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Singapore English

Singapore English (SgE, SE, en-SG) is the set of varieties of the English language native to Singapore. In Singapore, English is spoken in two main forms: Singaporean Standard English, which is indistinguishable grammatically from British English, and Singaporean Colloquial English, which is better known as Singlish.

Singapore is a cosmopolitan society. For example, in 2015, among Singaporeans of Chinese descent, over a third spoke English as their main language at home while almost half spoke Mandarin and the rest spoke various varieties of Chinese such as Hokkien. Most Singaporeans of Indian descent speak either English or a South Asian language. Many Malay Singaporeans uses Malay as the lingua franca among the ethnic groups of the Malay world, while Eurasians and mixed-race Singaporeans are usually monolingual in English.

English is the medium of communication among students from primary school to university in Singapore. Many families use two or three languages on a regular basis, and English is often one of them. The level of fluency in English among residents in Singapore also varies greatly from person to person, depending on their educational background, but English in general is nevertheless understood, spoken and written as the main language throughout the country.

Classification of Singapore English
Singapore English can be classified into Singapore Standard English (SSE) and Singapore Colloquial English (Singlish). The language consists of three sociolects; Acrolect, Mesolect, and Basilect. Both Acrolect and Mesolect are regarded as Standard Singapore English, while Basilect is considered as Singlish.
 * Acrolect; there is no significant and consistent difference from the features of Standard British English (SBE).
 * Mesolect; it has some features distinct from SBE
 * Question tenses in an indirect form; e.g. "May I ask where is the toilet?"
 * Indefinite article deletion (copula absence); e.g. "May I apply for car licence?" (Instead of saying "a" car licence)
 * Lack of marking in verb forms (Regularisation); e.g. "He always go to the shopping centre."
 * Basilect (Singlish);
 * Generalised "is it" question tag; e.g. "You coming today, Is it?"
 * Consistent copula deletion; e.g. "My handwriting no good, lah."
 * Use of particles like ah; lah, e.g. "Wait ah; Hurry lah, I need to go now!"

Singaporeans vary their language according to social situations (Pakir 1991) and attitudes that they want to convey (Poedjosoedarmo 1993). Better educated Singaporeans with a "higher" standard of English tend to speak "Standard" Singapore English (the acrolect), whereas those who are less-educated or whose first language is not English tend to speak Singlish (the basilect). Gupta (1994) said that most Singaporean speakers systematically alternate between colloquial and formal language depending on the formality of the situation. The constant use of both SSE and Singlish has resulted in the gradual emergence of a mesolect, an intermediate form of Singapore English, half-way between formal and informal Singapore English.

Standard Singapore English
Standard Singapore English is the standard form of English used in Singapore. It generally resembles British English and is often used in more formal settings such as the workplace or when communicating with people of higher authority such as teachers, bosses and government officials. Singapore English acts as the "bridge" among different ethnic groups in Singapore. Standard Singapore English retains British spelling and grammar.

History
The British established a trading post on the island of Singapore in 1819, and the population grew rapidly thereafter, attracting many immigrants from Chinese provinces and from India. The roots of Standard Singapore English derive from nearly a century and a half of British control. Its local character seems to have developed early in the English-medium schools of the 19th and early-20th centuries, where the teachers often came from India and Ceylon, as well as from various parts of Europe and from the United States of America. By 1900 Eurasians and other locals were employed as teachers. Apart from a period of Japanese occupation (1942–1945), Singapore remained a British colony until 1963, when it joined the Malaysian federation, but this proved a short-lived alliance, largely due to ethnic rivalries. Since its expulsion from the Federation in 1965, Singapore has operated as an independent city-state. English served as the administrative language of the British colonial government, and when Singapore gained self-government in 1959 and independence in 1965, the Singaporean government decided to keep English as the main language to maximise economic prosperity. The use of English as the nation's first language serves to bridge the gap between the diverse ethnic groups in Singapore; English operates as the lingua franca of the nation. The use of English as a global language for commerce, technology and science has also helped to expedite Singapore's development and integration into the global economy. Public schools use English as the main language of instruction, although students are also required to receive part of their instruction in their mother tongue; placement in such courses is based on ethnicity and not without controversy. The standard Singaporean accent used to be officially RP. However, in recent decades, a standard Singaporean accent, quite independent of any external standard, including RP, started to emerge. A 2003 study by the National Institute of Education in Singapore suggests that a standard Singaporean pronunciation is emerging and is on the cusp of being standardised. Singaporean accents can be said to be largely non-rhotic.

In 2023, opposition leader Pritam Singh advocated for English proficiency testing for immigrants seeking Singaporean citizenship. Polling data of native-born Singaporeans show broad support for the proposal.

Singapore's Speak Good English Movement
The wide use of Singlish led the government to launch the Speak Good English Movement in Singapore in 2000 in an attempt to replace Singlish with Standard English. This movement was made to show the need for Singaporeans to speak Standard English. Nowadays, all children in schools are being taught Standard English with one of the other official languages (Chinese, Malay, Tamil) being taught as a second language. In Singapore, English is a "working language" that serves the economy and development and is associated with the broader global community. Meanwhile, the rest are "mother tongues" that are associated with the country's culture. Speaking Standard English also helps Singaporeans communicate and express themselves in their everyday life. In 2014, the Singaporean government made an announcement entitled "Speak Good English Movement brings fun back to Grammar and good English", where the strategies that would be used to promote their program in the following years were explained. Specifically, the government would release a series of videos demystifying the difficulty and dullness of the grammatical rules of the English language. These videos provide a more humorous approach to learning basic grammar rules. Singaporeans will now be able to practise the grammatical rules in both written and spoken English thanks to a more interactive approach.

