This chapter (of Dream of the Red Chamber 紅樓夢) admits of dualities? So here in part 1 we cover the first half (gold 金), which involves some extensive bickering over money (including an eyebrow-raising subscription scheme to collect funds for Xifeng’s birthday…) Next episode will cover the second half of the chapter (earth 土).

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Daiyu and Baochai exchange literary intimacies, and meta-literary musings! Is reading bad, actually? Or, is it Baochai who is kind of a fascist? Would Baochai reframe from reading her own book? Or is it Daiyu who should be “called out” for her classist joke? “Grannie Liu, more like Grannie Locust?, amirite?” 他是那一門子的姥姥？直叫他是個『母蝗蟲』就是了！ -Daiyu

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Suppose your child were born on the seventh day of the seventh month, what would you do? If you saw an immortal soul falling into the well of mortal existence, would you intervene and save them? Suppose you were facing a lifetime of strangely illiquid “tear debt,” would you seek solace in historical novels and plays that serve no clear moral or dogmatic purpose? These and other questions are all addressed in this installment of Rereading the Stone, a podcast dedicated to historical Chinese literature, poetry, and philosophy.

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One of our favorite sections of the text — Grannie Liu takes Baoyu’s bed for a spin, dreaming her own dream of red chambers! A full sensory experience, we compare it to Bayou’s dream from Qin Keqing’s bed.

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Granny Liu’s choice of cups (wood is good!) figures prominently in this installment. A wide-ranging discussion of social class and constructed value, as the real and unreal reveal themselves to be deeply interwoven.

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This part of chapter 40 of Dream of the Red Chamber (Story of the Stone, Hongloumeng) is a lot of poetic fun, but is it purely fun and games? What kind of symbolism and foreshadowing lie within, and will illicit references catch the censor’s gaze? How will Baochai escape the dialectical logic of “takes one to know one”? Is gaming a kind of waking dream? What kind of displacements might be occurring? All these questions, and more, are addressed in this installment* of Rereading the Stone.

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More excellent Granny Liu content, as we travel deeper into the garden, soon by means of pleasure craft, with Xifeng at the helm. When withered lotus petals are observed on the surface of the water, Daiyu famously discusses the poetry of Tang poet Li Shangyin.

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It's Chapter 40 of Dream of the Red Chamber (Story of the Stone, Hongloumeng), and we're accompanying Grannie Liu on her tour of Prospect Garden. In what ways is the garden reflective of, and in dialogue with, Grannie’s Liu’s dreams and desires? What does Grannie Liu accurately perceive on her tour, and where does she project? And what about the “country bumpkin” role that Grannie Liu is compelled to occupy? Is there any method to the maddening interplay of truth and fiction in the garden?

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