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Serve the People!

Overview

Yan Lianke’s Serve the People! is a Chinese novella generally dated to 2005. Set in 1967, during the Cultural Revolution and at the height of Mao Zedong’s personality cult, it turns an illicit affair inside a military household into a sexually charged political satire. The work circulated in excerpts and online before it was banned in China. Julia Lovell’s English translation was published in 2008. Its combination of erotic comedy, grotesque imagery, and criticism of political ritual has made it one of Yan’s best-known and most controversial works.

Wu Dawang, the young soldier assigned to serve a division commander’s household, is an exemplary serviceman. He knows the approved political language and works diligently as cook and orderly, hoping to advance through obedience and effort. Liu Lian, the commander’s young wife, lives in the house while her husband is away on military and official business. She establishes a private signal for Wu: when the household’s wooden “Serve the People!” plaque is moved from its usual place, he is to come to her. What begins as an order from a powerful household member draws Wu into a forbidden affair. His identity as a model soldier is increasingly entangled with his sexual desire and his participation in Liu Lian’s defiance. The lovers’ encounters escalate into attacks on symbols of Maoist reverence: they knock down and trample Mao images and tear up copies of Quotations from Chairman Mao. In the story, the political and the intimate do not remain separate realms; public symbols become part of a private drama of desire, obedience, and transgression.

Satire and context

The title’s irony is central to the novella. A public slogan of service is turned into a household command and a private justification for the lovers’ actions. Wu’s ambition to embody the ideal soldier collides with his growing willingness to violate the values he has been taught to perform. Liu Lian, meanwhile, occupies a position of privilege within the commander’s home but also acts upon a desire that the household’s hierarchy and public morality are meant to contain. Their unequal positions complicate the affair: it is at once a sexual relationship, an exercise of authority, and a revolt against the political symbols surrounding them.

Yan uses exaggeration, dark comedy, and the collision of solemn rhetoric with bodily appetite to expose how ideology can shape even the most private spaces. The wooden plaque, Mao imagery, and political quotations give the story concrete, instantly recognizable emblems through which it stages that collision. The novella is not simply a tale of adultery or erotic provocation; its satire asks what happens when a state-sanctioned vocabulary is absorbed into domestic power and personal desire. The author’s stated interest in using fiction to reach forms of lived truth is relevant to the work’s method: its deliberately outrageous plot makes social and political contradictions visible through invention.

Reception and significance

The ban, reportedly prompted by the work’s treatment of Maoist ideals and political and sexual taboos, became inseparable from its reception. Excerpts and online circulation helped it find readers despite the prohibition, and the controversy brought wider attention to the novella. Its English-language publication introduced it to international readers as a daring satire, while its compact plot and forceful central images have kept it among the most recognizable works associated with Yan. The book’s lasting significance lies in the way it makes a political slogan, a military household, and a clandestine affair part of one grotesque comic structure. It remains a notable example of contemporary Chinese fiction using sexual transgression and absurdity to question authority, public language, and the limits imposed on literary expression.

About the Author

Yan Lianke

Origins and education

Yan Lianke was born in 1958 in Song County, Henan Province, China. He grew up in a rural farming family and, according to biographical accounts, spent part of his youth tending cattle and doing farm work. He left high school before completing his education. In 1978 he enlisted in the army, beginning a long military career that included service as a soldier, officer, secretary, and writer. He also worked in propaganda writing. These experiences brought him into close contact with the language and institutions of military and collective life, subjects that would recur in transformed and often satirical ways in his fiction.

Yan graduated from Henan University’s Department of Politics and Education in 1985, and in 1991 completed literary studies at the People’s Liberation Army Art Institute. He began publishing in 1980 and joined the China Writers Association in 1992. He left military service in 2004 and continued as a writer and teacher. He has been a professor and doctoral supervisor at the School of Liberal Arts of Renmin University of China, and in 2019 served as a visiting professor of Chinese culture at the Hong Kong University of Science and Technology.

Writing and major works

Yan’s fiction is often rooted in the countryside of Henan, but it departs from straightforward realism through grotesque invention, fable, exaggeration, and absurd turns of plot. He has described his approach through the idea of “mythorealism,” a way of using imaginative forms to pursue what he regards as deeper or spiritual truths about reality. His works repeatedly explore poverty, power, desire, social upheaval, and the vulnerable lives of ordinary people. The novella “Years, Months, Days” (1997) helped bring him wider literary notice, while Lenin’s Kisses (1998) marked an important early high point. Hard Like Water (2001) examined political experience and desire through an unconventional narrative. The Joy of Living (published in 2004) further established his reputation. Serve the People! (2005) brought erotic transgression and political satire into a compact story set in a military household. Dream of Ding Village (2006) addressed the devastation of AIDS in rural China. Later novels include The Explosion Chronicles (2008), The Four Books (2011), The Explosion Chronicles’ fellow landmark The Four Books (2011), The Explosion Chronicles’ successor The Explosion Chronicles (2013), and The Day the Sun Died (2015). More precisely, his later major novels include Feng Ya Song (2008), The Four Books (2011), The Explosion Chronicles (2013), and The Day the Sun Died (2015). He has also published essays, memoir, criticism, and other nonfiction, extending his attention to rural life beyond fiction.

Reputation and recognition

Yan’s writing has attracted both sustained critical debate and censorship, making him one of the most controversial contemporary Chinese authors. His fiction and nonfiction have been translated into many languages, and his international recognition reflects both the distinctiveness of his style and the political and social questions his work raises. Among his honors are the Lao She Award for Fiction (2005), the Shi Nai’an Literary Prize (2011), the Hua Zong World Chinese Literature Award (2013), and the Franz Kafka Prize (2014). He has also been a finalist or shortlist candidate for major international literary awards, and has received the Newman Prize for Chinese Literature and the Royal Society of Literature International Writer Lifetime Award. As of current biographical information, Yan is living; no date of death is recorded. His lasting reputation rests on a body of work that joins deep attention to rural experience with formal risk-taking, dark humor, and a willingness to test the boundaries of what fiction can represent.

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