Standard Singaporean accent
Like most Commonwealth countries outside of Canada, the accents of most reasonably educated Singaporeans who speak English as their first language are similar to Received Pronunciation, though there are immediately noticeable differences. Singaporean accents are predominantly non-rhotic, like Australian and Nigerian English, so most speakers leave out the "r" sound in words like far, although rhotic accents can be heard among a small minority of speakers and its prevalence seems to be directly correlated with both education level and socioeconomic status.

Studies suggest that realising the r sound at the end of words and syllables is more common for women among Chinese and Indian Singaporeans and younger speakers in general, and that it is more common in content words than in function words, and in reading than in conversation.

Low vowels
As a general rule, words like glass, last and path use an open central vowel, like the a in father, reflecting the patterns of Received Pronunciation and most accents from the south of England. Unlike some varieties of North American English, aunt and ant do not sound the same and have different pronunciations. The vowels in luck and lark usually overlap and are both open central. Speakers may maintain a length distinction, so the vowels in starred and martyr, for example, are longer than the vowels in stud and mutter. The ar vowel tends to be longer in open syllables, and before voiced consonants. In fact, all strong vowels tend to be longer in open syllables, as in fur, law and bee.

For most speakers, the vowels in met and mat are the same, or at most, very similar in terms of vowel quality. While these two vowels display significant overlap, marginally fronter realisations of the mat vowel were reported for some speakers. The vowel is open-mid.

While words like laugh and staff are normally pronounced with the vowel, many speakers will use the  vowel   in gasp. Usage of the vowel in dance and can’t has also been reported, but this is generally rare.

The vowel has been described as near-open. The vowel in may be longer and closer to cardinal  and this tendency is stronger before voiced consonants and in open syllables, but is otherwise the same as the  vowel for many speakers.

High vowels
The vowels in and  may be realised with slight diphthongal movement, or as short   or long monophthongs.

The vowel in Singapore English is, on average, closer to the vowel in  than its counterpart in RP. At its most extreme, it is as high and front as the vowel. Likewise, for many speakers, the vowels in and  are very similar and may overlap in vowel quality. However, these vowel pairs may differ in vowel length. For those who use a vowel length distinction, the vowel in rid is shorter than the one in read.

The vowel in is always a gliding vowel:,  or. Within the lexical set,  is preferred for words like cure and pure, though  and  can also be heard. The diphthong is used in other words without a preceding  sound, like in tour and sure.

Next–text split
For nearly all speakers, some words from the lexical set have diverged into a separate group, so the words next and text do not rhyme. The word next has a raised vowel, which differs from the low-mid vowel in text. This raised vowel is used in several words including leg, dead and head, and may be identical to the vowel in, in which case dead rhymes with made, but not with fed (which does not have the raised vowel). Taking this into account, speakers with the full met–mat merger will distinguish lag from leg, but not the words lad  and led. Many, but not all speakers use the raised vowel in red, making red and read  (as in I have read the book) non-homophones.

The raised vowel can be found in a small number of words, including bed, dead, edge, egg, head, heavy, instead, leg, next, red, said and says, though edge only has the raised vowel for a minority of speakers. The vast majority of other words like mess, beg and dread do not have their vowels raised and continue to use the more common low-mid vowel. The exact realisation of the next vowel ranges from mid to close-mid.

The next–text split appears to be motivated by, and occurs in tandem with the met–mat merger in the speech of younger Singaporeans. Younger speakers are more likely than older speakers to raise the vowel in next, though younger speakers raise it to a lower height on average. While words with the raised vowel tend to end in voiced stop consonants like d and g, this split is not phonologically conditioned, unlike  raising in words like beg and leg in Pacific Northwest English.

The r sound
The use of linking and intrusive R is generally uncommon in Singapore English. In a 2018 study examining the speech of 104 Singapore English speakers, linking R was used less than 20% of the time, and intrusive R was found to be extremely rare. The majority of speakers will drop the r sound entirely at the end of words most of the time, even if the next word begins with a vowel.

The most common and predominant realisation of the r sound in Singapore English is the postalveolar approximant, which is the one most frequently encountered in other dialects of English. The alveolar tap or trill  is an uncommon realisation of r among Malay and Indian Singaporeans and older speakers in general. Among Tamil Singaporeans, the trilled variant appears to be extremely rare in comparison to the approximant and tapped r. A rare and emergent variant of r, described as a labiodental approximant, has also been reported. Across English dialects, this phenomenon is known as R-labialization.

Other consonants
Th-stopping is common word-initially, making tree and three homophones. This is generally more common in informal settings. Dental fricatives may also undergo th-fronting word-finally. Stop consonants in Singapore English are usually not released at the end of words, and voiceless stops can be aspirated or unaspirated in initial positions. Additionally, word-final voiceless stops may exhibit some degree of glottal reinforcement.

There are three prevalent variants of final L in Singapore English: dark "l"s, clear "l"s and vocalised "l"s. For speakers who vocalise their "l"s, the "l" sound can be dropped entirely after mid central vowels, back vowels and diphthongs with back vowels, so that wall and war sound the same, and the diphthong is monophthongised into  before a vocalised "l", so Nile and now are similar-sounding. Vocalised "l"s are realised as high back vowels with varying degrees of lip rounding. Older Chinese Singaporeans are more likely to vocalise final "l"s, and Malay speakers are more likely to use clear "l"s in these environments.

