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Selected Stories by Xuemo 雪漠小说精选
《雪漠小说精选(英文版)(精)》是西部文学代表作家雪漠创作的、完全立足于西部大地的短篇小说集。本书包括《新疆爷》、《月儿》、《深夜的蚕豆声》、《豺狗子》4篇小说。故事里，穷困苍老的新疆爷因有着干净美好、不掺杂一丝欲望的爱而过着平淡安详的生活；得了脏病的月儿虽然在迷乱的城市中失足，但在生命的最后阶段因为那纯净的向往而解脱；在饥荒困境中，有着侠义担当的雪羽儿却差点被舅舅一家吃掉；兰兰和莹儿在沙漠中九死一生，在面对各种“豺狗子”时，与命运做着顽强的抗争，险而逃生。从表面看，雪漠的小说故事情节，无论是爱情还是亲情，其中总透露出苍凉与悲惨，但深思又觉出主人公们是在倔强地过着自己的西部沙漠生活，用自己的方式实现内心的平衡与祥和。因此，这些小说读来总有一种沉重的感觉，让人久久回
Audiobook
Published September 30, 2021
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About the author
Xuemo.
64 books31 followersXuemo （雪漠）, is a shining star in the Chinese literary and cultural world. Born in Gansu, China, he has a prolific career spanning over 70 works. His writings have been translated into more than 20 languages, including English, French, German, Swedish, and Spanish, etc. Nearly 60 foreign-language editions translated by distinguished translators were published worldwide. Since 2019, Xue Mo's works have been consistently globally featured at independent booths at the Frankfurt Book Fairs, the London Book Fari, Los Angeles Book Fair, the AAS Annual Conference, the Tokyo/Hong Kong Film Festival, etc. In 2022, he topped the International Media Spotlight List at the Frankfurt Book Fair.
Honors:
Winner of the 2024 NYC Big Book Award; Winner of the 2024 Independent Press Award; Winner of the 2024 International Impact Book Award; Winner of the 2022 Sri Lanka National Literary Award; Winner of the 2022 Excellent Translation Award by the China International Communications Group (CICG) in global.
Nominated three times for the Mao Dun Literature Prize, Winner of the Dunhuang Literature and Art Award six consecutive times, 2015 Top Ten Figures in Chinese Brand Culture in China, etc.
In China, the School of Foreign Languages at Ningbo University established the "Xue Mo Research Center for Chinese Literary Translation," while the New Era Literary and Art Development Research Center at Central South University founded the "Xue Mo Institute," as well as Wuwei Xue Mo Academy武威雪漠书院, all have been fostered good communications across different cultures.
His cultural pieces, the audio book of Xue Mo's interpretation of the Diamond Sutra, named 《佛陀的智慧》on Ximalaya platform, with over 30 million plays, which has consistently ranked among the top dozen in its category for years.
As of now, Xue Mo's works have garnered attention and reviews by tons of scholars from prestigious universities worldwide, including Harvard University, Stanford University, Yale University, Northwestern University, the University of Hawaii, Durham University, the University of Warwick, Heidelberg University, and the University of Munich, etc. Moreover, the number of reviews continues to grow.
For more information about Xue Mo and his books, you could visit our official website: http://xuemo.cn/ ; http://www.xuemo.com/
Honors:
Winner of the 2024 NYC Big Book Award; Winner of the 2024 Independent Press Award; Winner of the 2024 International Impact Book Award; Winner of the 2022 Sri Lanka National Literary Award; Winner of the 2022 Excellent Translation Award by the China International Communications Group (CICG) in global.
Nominated three times for the Mao Dun Literature Prize, Winner of the Dunhuang Literature and Art Award six consecutive times, 2015 Top Ten Figures in Chinese Brand Culture in China, etc.
In China, the School of Foreign Languages at Ningbo University established the "Xue Mo Research Center for Chinese Literary Translation," while the New Era Literary and Art Development Research Center at Central South University founded the "Xue Mo Institute," as well as Wuwei Xue Mo Academy武威雪漠书院, all have been fostered good communications across different cultures.
