{"product_id":"chinese-erotic-poems-isbn-9780307265678","title":"Chinese Erotic Poems","description":"\u003cb\u003eA dazzling collection of Chinese erotic poems about deep love and pure lust, enticement and seduction, ecstasy and disappointment, that span nearly three thousand years and include many poems never before translated into English.\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eThe ancient Chinese tradition of erotic poetry has been largely ignored in the west. Now, a vast continent of sensual verse is opened to us with this glorious collection spanning nearly Here are poems that express need, hunger, grief, and longing—for husbands and wives and for concubines and lovers; poems by turns explicit or subtle, light-hearted or desperate, written from both men’s and women’s points of view. The editors have drawn on a wide range of sources from 600 BCE to the present, including highly literary poems, popular verse, and folk songs, as well as poems that appeared in ancient Daoist sex manuals, in classical novels of the Ming Dynasty, and in collections of erotic prints. The result is an array of voices that speak the universal language of desire.\u003cbr\u003e\u003cbr\u003eFor the first time, all the major works of this beloved writer are gathered together in one hardcover volume.\u003ci\u003eForeword\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Book of Songs\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 600 BCE)\u003cbr\u003eIn the Wilds is a Dead River-Deer\u003cbr\u003ePortrait of a Bride \u003cbr\u003eThe Riverbank \u003cbr\u003eGrasshoppers and Baby Locusts \u003cbr\u003eZhen and Wei Rivers \u003cbr\u003eStripping Off Clothes \u003cbr\u003eWhite Moonrise\u003cbr\u003eThere are Tall Weeds in the Fields \u003cbr\u003eFruit Plummets from the Plum Tree \u003cbr\u003eI Beg You, Zhongzi \u003cbr\u003e\u003cbr\u003e\u003cb\u003eSima Xiangru\u003c\/b\u003e (179–117 BCE)\u003cbr\u003eThe Prose-Poem of the Beautiful Person \u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhang Heng\u003c\/b\u003e (78–139 CE)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eT’ung-sheng-ko \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eNineteen Ancient Poems (Han Dynasty)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZi Ye\u003c\/b\u003e (3rd–4th Centuries CE)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: The Cheating Lover \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: Night is Forever \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: Her Shyness \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: The Untied Skirt \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: Undressing\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: Street Encounter \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e42 Songs: Tangled Hair \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Spring Songs: Spring Wind \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Summer Songs: Lotus Flower Girl \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Summer Songs: After Lovemaking \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Summer Songs: Flaming Love \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Summer Songs: Melons and Plum \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e20 Summer Songs: Sleeping with One Pillow \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e18 Autumn Songs: The Lovers \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e17 Winter Songs: Lust for the Summer Lover \u003cbr\u003eLate Autumn\u003cbr\u003eSleeves Lifted \u003cbr\u003eA Charcoal Stove \u003cbr\u003eTwo Love Songs\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Six Dynasties)\u003cbr\u003eMy Lover Will Soon be Here \u003cbr\u003eThis Morning Our Boat Left \u003cbr\u003e\u003cbr\u003e\u003cb\u003eShen Yue\u003c\/b\u003e (441–513)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eSix Reminiscences\u003cbr\u003eTo a Friend I Met Early One Morning While She Was in Her Carriage \u003cbr\u003eFor My Neighbor Who Was Waiting for Someone Who Didn’t Come \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEmperor Wu of Liang\u003c\/b\u003e (464–549)\u003cbr\u003eThe Morning Sun Shines \u003cbr\u003e \u003cbr\u003e\u003cb\u003eEmperor Jianwen of Liang\u003c\/b\u003e (503–551)\u003cbr\u003eA Beautiful Woman \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEmperor Hou Zhu of Chen\u003c\/b\u003e (553–604)\u003cbr\u003eA Jade Tree Blossoms in the Back Garden\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhang Wencheng\u003c\/b\u003e (c. 657–730)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eThe Dwelling of Playful Goddesses\u003cbr\u003e—A Poem About His Knife \u003cbr\u003e—A Poem About Her Sheath \u003cbr\u003e—A Poem About a Broken Copper Flat-Iron\u003cbr\u003e—A Poem About Writing Brushes and Inkstones 57\u003cbr\u003e—Her Poem About a Bow\u003cbr\u003e—His Reply About the Bow \u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhao Luanluan\u003c\/b\u003e (8th Century)\u003cbr\u003eCloudlike Hair \u003cbr\u003eSlender Fingers \u003cbr\u003eCreamy Breasts \u003cbr\u003eThe Sandalwood Mouth\u003cbr\u003e\u003cbr\u003e\u003cb\u003eXie Wen\u003c\/b\u003e (Tang Dynasty)\u003cbr\u003eTo Lady Zheng \u003cbr\u003e\u003cbr\u003e\u003cb\u003eWang Wei\u003c\/b\u003e (701–761)\u003cbr\u003eA Young Lady’s Spring Thoughts \u003cbr\u003eFor Someone Far Away\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLi Bai \u003c\/b\u003e(701–762)\u003cbr\u003eConfessional \u003cbr\u003eSent Far Off \u003cbr\u003eSinging by Green Water in Autumn \u003cbr\u003eAn Encounter in the Field \u003cbr\u003e\u003cbr\u003e\u003cb\u003eSi Kongshu\u003c\/b\u003e (740–790?)\u003cbr\u003eI Fall Ill and Have to Marry Off My Singing Girl \u003cbr\u003e \u003cbr\u003e\u003cb\u003eMeng Jiao \u003c\/b\u003e(751–814)\u003cbr\u003eDeparture in Ancient Times \u003cbr\u003e\u003cbr\u003e\u003cb\u003eXue Tao\u003c\/b\u003e (768–831)\u003cbr\u003eSpring Gazing \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBai Juyi\u003c\/b\u003e (772–846)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eSong of Everlasting Sorrow \u003cbr\u003eSong of Collecting Lotus Seeds\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBai Xingjian\u003c\/b\u003e (776–826)\u003cbr\u003eThe Wedding Night (from the “Rhyme-Prose on the Supreme Joy of Sexual Union of Yin and Yang, Heaven and Earth”) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eYuan Zhen\u003c\/b\u003e (779–831)\u003cbr\u003eThe Poem of Xuizhen \u003cbr\u003eLate Autumn\u003cbr\u003eWhite Dress\u003cbr\u003eReminiscences (5 Poems) \u003cbr\u003eMissing Her After Separation (Poem Two) \u003cbr\u003eSpring Dawn\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHan Shan\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. Late 8th–Early 9th Centuries)\u003cbr\u003eBehind Pearl Curtains \u003cbr\u003eFull of Girls \u003cbr\u003eWoman in Her Prime \u003cbr\u003eA Flock of Beauties \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDu Mu\u003c\/b\u003e (803–852)\u003cbr\u003eGiven in Parting (Two Poems)\u003cbr\u003eSharing My Feelings \u003cbr\u003e\u003cbr\u003e\u003cb\u003eXue Feng\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 806–876)\u003cbr\u003eIn the Palace\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWen Tingyun\u003c\/b\u003e (812–870)\u003cbr\u003eTo the Tune of “Beautiful Barbarian”\u003cbr\u003e \u003cbr\u003e\u003cb\u003eDu Qiuniang\u003c\/b\u003e (Early 9th Century)\u003cbr\u003eThe Coat of Gold Brocade \u003cbr\u003e\u003cbr\u003e\u003cb\u003eLi Shangyin\u003c\/b\u003e (813–858)\u003cbr\u003eSecret of the Inner Chamber \u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eThe Jade City Sequence \u003cbr\u003eUntitled \u003cbr\u003e\u003cbr\u003e\u003cb\u003eHan Wo\u003c\/b\u003e (844–923)\u003cbr\u003eMeeting Her by Accident \u003cbr\u003e\u003cbr\u003e\u003cb\u003eWei Zhuang \u003c\/b\u003e(\u003ci\u003ec\u003c\/i\u003e. 836–910)\u003cbr\u003eTo the Tune of “Silk-Washing Brook” \u003cbr\u003eTo the Tune of “The River City”\u003cbr\u003eTo the Tune of “A Lotus Leaf Cup”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eYu