For the majority of speakers, the consonants t and d in words like water and ladder are seldom realised as alveolar taps or flaps. However, for some speakers, tapped t and d are occasionally used in colloquial speech, and this appears to be more frequent in the speech of Tamil Singaporeans. This feature is typical in North American English and certain varieties of Australian and New Zealand English.

Lexical incidence

 * Many, but not all speakers use the vowel  for won (win in the past tense), so that it rhymes with con and no longer sounds like one.
 * The words want and what use the open central vowel rather than the rounded  vowel, as in most varieties of North American English.
 * For many speakers, their ~  is not homophonous with there, which rhymes with mare. This is typically more common in Singlish.
 * The words flour and flower  also have distinct pronunciations.
 * Seems and seen are sometimes realised with a lax vowel, like the i in.
 * The vowel in love is mid central, rather than open.

Pitch and intonation

Unlike most accents of English, lexical stress in Singapore English has the effect of raising pitch to a higher level on the last syllable of a word. According to one analysis, the rightmost syllable of a stressed word or phonological word is marked with higher pitch, while words with no stress (e.g. my house) and unstressed initial syllables (e.g. again) carry relatively lower pitch. Meanwhile, all other non-final stressed syllables (e.g. writer) coincide with a mid level tone, or similar pitch contour between low and high levels. There is also a tendency for pitch contours to be accentuated near the start of a sentence and diminished towards the end, and for pitch to drop or level out at the end of declarative sentences. For example, in the phrase I don’t remember Tone letter, pitch starts off low in I, then rises to a higher level in don’t. The word remember is then realised with a less accentuated low–mid–high pitch contour.

Tone assignment only takes place within the scope of the phonological word. Cranberry takes on a high–mid–high pitch contour Tone letter, since cran and berry are analysed as separate words. Similarly, in brainstorm Tone letter, brain and storm are both assigned high pitch. Prefixes with stress constitute their own phonological words, so the re in reenact Tone letter is high-pitched. In words where the prefix is unstressed or less salient, like unfortunate Tone letter and nonsense Tone letter, the prefix is not treated as a separate unit with stress and is therefore not assigned high pitch.

Words are not restricted to discrete level tones. One alternative analysis posits that high pitch is associated with the right edge of an accentual phrase, and low pitch with the left edge; an accentual phrase may consist of a content word with zero or any number of preceding unstressed function words. For instance, in a sentence like I joined the call, in which I joined is analysed as a single accentual phrase, joined can be realised with rising pitch starting from the low pitch in I, in lieu of consistently high pitch. In this model, phonological words (e.g. cran and berry in cranberry) and prefixes with stress are analysed as belonging to separate accentual phrases. Other intonational variants have also been noted. For instance, flat pitch contours can sometimes span the entire length of words and accentual phrases where rising contours would normally be expected.

Wider pitch range is associated with the introduction of a topic near the start of a sentence. Elsewhere in the sentence, differences in pitch are less prominent, so low, mid and high tones may collapse into roughly the same pitch level. Moreover, at the end of declarative sentences and open-ended questions, "high-pitched" syllables are weaker and often replaced with a drop or leveling out in pitch. For example, in the sentence I left all my things on the table, pitch is much higher on left than it is on the second syllable of table, which has underlying high pitch but tends to be realised instead with a fall or leveling out in pitch. Yes-no questions are accompanied with rising pitch, as is the case in many other dialects of English. Rising pitch is also commonly used when there is non-final information at the end of an utterance, sometimes to indicate a non-final item in a list.

Stress and rhythm
Unstressed initial syllables are often realised with shorter duration and lower intensity. There is also a tendency for the last syllable in an utterance to be lengthened or dragged out.

Singapore English tends towards syllable timing, unlike British English, which is considered stress-timed.

Malay, Indian, and Chinese influences
Although Standard Singapore English (SSE) is mainly influenced by British English and, recently, American English, there are other languages that also contribute to its use on a regular basis. The majority of Singaporeans speak more than one language, with many speaking three to four. Most Singaporean children are brought up bilingual. They are introduced to Malay, Chinese, Tamil, or Singapore Colloquial English (Singlish) as their native languages, depending on their families' ethnic backgrounds and/or socioeconomic status. They also acquire those languages from interacting with friends in school and other places. Naturally, the presence of other languages in Singapore has influenced Singapore English, something particularly apparent in Singlish.

Both Singapore English and Singapore colloquial English are used with multiple accents. Because Singaporeans speak different ethnic mother tongues, they exhibit ethnic-specific features in their speech such that their ethnicity can be readily identified from their speech alone. The strength of one's ethnic mother tongue-accented English accent depends on factors like formality and their language dominance. Words from Malay, Chinese, and Tamil are also borrowed, if not code-switched, into Singapore English. For example, the Malay words "makan" (to eat), "habis" (finished), and the Hokkien word "kiasu" are constantly used and adopted to SE vocabularies, to the point that Singaporeans are not necessarily aware of which language those words are from. Furthermore, the word "kiasu" has been used in the Singapore press since 2000 without being italicised; Kiasu means "always wanting the best for oneself and willing to try hard to get it". In another journal, "Kiasu" is also defined as 'characterised by a grasping or selfish attitude arising from a fear of missing out on something' (usu. adj., definition from OED (Simpson and Weiner 2000); Hokkien kia(n)su).