His cultural pieces, the audio book of Xue Mo's interpretation of the Diamond Sutra, named 《佛陀的智慧》on Ximalaya platform, with over 30 million plays, which has consistently ranked among the top dozen in its category for years.
As of now, Xue Mo's works have garnered attention and reviews by tons of scholars from prestigious universities worldwide, including Harvard University, Stanford University, Yale University, Northwestern University, the University of Hawaii, Durham University, the University of Warwick, Heidelberg University, and the University of Munich, etc. Moreover, the number of reviews continues to grow.
For more information about Xue Mo and his books, you could visit our official website: http://xuemo.cn/ ; http://www.xuemo.com/
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Displaying 1 - 3 of 3 reviews
November 15, 2025
I read Xuemo’s Selected Stories in 2024, during a weeknd trip to Deegha, a place where the air tastes like chilled ocean. I had gone there with Arindam, a colleague-turned-friend, as a much-needed escape from a stressful year.
We stayed at a modest homestay above Gandhi Road, where the rooms always smelt of damp wood and cinnamon. On the first night, unable to sleep, I opened Xuemo’s collection—and the entire trip became infused with his desert-worlds, Tibetan myths, and sweeping visions of human fate.
Xuemo is a writer of landscape. His stories breathe dust, wind, and silence. They carry the pulse of Western China’s rugged terrain, blending mysticism with stark realism. Reading him in the chilly breeze of the ocean, created an unexpected resonance: my world was wrapped in sea mist; his stories burnt with desert heat. The contrast was electrifying.
The first story hit me like a slow shock—its quiet tenderness erupting into something raw and mythic. I remember pausing, looking out the window at the sleeping town below. The lights looked like scattered embers. Arindam had already fallen asleep, snoring lightly, and the sky outside was dissolving into the kind of darkness only beach nights can produce.
Xuemo’s prose felt like listening to an ancient storyteller by a desert fire. His recurring themes—destiny, suffering, redemption, erotic longing, spiritual hunger—felt strangely universal yet culturally rooted.
The rhythmic repetition, the philosophical undercurrent, the symbolic weight of even the smallest gesture… everything pulled me deeper.
One afternoon, while Arindam went for a long walk, I sat on the terrace with a steaming cup of first-flush Darjeeling tea and continued reading. Breeze rolled in and out like a living creature, sometimes swallowing the entire view, sometimes revealing the ocean's gleaming vision. Against that backdrop, Xuemo’s descriptions of wind-eroded cliffs and nomadic rituals felt like echoes from another dimension.
I realised how profoundly landscape shapes identity—his characters carried the desert inside them the way I carry rivers, humidity, and monsoon skies.
The story that moved me most was about a wandering monk whose journey is as much internal as physical. His conflicts—temptation, doubt, transcendence—felt deeply familiar, mirroring parts of my own personal restlessness that year. Deegha's stillness offered the perfect space for those reflections. I remember closing the book and simply breathing, letting the cold sea breeze settle my thoughts.
Arindam noticed the effect the book was having on me.
“You look different,” he said one evening over momo and thukpa.
“Desert ghosts,” I joked.
But the truth was that Xuemo had quietly rearranged something inside me.
Some nights, the silence of the hills would feel almost too vast. I’d open the book again, and Xuemo’s firm, compassionate storytelling would steady me. His understanding of human suffering is unflinching, but never despairing. He allows his characters to break and mend with dignity.
What I carry most from that reading experience is a sense of inner expansion. Xuemo widened my imagination—not horizontally, but vertically, digging deeper into the psychological and spiritual terrains of his characters. His world felt foreign yet strangely intimate, and reading him in a place as serene and introspective as Deegha heightened every emotion.
By the time the trip ended, I realised that the book had become inseparable from the town’s quiet. Even now, whenever I think of Xuemo, I smell woodsmoke and tea. I see a sea breeze weaving through pine trees. I hear distant temple bells. His stories have become part of that personal geography.
Selected Stories remains one of the most powerful cross-cultural reading experiences of my life. It taught me that literature doesn’t just travel across borders—it transforms you in the place where you happen to be.
