A brilliant storyteller. -- Hilary Spurling This book cracks the code of love, loneliness, and belonging in contemporary China. -- Xiaolu Guo, author of 'Once Upon a Time in the East' Reporting on four generations of one Chinese family and their diverging paths, Xinran shows how the countrys social norms have changed through politics and the rise of modernity. * New York Times * Xinran Xue is a gifted storyteller and The Promise reads like an unputdownable novel. William Spences translation from Chinese into English cannot be over-praised. * Washington Book Review * An absorbing, often startling, always persuasive exploration of contemporary China. -- Hilary Spurling on 'Buy Me The Sky' * The Spectator * [ A] graceful work that restores a lost generation to history. * Kirkus Review * One would have to have a heart of stone not to be moved. * The Economist on 'Message from an Unknown Chinese Mother' * Groundbreaking This intimate record reads like an act of defiance, and the unvarnished prose allows each story to stand as testimony. * The New Yorker on 'The Good Women of China' * Right here we see the red lines that many Chinese still draw for themselves in public discourse, or even privately, the boundaries they dare not cross even today. No other style of storytelling could have exhibited them with more clarity or greater rawness. -- Oliver August on 'China Witness' * THE TIMES * Exploring love and loss in modern China is a big job but it is in simplifying the overwhelming that Xinran excels. And in the introduction to this compelling and moving book, the author clarifies just how she has managed the task...In these carefully told vignettes, Xinran takes the reader through a century of tumult and change in China, her writing beautifully reflecting the intimate and honest voices of the women whose stories of love she tells. * The Weekend Australian * 'Xinran writes with a fine balance of economy, compassion and wisdom, and manages to be at once proud, critical, forward-looking, nostalgic, sad, angry and hopeful. * The New Statesman *
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