Foreign dialects of English in Singapore
A wide range of foreign English dialects can be heard in Singapore. American and British accents are often heard on local television and radio due to the frequent airing of foreign television programmes.

Singapore Colloquial English / Singlish
Unlike Singapore Standard English, Singlish includes many discourse particles and loan words from Malay, Mandarin and Hokkien. Many of such loan words include swear words, particularly Hokkien profanities such as "kanina" and "chee bai". Hence, it is commonly regarded with low prestige in the country and not used in formal communication.

However, Singlish has been used in several locally produced films, including Army Daze, Mee Pok Man and Talking Cock the Movie, among others. Some local sitcoms, in particular Phua Chu Kang Pte Ltd, also feature extensive use of Singlish.

The proliferation of Singlish has been controversial and the use of Singlish is not endorsed by the government. Singapore's first two prime ministers, Lee Kuan Yew and Goh Chok Tong, have publicly declared that Singlish is a substandard variety that handicaps Singaporeans, presents an obstacle to learning standard English, and renders the speaker incomprehensible to everyone except another Singlish speaker. The country's third, Lee Hsien Loong, has also said that Singlish should not be part of Singapore's identity. In addition, the government launched the Speak Good English Movement in 2000 to encourage Singaporeans to speak proper English.

Despite strong criticisms of Singlish, linguist David Yoong has put forward the argument that "Singaporeans who subscribe to Singlish and have a positive attitude towards the code see Singlish as a language that transcends social barriers" and that the language can be used to "forge rapport and, perhaps more importantly, the Singaporean identity". Sociolinguist Anthea Fraser Gupta also argues that Singlish and standard English can and do co-exist, saying that "there is no evidence that the presence of Singlish causes damage to standard English". This was followed by organisers of the Speak Good English Movement clarifying that they are "not anti-Singlish", with their primary intention instead to ensure that Singaporeans are able to speak standard English first. A spokesperson was quoted as saying: "The presence of Singlish causes damage to standard English only when people do not have a good grounding in standard English".

English language trends in Singapore
In 2010, speakers of English in Singapore were classified into five different groups:
 * 1) Those who have no knowledge of English (extremely few people, most of whom were born before the 1940s);
 * 2) Those who regard English as a foreign language, have limited command of, and seldom speak the language (mostly the older age groups);
 * 3) Those who learnt English at school and can use it but have a dominant other language (many people, of all ages);
 * 4) Those who learnt English at school and use it as their dominant language (many people, of all ages);
 * 5) Those who learnt English as a native language (sometimes as a sole native language, but usually alongside other languages) and use it as their dominant language (many people, mostly children born after 1965 to highly educated parents).

, English is the most commonly spoken language in Singaporean homes. One effect of mass immigration into Singapore since 2000, especially from China, has been an increase in the proportion of the population to whom English is a foreign language. The most recent trend in Singapore favours an increasing use of English as well as stability in the use of Mandarin at the expense of other varieties of Chinese (apparently as the Chinese population switches first to Mandarin, then to English) while the use of Malay slowly erodes.

In 2010, 52% of Chinese children and 26% of Malay children aged between 5 and 14 speak English at home, as compared to 36% and 9.4% respectively in 2000.

Other official languages in Singapore
English is Singapore's main and one of the four official languages, along with Malay, Chinese and Tamil. The symbolic national language is Malay for historical reasons. All official signs, legislation and documents are required to be in English, although translations in the other official languages are sometimes included, though it is not necessary. Under the education system, English is the language of instruction for all subjects except the official Mother Tongue languages (the other three official languages) and the literatures of those languages.

title: Singapore English


text:
Talk:Henry Morton Stanley

American?
How was he american? No mention of his gaining citizenship over there 62.7.226.234 (talk) 17:23, 18 November 2021 (UTC)
 * According to Tim Jeal's book, he officially gained American citizenship in 1885, though Stanley had mistakenly imagined that he had been naturalized during his service in the Civil War. Rublov (talk) 16:16, 28 November 2021 (UTC)
 * @Rublov should we add it? -- Matteow101 (talk) 00:40, 1 December 2022 (UTC)
 * I reverted Special:Diff/1124393377, so it says "Welsh-American" again. rblv (talk) 12:27, 1 December 2022 (UTC)