Xuanji\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e. 843–868)\u003cbr\u003eA Farewell \u003cbr\u003eSelling Ruined Peonies \u003cbr\u003ePlaying Polo\u003cbr\u003eAutumn Complaints\u003cbr\u003eSent to a Neighboring Woman\u003cbr\u003eLetter to a Friend \u003cbr\u003e\u003cbr\u003e\u003cb\u003eOuyang Jiong\u003c\/b\u003e (896–971)\u003cbr\u003eTo the Tune of “Washing Gauze in a Stream”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLi Yu\u003c\/b\u003e (936–978)\u003cbr\u003eTo the Tune of “A Bushel of Pearls”\u003cbr\u003eTo the Tune of “Bodhisattva Barbarian”\u003cbr\u003eTo the Tune of “Bodhisattva Barbarian”\u003cbr\u003eTo the Tune of “Bodhisattva Barbarian” \u003cbr\u003e \u003cbr\u003e\u003cb\u003eAnonymous Female Poet\u003c\/b\u003e (Song Dynasty)\u003cbr\u003eDrunk Man\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSun Daoxuan\u003c\/b\u003e (Song Dynasty)\u003cbr\u003eTo the Tune of “As in a Dream”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLiu Yong\u003c\/b\u003e (987–1053)\u003cbr\u003eTo the Tune of “New Chrysanthemum Flowers”\u003cbr\u003eTo the Tune of “Poluomen Song”\u003cbr\u003e\u003cbr\u003eM\u003cb\u003eei Yaochen\u003c\/b\u003e (1002–1060)\u003cbr\u003eAt Night I Hear My Neighbor Singing \u003cbr\u003e\u003cbr\u003e\u003cb\u003eOuyang Xiu\u003c\/b\u003e (1007–1072)\u003cbr\u003eTo the Tune of “Spring in the Tower of Jade” \u003cbr\u003ePainting Eyebrows, to the Tune of “Pouring Out Deep Emotions”\u003cbr\u003eThe Sound of Beating Oars Wafts in Among the Flowers\u003cbr\u003eYou Cannot Hold It . . . \u003cbr\u003eGreen Jade Plum Trees in Spring \u003cbr\u003eWhen the Moon is in the River of Heaven\u003cbr\u003e \u003cbr\u003e\u003cb\u003eQin Guan\u003c\/b\u003e (1049–1100)\u003cbr\u003eTo the Tune of “Magpie Bridge Immortal”\u003cbr\u003eTo a Courtesan \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMadam Wei\u003c\/b\u003e (\u003ci\u003efl\u003c\/i\u003e.1050)\u003cbr\u003eTo the Tune of “Attached to Her Skirt”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhou Bangyan\u003c\/b\u003e (1056–1121)\u003cbr\u003eTo the Tune of “Rambling Young Man”\u003cbr\u003eTo the Tune of “Butterflies Adore Flowers”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhu Shuzhen\u003c\/b\u003e (1063–1106)\u003cbr\u003eTo the Tune of “Washing Creek Sands”\u003cbr\u003eSpring Joy \u003cbr\u003eSpring Night, to the Tune of “Panning Gold” 124\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLi Qingzhao\u003c\/b\u003e (1084–\u003ci\u003ec\u003c\/i\u003e.1151)\u003cbr\u003eTo the Tune of “Dream Song”\u003cbr\u003eTo the Tune of “Intoxicated in the Shade of Flowers” \u003cbr\u003eTo the Tune of “The Blossoming Sprig of Plum”\u003cbr\u003eTo the Tune of “Spring at Wu Ling”\u003cbr\u003eTo the Tune of “Silk Washing Brook”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eYan Rui\u003c\/b\u003e ( \u003ci\u003efl.c\u003c\/i\u003e. 1160)\u003cbr\u003eTo the Tune of “Song of Divination”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWu Wenying\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1200–\u003ci\u003ec\u003c\/i\u003e.1260)\u003cbr\u003eTo the Tune of “Washing Creek Sands”\u003cbr\u003eTo the Tune of “Prelude to Oriole Song”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGuan Hanjing\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1240–\u003ci\u003ec\u003c\/i\u003e.1320)\u003cbr\u003eTo the Tune of “Half and Half,” Two Poems \u003cbr\u003e \u003cbr\u003e\u003cb\u003eZheng Yunniang\u003c\/b\u003e\u003cbr\u003eThe Song of Shoes (To Zhang Sheng) \u003cbr\u003eTo the Tune of “West River Moon” (To Zhang Sheng) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eGuan Daosheng\u003c\/b\u003e (1262–1319)\u003cbr\u003eLove Poem \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Yuan Dynasty?)