I first became entranced with Xi Xi through one of her most famous short stories, “A Girl Like Me,” about a young woman working as a make-up artist for the dead. The girl sits in a café, struggling with the uneasy love of a man who doesn’t really know her and his anticipated reaction to her secret life in the morgue. Xi Xi’s gentle subversion of what is normal and monstrous had all the mastery of an Angela Carter story.
“Oh everyone loves her,” my Chinese professor told me, adding that Xi Xi has had an almost cult-like following in the Chinese speaking world since publishing her first story in 1965.
What little of her work that is available in English (two short story collections, two novels and a recently published book of poetry Not Written Words) provides a tantalizing teaser for what lies out of reach: seven novels, 21 short story and essay collections, several screenplays (including a re-telling of West Side Story), her therapeutic memoir Elegy for a Breast. The titles for her newspaper columns alone give a sense of her enchanting range: “Movies and Me,” “My Scrawling Room,” “The Flower Column,” “Ear man,” and “How Xi Xi views soccer.” Most recently she published The Teddy Bear Chronicles, a hybrid text in which her own handcrafted bears complement myths from our real and imagined past.
It’s a dexterity of form reflected in her pen name (her real name is Zhang Yan). In Chinese xi (西) means west. Doubled up, the characters 西西, resemble the legs of a girl playing hopscotch, she says. And this reflects one of Xi Xi’s most distinctive tools; her use of “childlike perception” to zoom in on liminal, overlooked characters and to glimpse grand historical narratives afresh: she has often reinterpreted fairytales to challenge social mores, most notably Hong Kong’s disputed status and the traditional happily-ever-after narratives imposed upon young women.