Lead
@1autumnLeaf: Following up on our conversation on my talk page: You want to remove In the 20th century, his reputation was seriously damaged by his important role in establishing the Congo Free State for Leopold II from the lead because you think it is biased (although it is cited to a reliable source). To that end, you provided a citation to a BBC news piece. However, your citation does not contradict the sentence that you want to remove. It merely quotes a Welsh county councillor insisting that Stanley was not a racist, but the sentence in question does not claim that Stanley was a racist. Also, the reference is malformed. Therefore I am restoring the sentence, again, and I encourage you to discuss the matter here rather than continuing to remove it. Ruбlov (talk) 11:45, 20 February 2022 (UTC)
 * you sir have clearly demonstrated your support for bias language use by clearly holding your citation on higher regard than mine. According to you now, my citation is malformed and yours is not which is clearly a subjective opinion, going back to the original point “ legacy divide of anything colonial that comes up”. As for the the statement in contention ,it is implicit in the language hence it follows with a justification that he did not directly partake. As the disagreement stands now , it is only fair that contentious language be removed or atleast moved to a section further below titled “controversy” as the wiki rules guarantees neutrality. The logical proposal therefore to you is , removal of contested language from intro and moving it to the section “controversy/legacy” with both citations cited within 48 hours. If not complied the mentioned proposal will be implemented by me. Post 48 hour ,i advice you to not engage in the same edit warring in intro and be in good faith to the wiki community.1autumnLeaf (talk) 08:46, 21 February 2022 (UTC)
 * When I said that your reference was malformed, I was referring only to the wiki syntax. It would need to be:, i.e. with the quote in the   parameter, not   and   which should be used for the first and last names of the author.
 * I think that you still do not understand what I am saying. The sentence in dispute is a claim about Stanley's reputation, i.e. what other people think about him, not his character or actions. So to remove it you would need a source that states Stanley's reputation was not damaged by his involvement with King Leopold. But you will never find such a source because even his defenders acknowledge that his reputation was harmed the very fact that he has defenders implies that there is something they are defending him against. I have requested Tim Jeal's book from the library again and I will substantiate the lead with more references once it arrives.
 * it is only fair that contentious language be removed this is a misunderstanding of WP:NPOV. You do not have the right to unilaterally remove sourced statements that you disagree with. Ruбlov (talk) 13:34, 21 February 2022 (UTC)
 * Unfortunately you have failed to grasp the point of “legacy divide repeatedly” in your increduluous supposition by repeatedly refering to Tim Zeal’s work as an absolute. You are in clear breach of wiki neutrality guidelines and have yet again misunderstood the proposal i sent you which clearly states moving the “contentious language” from the intro to “controversy/legacy” section which is logical and in persistence have further engaged in edit warring. Post 48 hours from the original post, contested language will be “moved” to controversy/legacy section. Refrain from edit warring again and operate in good faith to the wiki community.1autumnLeaf (talk) 15:29, 21 February 2022 (UTC)
 * I've come to this discussion after reading the lead, which is very poorly written. Tim Jeal's work has been referenced repeatedly and unquestioningly to assert a viewpoint which is highly controversial. Such discussion does not belong in the lead, and should not be presented as absolute fact anywhere in the article. 84.71.98.204 (talk) 17:50, 11 April 2023 (UTC)
 * Hmm, the lead doesn't look particularly biased or controversial to me. Referring to Jeal, it states (among some other things): "Although he personally had high regard for many of the native African people who accompanied him on his expeditions, the exaggerated accounts of corporal punishment and brutality in his books fostered a public reputation as a hard-driving, cruel leader". That's balanced (cf. the "although" contrast), and I don't think anyone who has some knowledge of Stanley would dispute at least the second half of the statement (I'm less sure about the first). Gawaon (talk) 18:07, 11 April 2023 (UTC)

Propaganda
Is this article written by the propaganda departement of the British foreign ministery? You Are In Valhalla (talk) 10:19, 22 April 2022 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Henry Morton Stanley


text:
Talk:Don Quixote

English
Narrate the adventures of Don quixote 106.195.38.193 (talk) 18:04, 24 November 2021 (UTC)

 * Pintu of dog capsule i am don't quite suit 42.111.165.99 (talk) 06:00, 30 December 2023 (UTC)
 * Ka Karat Mein Bole but flying jatt beautiful 42.111.165.99 (talk) 06:03, 30 December 2023 (UTC)

Editing Plot Summary
I am slowly editing the plot summary, removing unnecessary quotations and cleaning up the text. Unfortunately, many details and events get edited out or omitted in the process. If I have time, I might clean up further and add in the omitted or edited out details, but in the meantime, other editors are welcome to pitch in. LaivineOrodrim (talk) 10:14, 10 May 2023 (UTC)