\u003cbr\u003eTo the Tune of “Washing Gauze in a Stream”\u003cbr\u003eTo the Tune of “Half and Half”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChen Keming\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1300–after 1375)\u003cbr\u003eTo the Tune of “Half and Half ”\u003cbr\u003e \u003cbr\u003e\u003cb\u003eTang Yin\u003c\/b\u003e (1470–1523)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eThe Happiness of Monks\u003cbr\u003eInscription for a Portrait \u003cbr\u003e\u003cbr\u003e\u003cb\u003eHuang E\u003c\/b\u003e (1498–1569)\u003cbr\u003eTo the Tune of “The Fall of a Little Wild Goose”\u003cbr\u003eTo the Tune of “Soaring Clouds”\u003cbr\u003eTo the Tune of “Red Embroidered Shoes” \u003cbr\u003eTo the Tune of “A Floating Cloud Crosses Enchanted Mountain”\u003cbr\u003eA Farewell to a Southern Melody \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTang Xianzu\u003c\/b\u003e (1550–1616)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eThe Peony Pavilion\u003cbr\u003e—Her Erotic Dream \u003cbr\u003e—Jade Limbs \u003cbr\u003e\u003cbr\u003e\u003cb\u003eXie Zhaozhe\u003c\/b\u003e (1567–1624)\u003cbr\u003eSpring Complaints \u003cbr\u003e\u003cbr\u003e\u003cb\u003eYuan Hongdao\u003c\/b\u003e (1568–1610)\u003cbr\u003eAt Hengtang Ferry \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Ming Dynasty)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eFlower Encampment and Battle Formations\u003cbr\u003e—To the Tune of “Like a Dream” \u003cbr\u003e—To the Tune of “Boating at Night” \u003cbr\u003e—To the Tune of “Watching the Sea Tide”\u003cbr\u003e—To the Tune of “The Forest of Writing Brushes Academy” \u003cbr\u003e—To the Tune of “Magpie on the Branch”\u003cbr\u003e—To the Tune of “Gold Man Holding a Plate for Collecting Dew”\u003cbr\u003e—To the Tune of “Spring in the Phoenix Tower”\u003cbr\u003e—To the Tune of “One Sprig of Plum”\u003cbr\u003e—To the Tune of “Visiting Spring”\u003cbr\u003e—To the Tune of “Unhooking Entangled Rings”\u003cbr\u003e—To the Tune of “Sand Washed by Waves” \u003cbr\u003e\u003cbr\u003e\u003cb\u003ePoetry Collected by Feng Menglong\u003c\/b\u003e (1574–1646)\u003cbr\u003eUntitled \u003cbr\u003eA Dragging Cotton Skirt \u003cbr\u003eClever \u003cbr\u003eLantern \u003cbr\u003eShooting Star \u003cbr\u003eThe Bento Box \u003cbr\u003eThe Boat\u003cbr\u003eA Boat Trip \u003cbr\u003eWe’e Only Happy About Tonight\u003cbr\u003eA Nun in Her Orchid Chamber Solitude Feels Lust Like a Monster\u003cbr\u003eSteal a Peep \u003cbr\u003eImpatience \u003cbr\u003eSqueeze \u003cbr\u003eA Good Day\u003cbr\u003eTryst\u003cbr\u003eFlirting \u003cbr\u003eFlirting \u003cbr\u003eFlirting \u003cbr\u003eCursing Dukang\u003cbr\u003eMisidentification\u003cbr\u003eFootsteps\u003cbr\u003eA Gift of Watermelon Seed Kernels \u003cbr\u003eAsking About a Bite Mark\u003cbr\u003eA Drunk Returns \u003cbr\u003eFire in the Eyes\u003cbr\u003eAgain\u003cbr\u003eConversation Between Heart and Mouth \u003cbr\u003eHooked \u003cbr\u003eIdiot Thoughts \u003cbr\u003eIdiot Thoughts \u003cbr\u003eAccount Book\u003cbr\u003eSobbing and Thinking\u003cbr\u003eThe Dream \u003cbr\u003eThe Dream \u003cbr\u003eLovesickness\u003cbr\u003eReceiving a Letter\u003cbr\u003eDivination \u003cbr\u003eDeparture \u003cbr\u003eNight Struggle \u003cbr\u003eRevealing Words\u003cbr\u003eThe Fear\u003cbr\u003eTo Keep Him\u003cbr\u003eRooster \u003cbr\u003eImaginary \u003cbr\u003eMoonrise\u003cbr\u003eMidnight\u003cbr\u003eThe Girl \u003cbr\u003eThe Girl\u003cbr\u003eToo Many\u003cbr\u003eWind\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLing Mengchu\u003c\/b\u003e (1580–1644)\u003cbr\u003eBed Time\u003cbr\u003eBetween the Sheets\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWang Wei\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1600–\u003ci\u003ec\u003c\/i\u003e.1647)\u003cbr\u003eTo the Tune of “Drunk in the Spring Wind”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRetired Scholar “Ailing Crane” of Tung-Hai\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1606)\u003cbr\u003eRousing the Dreaming Lover \u003cbr\u003eAwakening from a Spring Slumber\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWu Weiye \u003c\/b\u003e(1609–1672)\u003cbr\u003eOn Meeting an Old Flame, to the Tune of “Immortal by the