Unlike most classic Chinese literature,the Chin P'ing Mei breaths with surprisingly real characters with timeless motives: love, hate, fear, ambition, sex... If the soap opera existed when the book was written, The Plum in the Golden Vase would have had a following equal to Dallas. Not only are the book's characters sympathetic and fully developed, one actually cares about and identifies with them. Roy's translation reads more like a modern novel than a beloved Asian classic. Unlike earlier translations which sought to spare the reader some of the randier details of upper class private life, Roy presents all the particulars in a matter-of-fact manner that even today has the power to astonish the modern reader with it's open celebration of decandance. A great deal of the intended social commentary concerning the moral and spritual corruption of the time period will be apparent only to Asian historians and scholars; however, as with all great works, it may be read and enjoyed on many levels. To non-Chinese readers, keeping track of the multitude of unfamiliar names can be a problem, but there is a complete index of names included in the book but, although irksome at times, it is possible to keep track of everyone, even the servants,in this sprawling, epic work. I can't think of a better introduction to Chinese culture and history than the Chin P'ing Mei. Here's hoping the publication of Volume Three is not long in the making.

This is the book to read if you want to taste medieval Chinese culture: Salty love poetry, sweet wickedness, sour decadence, bitter philosophy, oily sex, all rolled up in a ginger and garlic spiced, fleshy bun. Roy lets you savor all the ingredients and, with a healthy sprinkling of notes, let's you peruse the cornucopia that inspired the recipes. Bon apetit for this first course of five.

David Tod Roy has done Chinese literature proud by producing a scrupulously exact translation of this classic in Chinese erotica. Like what a previous reviewer says, it is "clear and precise", bringing out the naturalistic details of the novel fully to the reader; yet, for all its accuracy, it reads exceptionally well. For introduction, Roy has written a well-argued essay on why Jin-Ping Mei should be read as didactic literature, not as mere erotica, as it has for centuries. Jin-Ping-Mei's checkered history in Chinese literature doesn't disguise the fact that it is a very well written (and detailed) account of the rise and fall of an extended household, made obvious by corruption and its list of licentious dealings (both in Ximen Qing and his harem).

David Tod Roy's translation of the classic 16th century Chin P'ing Mei is awesome and right on the money. The story leaps off the pages - this is how this famous vernacular Chinese novel was meant to be read! Every element of the story is clear and concise in Roy's translation, allowing the reader to enjoy the plot and the fascinating characters.

To briefly discuss the storyline, Chin P'ing Mei is a "spin off" from the classic Chinese novel Outlaws of the Marsh, and focuses on the trials and tribulations of the conniving seductress Pan Chin-lien and the new life she leads after murdering her husband. Some scholars of Chinese traditional literature will not like this allusion, but the story reads like a modern-day soap opera. The characters are lusty and scheming, and the general climate is electric. The general plot follows the intricate daily triumphs and frustrations of Hsi-Men Ching and his 'harem" of six wives and concubines (among them Pan Chin-lien). The story is rife with inter-household competition, infidelity, corruption, domestic abuse and eroticism. Characters are well developed, and the scenery is vivid. It provides a fascinating glimpse into the lives of the merchant class in 16th century China. It is easy to see how this novel has captured audiences for 400 years - and David Tod Roy's excellent translation will no doubt help it to endure for many more years to come.