 * Be careful what you wish for, @LaivineOrodrim. I'm willing to help, but I'm afraid my help would consist of drastically shortening the plot summaries for parts 1 and 2 until they are close to the recommended upper limit for novels (~700 words). This is likely to be... slightly controversial. It would resolve several of the maintenance tags currently in place, though. Any objections? 199.208.172.35 (talk) 15:01, 31 May 2023 (UTC)
 * I personally have no objection. Please do feel free to drastically shorten the plot summaries as you see fit.  LaivineOrodrim (talk) 15:45, 31 May 2023 (UTC)
 * Cool. I'll wait a day or so in case anyone else wants to comment. 199.208.172.35 (talk) 16:02, 31 May 2023 (UTC)
 * As yer man said: "If it were done when 'tis done, then 'twere well it were done quickly." What you propose has been on my to-do list for too long and main reason I've been holding back is my heavy-handed editing would definitely err on the over-the-top, controversial side, as opposed to the drastic and "slightly controversial" editing our IP friend is threatening us with above. Your proposal brings to mind those timeless words "Fortune is arranging matters for us better than we could have shaped our desires ourselves, for look there, friend Sancho Panza, where thirty or more monstrous giants present themselves, all of whom I mean to engage in battle and slay,..." Dally no longer, LaivineOrodrim! Tally ho, 199.208.172.35! --Technopat (talk) 23:07, 31 May 2023 (UTC)
 * The hos have been tallied and Duncan has been slain (or was I not supposed to do that last bit? Let me consult my wife...). I'd like to address the tone tag, but I can't put my finger on the problem -, what issues did you see? 199.208.172.35 (talk) 13:56, 1 June 2023 (UTC)
 * When I tagged the article there were things like rhetorical questions, which you seem to have removed. Looks good now. Firestar464 (talk) 15:33, 1 June 2023 (UTC)
 * Excellent, thanks Firestar464. If I was more talented (and knew any Spanish), I might try to get this article at least to GA status - which would top our coverage of The Divine Comedy, either in whole or in part - but alas. For now, an impossible dream. 199.208.172.35 (talk) 16:10, 1 June 2023 (UTC)
 * Thanks for hosing all those tallies. Although methinks "more monstrous giants" will appear anon (or should that be 'anon.'?), a modicum of vigilance should keep 'em at bay... But in the meantime, if I can be of any service with the Snapish (as related to the present article, and bearing in mind that I'm more adept at cropping than trimming), let me know. Am not bilingual, but fluent enough to help out with both gist and nuance. As for that impossible GA dream, paraphrasing yer Man ("The Impossible Dream (The Quest)")... Go for it! (Have always been highly critical of GAs 'cos of the efforts made by fans to elevate their demigods over other more worthy subjects... And this particular subject, as so many other classics, is long overdue as an AG.) --Technopat (talk) 18:19, 1 June 2023 (UTC)
 * Spanish semi-fluency would be helpful in this case because I see (not surprisingly) that this is an FA over on Spanish Wikipedia. I'm not familiar with their FA standards, but I'd bet there's a lot of good, sourced information which could be pulled from there to here. It's all going to be in Spanish, though, and the sources may not be easily accessible (to me, at least, with no Wikipedia Library access or anything of the kind), so my usefulness here is limited. I did recently order Salvador de Madariaga's Don Quixote: An Introductory Essay in Psychology on someone's recommendation, but of course that's going to be outdated, no idea of its current scholarly relevance. 199.208.172.35 (talk) 18:42, 1 June 2023 (UTC)
 * I can help with the Spanish sources. Just send me the links. LaivineOrodrim (talk) 19:04, 1 June 2023 (UTC)
 * It's all Spanish to me - I'm not sure which sources would be useful (and I couldn't read them anyway). But if someone(s) with the Spanish and source access skills could give this a shot with me, I'm game. Dracula looks like it would be a good example to follow as far as layout and information to include. 199.208.172.35 (talk) 19:27, 1 June 2023 (UTC)
 * Maybe I'll start with the sources cited in the Spanish Wikipedia article. LaivineOrodrim (talk) 19:34, 1 June 2023 (UTC)
 * Unfortunately, there's a lot of unsourced or poorly sourced stuff currently in our version which would need to be either sourced or removed. If we're doing this, I'm not sure if it would be best to simply remove all that now, or attempt to source it first. My inclination has always been toward deletionism. 199.208.172.35 (talk) 19:44, 1 June 2023 (UTC)
 * Well, after a look at the Spanish version, I see my idea wasn't a very good one. Their policy on inline citations must be lax indeed, and without those, there's nothing to easily transfer over. 199.208.172.35 (talk) 13:45, 2 June 2023 (UTC)
 * Maybe I'll ping, who (IIRC) gave me the recommendation. See what you started, Vami? 199.208.172.35 (talk) 18:57, 1 June 2023 (UTC)
 * Re using the Snapish version as a source, no comment. However, the search functions at the Centro Biblioteca Virtual Miguel de Cervantes and Instituto Cervantes/Centro Virtual Cervantes do allow for searches using English words and have a wealth of links to articles in English on this, and several other subjects. Enjoy! (even though the CVC has one of the most annoyingly messy home pages I've ever come across...) --Technopat (talk) 12:38, 3 June 2023 (UTC)

"So fancy"
'Fancy', as in "'cool', I'll go along with it" or 'fancy' as in 'fanciful' ("guided by unrestrained imagination")? With bated breath and on tenterhooks... --Technopat (talk) 22:12, 1 June 2023 (UTC)

 * To reply in modern parlance, aka a meme: Why not both? 199.208.172.35 (talk) 22:19, 1 June 2023 (UTC)

Historical Period as Part of the Setting
The subtopic "Setting" discusses the geographical location in which the novel was set. In my opinion there should also be a discussion on the historical period in which the novel was set, as this is also part of the setting. Thoughts? LaivineOrodrim (talk) 16:14, 31 May 2023 (UTC)

 * There's certainly room for an explanation of, for example, the contemporary view of chivalric romances, which is important to the story (the novel itself describes some of them, but someone who hasn't read the novel, just this article, might like an explanation). Maybe even an overview of how real life in contemporary Spain differed from such chivalric fantasies - Wikipedia readers today might not easily notice the discrepancies. Short explanations of and/or links to contemporary events mentioned in the story could also be useful. But as always, the question is: sources? 199.208.172.35 (talk) 16:30, 31 May 2023 (UTC)
 * I do have a source but just for a general overview, and admittedly, it's just one source. I'll see if I can find others, and maybe I'll do some edits based on whatever sources I can find.  Thanks a lot!LaivineOrodrim (talk) 16:43, 31 May 2023 (UTC)
 * I'd offer to help, but my reference library entirely consists of Disney Don Quixote Starring Goofy and Mickey Mouse, which I anticipate being of little use. But much fun. 199.208.172.35 (talk) 16:51, 31 May 2023 (UTC)
 * Lol! Sounds fun indeed! LaivineOrodrim (talk) 12:17, 1 June 2023 (UTC)
 * "the historical period in which the novel was set, as this is also part of the setting" I read both volumes of Don QWuixote about a decade ago, and I thought that the chronological setting was rather vague. The character Ricote was specifically expelled from Spain during the Expulsion of the Moriscos (1609). Other than that, there is next to no information on political events of the 17th century. Dimadick (talk) 08:49, 3 June 2023 (UTC)

'and one of the greatest works ever written' ?
I'm rather suspicious about that list of 'top authors' who declared 'Don Quixote' one of the 'greatest works ever written'. I suspect most of them named it because they wanted to appear well-read and erudite, and ran no risk of being cross-examined.