River”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (\u003ci\u003ec\u003c\/i\u003e.1618)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003eThe Plum in the Golden Vase\u003cbr\u003e—On Infidelity\u003cbr\u003e—The Six Inch Thing\u003cbr\u003e—The Lotus Thing \u003cbr\u003e—A Night of Many Positions\u003cbr\u003e—To the Tune of “West River Moon”\u003cbr\u003e—To the Tune of “West River Moon” \u003cbr\u003e—To the Tune of “Walking on Grass”\u003cbr\u003e—A Body Like Snow-White Jade \u003cbr\u003e—Water Sex \u003cbr\u003e—The Two-Edged Sword\u003cbr\u003e—Green Jade and Red Rouge \u003cbr\u003e—Butterfly and Flower \u003cbr\u003e\u003cbr\u003e\u003cb\u003eWu Zao\u003c\/b\u003e (1799–1863)\u003cbr\u003eTo the Tune of “Beautiful Lady Yu”\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFan Zengxiang\u003c\/b\u003e (1846–1931)\u003cbr\u003eNoonday \u003cbr\u003e\u003cb\u003e\u003cbr\u003eWang Guowei\u003c\/b\u003e (1877–1927)\u003cbr\u003eTo the Tune of “Butterfly Loving Flowers”: Visiting My Parents After My Wedding Night \u003cbr\u003e\u003cbr\u003e\u003cb\u003eSu Manshu (The Half-Monk)\u003c\/b\u003e (1884–1918)\u003cbr\u003e\u003ci\u003eFrom \u003c\/i\u003e10 Narrative Poems \u003cbr\u003eTo the Zither Player \u003cbr\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e\u003cbr\u003eOn a Brothel Wall \u003cbr\u003e\u003cbr\u003e\u003cb\u003eYu Qingzeng\u003c\/b\u003e (Late 19th Century)\u003cbr\u003eTo the Tune of “Intoxicated with Shadows of Flowers” \u003cbr\u003e\u003cbr\u003e\u003cb\u003eLiu Dabai\u003c\/b\u003e (1880–1932)\u003cbr\u003eKiss by Mail\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eXu Zhimo\u003c\/b\u003e (1895–1931)\u003cbr\u003eYou Deserve It \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJ. S. Ling\u003c\/b\u003e (1901–?)\u003cbr\u003eA Morning Shower \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMang Ke\u003c\/b\u003e (1951–)\u003cbr\u003eDarling\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZhang Zhen\u003c\/b\u003e (1961–)\u003cbr\u003eThe Cat at My Friend’s House\u003cbr\u003eA Desire \u003cbr\u003e\u003cb\u003e\u003cbr\u003eChen Dongdong\u003c\/b\u003e (1961–)\u003cbr\u003eSnow-Covered Sun \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTang Yaping \u003c\/b\u003e(1962–)\u003cbr\u003eBlack Cave \u003cbr\u003eBlack Midnight \u003cbr\u003eBlack Rock \u003cbr\u003e\u003cbr\u003e\u003cb\u003eCyril Wong\u003c\/b\u003e (1977–)\u003cbr\u003eI Didn’t Expect to Write About Sex \u003cbr\u003e\u003cbr\u003e\u003ci\u003eBiographical Notes \u003c\/i\u003e\u003cbr\u003e\u003ci\u003eAcknowledgments \u003c\/i\u003eTONY BARNSTONE is Professor of English at Whittier College and the recipient of the  Pushcart Prize in Poetry as well as fellowships from the National Endowment for the  Arts and the California Arts Council. His books include \u003ci\u003eSad Jazz: Sonnets; Impure:  Poems \u003c\/i\u003eby Tony Barnstone; \u003ci\u003eThe Anchor Book of Chinese Poetry; Out of the Howling Storm:  The New Chinese Poetry; Laughing Lost in the Mountains: Poems of Wang Wei; The Art  of Writing: Teachings of the Chinese Masters\u003c\/i\u003e; and the textbooks \u003ci\u003eLiteratures of Asia,  Africa and Latin America, Literatures of Asia\u003c\/i\u003e, and \u003ci\u003eLiteratures of the Middle East.\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e CHOU PING took his doctorate in Asian literature from Stanford University and his  MFA in creative writing from Indiana University and has taught at Reed College, Oberlin  College and Washington University, among other places. His books include \u003ci\u003eThe Anchor  Book of Chinese Poetry \u003c\/i\u003eand \u003ci\u003eThe Art of Writing: Teachings of the Chinese Masters. \u003c\/i\u003eHe lives in Portland, Oregon.","brand":"Everyman's Library","offers":[{"title":"Default Title","offer_id":46300463005925,"sku":"NP9780307265678","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780307265678.jpg?v=1767723667","url":"https:\/\/k12savings.com\/products\/chinese-erotic-poems-isbn-9780307265678","provider":"K12savings","version":"1.0","type":"link"}