Jin Renshun. Female. Chaoxian Nationality. Jin Renshun was born in the city of Baishan in Jilin province in January 1970. Jin Renshun is a professional writer in the Changchun Literary Federation and a member of the China Writer’s Association Committee. Her works include the book length novelHarunoka, the short story and novella collections Peach Blossom, Monk Dance, and In Commemoration of My Friend Jin Zhi, and the essay collection White as a Lily. A portion of her work has been translated into English, German, Japanese, Korean, and Russian. A Korean language version of her short story collection Green Tea was also published (Korea’s Yile Press, 2013). In 2010 she was invited to participate in the University of Iowa’s International Writing Program.
Jin Renshun’s works are primarily short stories. There are not many, however. Her works can be generally split up into three themes: classical themes, daily life themes, and ethnic themes. Though her classical works are set in classical situations and backdrops, their core content, however, is brimming with immediacy and modernity. Her daily life themed works are stories on the instinctual needs of men and women. “Jin Renshun’s novels are more rooted in the ‘soil of skepticism’. Skepticism is always the stubborn motif of her work. Rather than saying the theme of her work is the loss of an ideal love, it is more correct to say that the ideal love never occured. Doubt might be a destructive way of forging ahead, or it might also be a way of being lost while facing oneself, or maybe it is even more a type of distrust generated toward a formerly possessed infatuation. Daring to take what is ‘sweet’ from within an ideal country and putting it into the soil of the mundane and have it bear the fruit of the ‘phantasm’ of daily life, that is an image in a looking glass that is ingenious beyond description.” (Cheng Depei’sSweet Skeptics) Her ethnic themed work is about how China’s Korean nationality integrated into the survival conditions under a Chinese language world, and also what kind of mixed relationships they formed with the people of North and South Korea.
Though Jin Renshun’s signature book length workHarunoka starts off with a folk story from the Korean Peninsula that was passed down by word of mouth, it transitions the story’s center of gravity to ‘people’. It remolds the image of the characters from the standpoint of literature, and initiates a questioning and an exploration of the possibilities of “how stories become legends”. In the folk story Chunhyangjeon the image of the Harunoka is established entirely to curry favor with a patriarchal society.Harunoka pushes the perspective onto Harunoka and her mother, and tells the story of how women struggled to protect their dignity and survive in a feudal patriarchal era. “The way Jin Renshun writes accords with what I call the aesthetic ideal of a fantastical narrative. What is a fantastical narrative? I define it as: a method of writing that advocates originality and imagination, encourages boldly conforming with the delusions of the era, and which enables people’s spirits to generate sublimation and flight. Many current works, to use the jargon of our career editor, are written too realistically. Reading this kind of work is a process in which your imagination is restrained and sealed off.” (Cheng Yongxin’sWhy do we not see Harunoka?). In the process of writing themes on the here and now, Jin Renshun’s representative short stories like Each Other, Skylark, and In Commemoration of My Friend Jin Zhi attempt to explore communication problems between family, friends, and lovers. Daily communication has become very simple in the age of the internet and globalization. Spiritual communcation, on the other hand, has become ever more difficult. This is a tragic era. It is destined to be this way. Laying bare the tragedy of the age in a literary format is the future direction of her writing.