Mark Twain defined a 'classic' as a book that ‘everybody wants to have read, but nobody wants to read’.

Aldous Huxley called ‘Don Quixote’ the world’s most unread classic.

S.J. Perelman, invited to write a screenplay of ‘Don Quixote’ for Mike ‘Around the World in 80 Days’ Todd told the producer that he had never been able to get past page six.

Quixote has lived on because of its characters who are real people, not symbols, and its scenes of comedy and pathos, but is, as Perelman remarked 'so soporific... it should be dispensed only on prescription.' ‘Don Quixote’ is known to most through stage and screen realisations, not the ur-text.

'Top authors' claiming to have read it - of their own volition - and enjoyed it, such that they might even quote from it? A hae ma doots. 110.174.255.160 (talk) 21:39, 10 December 2023 (UTC)

 * The characters arent real 88.5.24.77 (talk) 11:25, 20 February 2024 (UTC)

title: Talk:Don Quixote


text:
Sierra Nevada (Spain)

Sierra Nevada (meaning "snow-covered mountain range") is a mountain range in the Andalusian province of Granada in Spain. It contains the highest point of continental Spain: Mulhacén, at 3479 m above sea level.

It is a popular tourist destination, as its high peaks make skiing possible in one of Europe's most southerly ski resorts, in an area along the Mediterranean Sea predominantly known for its high temperatures and abundant sunshine. At its foothills is found the city of Granada, and a little further south, Almería and Motril.

Parts of the range have been included in the Sierra Nevada National Park. The range has also been declared a biosphere reserve. The Sierra Nevada Observatory, the Calar Alto Observatory, and the IRAM 30m telescope are located on the northern slopes at an elevation of 2800 m.

Formation
The Sierra Nevada was formed during the Alpine Orogeny, a mountain-building event that also formed the European Alps to the east and the Atlas Mountains of northern Africa across the Mediterranean Sea to the south. The Sierra as observed today formed during the Paleogene and Neogene Periods (66 to 1.8 million years ago) from the collision of the African and Eurasian continental plates.

Geography
Central to the mountain range is a ridge running broadly west-south-west - east-north-east. For a substantial distance, the watershed stays consistently above 3000 m. This is sufficient altitude for the peaks to be consistently snow-covered.

On the southern side of the range, several long, narrow river valleys lead off towards the south-west, separated by a number of subsidiary ridges. On the steeper and craggier northern side, the valleys have less regular orientations. This side is dominated by the Rio Genil which starts near Mulhacén and into which many of the other rivers flow.

Geologically, the range is composed chiefly of soft micaceous schists, sloping steeply to the north, but more gradually to the south and south-east.

Climate
According to the Köppen climate classification, Sierra Nevada has a Mediterranean climate, with different variations depending on the altitude. Above 2500 m the climate is Mediterranean-influenced subarctic (Dsc), due to the location's high elevation and low summer precipitation. With June and September being around the threshold of 10 C in mean temperature to avoid the subarctic classification, the climate at a slightly lower elevation is continental highland climate. At an elevation slightly lower than that classification area; where February means average above -3 C; it falls into the normal cool-summer mediterranean classification transitioning with the hot-summer variety in surrounding lowland areas. This renders Sierra Nevada's climate a highland cooled-down variety of a typical mediterranean climate. Summer and winter daytime temperatures are some 12 °C lower than found in Granada, differences that are even greater in spring as Sierra Nevada takes longer to approach the short summers. In May daytime highs in Sierra Nevada are around 4 C with Granada having an average of 24 C. The yearly temperature of 3.9 C at the ski station of Pradollano is in stark contrast to Granada's 15.7 C and coastal Málaga's 18.5 C.

Sport

 * Sierra Nevada Ski Station

title: Sierra Nevada (Spain)


text:
Presque rien

Presque rien (meaning Almost Nothing, which is also the UK release title; the U.S. title is Come Undone) is a 2000 French-Belgian romantic drama film directed by Sebastien Lifshitz, set in Brittany, depicting a stormy holiday romance between two teenagers and what remains of that relationship eighteen months later.

Plot
Upper-middle class Mathieu, is spending his summer vacation on the French coast before beginning studies in the autumn to become an architect. His mother is deeply depressed because of the death of his baby brother from cancer, and is cared for by her sister, while Mathieu and his moody younger sister cannot get along.

Then he meets Cédric at the beach, who is attractive and obviously looking for a boyfriend. The boys embark on a romance, and Mathieu's sudden secrecy and long hours away from home invite the curiosity of both his sister and aunt.

A parallel plotline focuses on Mathieu eighteen months later, as he recovers from the shock of their separation. After Mathieu has tried to commit suicide, he chooses to go back to the small seaside town to learn how to deal with what happened.

