\"\"},{\"type\":\"checksComplete\",\"content\":\"\",\"date\":\"2025-10-31T00:21:24+00:00\",\"index\":\"\",\"fulltext\":\"\"},{\"type\":\"submitted\",\"content\":\"Humanities and Social Sciences Communications\",\"date\":\"2025-10-31T00:18:37+00:00\",\"index\":\"\",\"fulltext\":\"\"}],\"status\":\"published\",\"journal\":{\"display\":true,\"email\":\"info@researchsquare.com\",\"identity\":\"humanities-and-social-sciences-communications\",\"isNatureJournal\":false,\"hasQc\":true,\"allowDirectSubmit\":false,\"externalIdentity\":\"palcomms\",\"sideBox\":\"Learn more about [Humanities \\u0026 Social Sciences Communications](http://www.nature.com/palcomms/)\",\"snPcode\":\"41599\",\"submissionUrl\":\"https://submission.springernature.com/new-submission/41599/3\",\"title\":\"Humanities and Social Sciences Communications\",\"twitterHandle\":\"\",\"acdcEnabled\":true,\"dfaEnabled\":true,\"editorialSystem\":\"stoa\",\"reportingPortfolio\":\"Nature AJ\",\"inReviewEnabled\":true,\"inReviewRevisionsEnabled\":false}}],\"origin\":\"\",\"ownerIdentity\":\"d83f6a3e-ab16-47c0-bbd3-83d6106a7969\",\"owner\":[],\"postedDate\":\"February 20th, 2026\",\"published\":true,\"recentEditorialEvents\":[],\"rejectedJournal\":[],\"revision\":\"\",\"amendment\":\"\",\"status\":\"under-review\",\"subjectAreas\":[{\"id\":63160279,\"name\":\"Humanities/Cultural and media studies\"},{\"id\":63160280,\"name\":\"Social science/Cultural and media studies\"},{\"id\":63160281,\"name\":\"Humanities/Language and linguistics\"},{\"id\":63160282,\"name\":\"Social science/Language and linguistics\"},{\"id\":63160283,\"name\":\"Humanities/Literature\"}],\"tags\":[],\"updatedAt\":\"2026-02-20T09:41:54+00:00\",\"versionOfRecord\":[],\"versionCreatedAt\":\"2026-02-20 09:41:54\",\"video\":\"\",\"vorDoi\":\"\",\"vorDoiUrl\":\"\",\"workflowStages\":[]},\"version\":\"v1\",\"identity\":\"rs-7797213\",\"journalConfig\":\"researchsquare\"},\"__N_SSP\":true},\"page\":\"/article/[identity]/[[...version]]\",\"query\":{\"redirect\":\"/article/rs-7797213\",\"identity\":\"rs-7797213\",\"version\":[\"v1\"]},\"buildId\":\"XKTyCvWXoU3ODBz1xrDgd\",\"isFallback\":false,\"isExperimentalCompile\":false,\"dynamicIds\":[84888],\"gssp\":true,\"scriptLoader\":[]}","source_license":"CC-BY-4.0","license_restricted":false}