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This article reads contemporary Chinese children's author Yin Jianling's novels The Paper Puppy (Zhiren) and Orange Fish (Juzi Yu) alongside her letter collection Fifteen Letters to Girls (Zhi Weilai de Ni) to explore the overarching themes of femininity, difference and female sexualities. The Paper Puppy weaves homoeroticism, heterosexuality, pre-marital sex and teenage pregnancy into one single novel. Homoeroticism, linked with the curiosity for the changing adolescent female body, marks the end of sexual innocence and the beginning of sexual awakening for protagonist Su, which is entwined intricately with the adolescent girl's physical, emotional and psychological maturation. In contrast, heterosexuality is portrayed in both novels as a deviant and potentially perilous site for adolescent girls. Fraught with the attendant risks of pregnancy, abortion and even suicide, adolescent heterosexual relationships are to be cautioned against. The analysis suggests that despite her self-proclaimed re-traditionalisation and anti-feminist stance in the letters, the sexual discourses in Yin's novels are much more subtle and complex, saturated with feminist and queer overtones. Significantly, in the development of adolescent female sexualities, whether homoerotic or heterosexual, the role of motherhood and adult mentorship is highlighted. [ABSTRACT FROM AUTHOR]

Modern children’s literature in China has largely been dominated by narratives of the nation and nationalism. The present article sets out to question the dominance of that nationalist stance as the country transitioned into the modern era in the late nineteenth and early twentieth centuries. By examining poetic children’s literature, the author unravels distinct non-nationalist intellectual sentiments in competition with the mainstream nationalist discourse that point to an imaginative envisioning of modernity. The article starts with a discussion of children’s poems and school songs imbued with a strong patriotic zeal in the late Qing and early Republican periods, and then moves on to the May Fourth period when lyricism and romanticism drew the attention of children’s literature advocates. Romantic-minded translators and writers, such as Bing Xin, embraced love as a humanist cosmopolitan vision while others, such as Zhou Zuoren and Liu Bannong, turned to local literary heritage, giving rise to a form of children’s songs with strong local consciousness. The article concludes by addressing the relevance of the insights derived from the historical case studies for contemporary children’s literature in China and beyond. It highlights the possibilities of envisaging modernity in non-nationalist terms and stresses the importance of cultivating in children alternative sentiments in the age of rising nationalism, both past and present. [ABSTRACT FROM AUTHOR]