Title: Introduction to Chinese Cultural History / The Columbia Companion to Modern Chinese Literature / 01.5 Early Postrevolutionary Period: Revolutionary Romanticism 1949–1966

Front: How did the CCP impose the dictates of the Yan'an talks in the early PRC?
Back: - some writers embrace the cultural policy in the first place,
- public criticism when lines dictated by party guidelines were crossed,
- CCP imposes literary uniformity with:
  - Institutions
    - nationalization of publishing industry and journals,
    - Chinese Writers Association as (the only, I think, is implied?) ladder of success for writers "within the socialist literary system",
  - censorship by "not approving manuscripts for publication",
  - cultural campaigns,
    - 1950s dotted with "periodic campaigns against wayward writers"
    - later Great Leap Forward
    - even later Cultural Revolution
- effectively destroyed:
  - privately owned journals,
  - privately owned publishing houses,
  - competing literary societies,
  - stylistic heterogeneity,

Front: What was an important moment of releaxation in cultural policy in the 1950s?
Back: The Hundred Flowers (1956–1957), were writers and intellectuals were encouraged by the CCP to speak out.

Front: What was the response to the criticism in the wake of the Hundred Flowers?
Back: The Anti-Rightist Campaign (1957–1958).

Front: What are the prescribed styles in the early PRC called?
Back: - "Socialist realism" at first
- then "revolutionary realism combined with revolutionary romanticism"

Front: Which works of the prescribed style in the early PRC were sincerely enjoyed?
Back: - "Yang Mo: Song of Youth (1958),
- Zhou Erfu: Morning in Shanghai (1958),
- Qu Bo: Tracks in the Snowy Forest (1957),
- Liu Qing: The Builders (1959), and
- Luo Guangbin and Yang Yiyan: Red Crag (㑶ች, 1961)"