For me, that place was Deegha's cold terraces, a friend’s quiet companionship, and a winter when I desperately needed both distance and depth.
We stayed at a modest homestay above Gandhi Road, where the rooms always smelt of damp wood and cinnamon. On the first night, unable to sleep, I opened Xuemo’s collection—and the entire trip became infused with his desert-worlds, Tibetan myths, and sweeping visions of human fate.
Xuemo is a writer of landscape. His stories breathe dust, wind, and silence. They carry the pulse of Western China’s rugged terrain, blending mysticism with stark realism. Reading him in the chilly breeze of the ocean, created an unexpected resonance: my world was wrapped in sea mist; his stories burnt with desert heat. The contrast was electrifying.
The first story hit me like a slow shock—its quiet tenderness erupting into something raw and mythic. I remember pausing, looking out the window at the sleeping town below. The lights looked like scattered embers. Arindam had already fallen asleep, snoring lightly, and the sky outside was dissolving into the kind of darkness only beach nights can produce.
Xuemo’s prose felt like listening to an ancient storyteller by a desert fire. His recurring themes—destiny, suffering, redemption, erotic longing, spiritual hunger—felt strangely universal yet culturally rooted.
The rhythmic repetition, the philosophical undercurrent, the symbolic weight of even the smallest gesture… everything pulled me deeper.
One afternoon, while Arindam went for a long walk, I sat on the terrace with a steaming cup of first-flush Darjeeling tea and continued reading. Breeze rolled in and out like a living creature, sometimes swallowing the entire view, sometimes revealing the ocean's gleaming vision. Against that backdrop, Xuemo’s descriptions of wind-eroded cliffs and nomadic rituals felt like echoes from another dimension.
I realised how profoundly landscape shapes identity—his characters carried the desert inside them the way I carry rivers, humidity, and monsoon skies.
The story that moved me most was about a wandering monk whose journey is as much internal as physical. His conflicts—temptation, doubt, transcendence—felt deeply familiar, mirroring parts of my own personal restlessness that year. Deegha's stillness offered the perfect space for those reflections. I remember closing the book and simply breathing, letting the cold sea breeze settle my thoughts.
Arindam noticed the effect the book was having on me.
“You look different,” he said one evening over momo and thukpa.
“Desert ghosts,” I joked.
But the truth was that Xuemo had quietly rearranged something inside me.
Some nights, the silence of the hills would feel almost too vast. I’d open the book again, and Xuemo’s firm, compassionate storytelling would steady me. His understanding of human suffering is unflinching, but never despairing. He allows his characters to break and mend with dignity.
What I carry most from that reading experience is a sense of inner expansion. Xuemo widened my imagination—not horizontally, but vertically, digging deeper into the psychological and spiritual terrains of his characters. His world felt foreign yet strangely intimate, and reading him in a place as serene and introspective as Deegha heightened every emotion.
By the time the trip ended, I realised that the book had become inseparable from the town’s quiet. Even now, whenever I think of Xuemo, I smell woodsmoke and tea. I see a sea breeze weaving through pine trees. I hear distant temple bells. His stories have become part of that personal geography.
Selected Stories remains one of the most powerful cross-cultural reading experiences of my life. It taught me that literature doesn’t just travel across borders—it transforms you in the place where you happen to be.
For me, that place was Deegha's cold terraces, a friend’s quiet companionship, and a winter when I desperately needed both distance and depth.
April 29, 2023
In the story,the first novel Old man Xinjiang lives a plain and peaceful life because he has a clean and beautiful love without any desire.
Yue'er, who had a dirt disease, lost her feet in a confused city, but was relieved by her pure yearning at a later stage of her life.
It so good, and touching. Desert to read and collect.
Yue'er, who had a dirt disease, lost her feet in a confused city, but was relieved by her pure yearning at a later stage of her life.
It so good, and touching. Desert to read and collect.
April 25, 2025
I liked the stories written. Although the stories are very sad, they are very interesting, romantic and beautiful.
Displaying 1 - 3 of 3 reviews