Humorous, bizarre, and sometimes just plain wrong translations of Chinese into English, from the author of Chinglish and More Chinglish. Plain Chinglish offers an insightful look at misuses of the English language in Chinese street signs, products, and advertising. Menu translations such as “Chicken scratched in front of a peice of noodles,” safety notices such as “Prohibition against door,” and public education signs such as “Labor glorious, Lazy shamefull” will make readers laugh out loud. A long-standing favorite of English speaking tourists and visitors, you can enjoy 120+ brand-new examples of this unique cultural heritage from the comfort of your own home. Oliver Lutz Radtke is the author of Chinglish: Found in Translation and More Chinglish: Speaking in Tongues. As a writer, journalist, and project manager at a private German foundation, Oliver strives for better understanding between China, Europe, and the US. You will often find him on a plane to Beijing and his discoveries at www.chinglishmuseum.com.

Chinglish offers a humorous and insightful look at misuses of the English language in Chinese street signs, products, and advertising. A long-standing favorite of English speaking tourists and visitors, Chinglish is now quickly becoming a culture relic: in preparation for the 2008 Olympic Games in Beijing, the Chinese government is determined to wipe out incorrect English usage.

In The Future Conditional, Eric S. Henry brings twelve-years of expertise and research to offer a nuanced discussion of the globalization of the English language and the widespread effects it has had on Shenyang, the capital and largest city of China's northeast Liaoning Province. Adopting an ethnographic and linguistic perspective, Henry considers the personal connotations that English, has for Chinese people, beyond its role in the education system. Through research on how English is spoken, taught, and studied in China, Henry considers what the language itself means to Chinese speakers. How and why, he asks, has English become so deeply fascinating in contemporary China, simultaneously existing as a source of desire and anxiety? The answer, he suggests, is that English-speaking Chinese consider themselves distinctly separate from those who do not speak the language, the result of a cultural assumption that speaking English makes a person modern. Seeing language as a study that goes beyond the classroom, The Future Conditional assesses the emerging viewpoint that, for many citizens, speaking English in China has become a cultural need—and, more immediately, a realization of one's future.

Chinglish offers a humorous and insightful look at misuses of the English language in Chinese street signs, products, and advertising. A long-standing favorite of English speaking tourists and visitors, Chinglish is now quickly becoming a culture relic: in preparation for the 2008 Olympic Games in Beijing, the Chinese government was determined to wipe out incorrect English usage.

As heard on Radio 4's Woman's Hour and BBC Breakfast TV Winner of the YA Diverse Book Award, Bristol Teen Book Award, and 'Simply the Book' Coventry Inspiration Book Award Shortlisted for the Indie Book Award Nominated for the Carnegie Medal It is difficult trying to talk in our family cos: a) Grandparents don’t speak English at all b) Mum hardly speaks any English c) Me, Bonny and Simon hardly speak Chinese d) Dad speaks Chinese and good English – but doesn’t like talking In other words, we all have to cobble together tiny bits of English and Chinese into a rubbish new language I call 'Chinglish'. It is very awkward. Jo Kwan is a teenager growing up in 1980s Coventry with her annoying little sister, too-cool older brother, a series of very unlucky pets and utterly bonkers parents. But unlike the other kids at her new school or her posh cousins, Jo lives above her parents' Chinese takeaway. And things can be tough – whether it's unruly customers or the snotty popular girls who bully Jo for being different. Even when she does find a BFF who actually likes Jo for herself, she still has to contend with her erratic dad's behaviour. All Jo dreams of is breaking free and forging a career as an artist. Told in diary entries and doodles, Jo's brilliantly funny observations about life, family and char siu make for a searingly honest portrayal of life on the other side of the takeaway counter.

How do English-speaking novelists and filmmakers tell stories of China from a Chinese perspective? How do they keep up appearances of pseudo-Sino immanence while ventriloquizing solely in the English language? Anglo writers and their readers join in this century-old game of impersonating and dubbing Chinese. Throughout this wish fulfillment, writers lean on grammatical and conceptual frameworks of their mother tongue to represent an alien land and its yellowface aliens. Off-white or yellow-ish characters and their foreign-sounding speech are thus performed in Anglo-American fiction and visual culture; both yellowface and Chinglish are of, for, by the (white) people. Off-White interrogates seminal Anglo-American fiction and film on off-white bodies and voices. It commences with one Nobel laureate, Pearl Buck, and ends with another, Kazuo Ishiguro, almost a century later. The trajectory in between illustrates that the detective and mystery genres continue unabated their stock yellowface characters, who exude a magnetic field so powerful as to pull in Japanese anime. This universal drive to fashion a foil is ingrained in any will to power, so much so that even millennial China creates an “off-yellow,” darker-hued Orient in Huallywood films to silhouette its global ascent.