The film ends on a hopeful note when Mathieu looks up Pierre, another former boyfriend of Cédric's living in the seaside town, and they overcome past tensions to discover that they understand each other.

Cast

 * Jérémie Elkaïm as Mathieu
 * Stéphane Rideau as Cédric
 * Dominique Reymond as Mother
 * Marie Matheron as Annick
 * Laetitia Legrix as Sarah
 * Nils Ohlund as Pierre

Production
Rather than having a clear, chronologically ordered narrative, the movie switches between the summer and the winter plotlines, depicting the differences in Mathieu's life at both points, as well as establishing the contrast between one and the other visually.

Soundtrack
The soundtrack uses songs by Irish singer and songwriter Perry Blake (from his album Still Life) to convey Mathieu's melancholic, depressive mood.

title: Presque rien


text:
User talk:Jayel

Hey! Feel free to talk to me on this page - just leave a message like an answering machine, but without the beep.

~Jayel~

AfD nomination of Jaina Solo
An editor has nominated Jaina Solo, an article on which you have worked or that you created, for deletion. We appreciate your contributions, but the nominator doesn't believe that the article satisfies Wikipedia's criteria for inclusion and has explained why in his/her nomination (see also "What Wikipedia is not").

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AfD nomination of Jacen Solo
I have nominated Jacen Solo, an article you created, for deletion. I do not feel that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Jacen Solo. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time. User:Dorftrottel 10:13, January 22, 2008 10:13, 22 January 2008 (UTC)

AfD nomination of Jaina Solo
I have nominated Jaina Solo, an article you created, for deletion. I do not feel that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/Jaina Solo&. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time. Do you want to opt out of receiving this notice? Dorftrottel (talk) 20:05, April 21, 2008 20:05, 21 April 2008 (UTC)

title: User talk:Jayel


text:
Pork barrel

Pork barrel, or simply pork, is a metaphor for the appropriation of government spending for localized projects secured solely or primarily to direct expenditures to a representative's district. The usage originated in American English, and it indicates a negotiated way of political particularism.

Political science
Scholars use it as a technical term regarding legislative control of local appropriations. In election campaigns, the term is used in derogatory fashion to attack opponents. Typically, "pork" involves national funding for government programs whose economic or service benefits are concentrated in a particular area but whose costs are spread among all taxpayers. Public works projects, certain national defense spending projects, and agricultural subsidies are the most commonly cited examples. Citizens Against Government Waste outlines seven criteria by which spending in the United States can be classified as "pork":
 * 1) Requested by only one chamber of Congress
 * 2) Not specifically authorized
 * 3) Not competitively awarded
 * 4) Not requested by the President
 * 5) Greatly exceeds the President's budget request or the previous year's funding
 * 6) Not the subject of Congressional hearings
 * 7) Serves only a local or special interest.

History and etymology
The term pork barrel politics originated in American English, and usually refers to spending intended to benefit a constituents of a politician in return for their political support, either in the form of campaign contributions or votes. In the popular 1863 story "The Children of the Public", Edward Everett Hale used the term pork barrel as a homely metaphor for any form of public spending to the citizenry; however, after the American Civil War, the term came to be used in a derogatory sense. The Oxford English Dictionary dates the modern sense of the term from 1873.

Pork barrels originally came from storing meat. By the 1870s, references to "pork" were common in Congress, and the term was further popularized by a 1919 article by Chester Collins Maxey in the National Municipal Review, which reported on certain legislative acts known to members of Congress as "pork barrel bills". He claimed that the phrase originated in a pre-Civil War practice of giving enslaved people a barrel of salt pork as a reward and requiring them to compete among themselves to get their share of the handout. More generally, a barrel of salt pork was a common larder item in 19th-century households and could be used as a measure of the family's financial well-being. For example, in his 1845 novel The Chainbearer, James Fenimore Cooper wrote: "I hold a family to be in a desperate way when the mother can see the bottom of the pork barrel."

Examples
An early example of pork barrel politics in the United States was the Bonus Bill of 1817, which was introduced by Democrat John C. Calhoun to construct highways linking the Eastern and Southern United States to its Western frontier using the earnings bonus from the Second Bank of the United States. Calhoun argued for it using general welfare and post-roads clauses of the United States Constitution. Although he approved of the economic development goal, President James Madison vetoed the bill as unconstitutional. One of the most famous alleged pork-barrel projects was the Big Dig in Boston, Massachusetts. The Big Dig was a project to relocate an existing 3.5 mi section of the Interstate Highway System underground. The official planning phase started in 1982; the construction was done between 1991 and 2006, and the project concluded on December 31, 2007. It ended up costing US$14.6 billion, or over US$4 billion per mile. Tip O'Neill (D-Mass), after whom one of the Big Dig tunnels was named, pushed to have the Big Dig funded by the federal government while he was the speaker of the United States House of Representatives.

During the 2008 United States presidential election campaign, the Gravina Island Bridge (also known as the "Bridge to Nowhere") in Alaska was cited as an example of pork barrel spending. The bridge, pushed for by Republican Senator Ted Stevens, was projected to cost $398 million and would connect the island's 50 residents and the Ketchikan International Airport to Revillagigedo Island and Ketchikan. Pork-barrel projects, which differ from earmarks, are added to the federal budget by members of the appropriation committees of the United States Congress. This allows the delivery of federal funds to the local district or state of the appropriation committee member, often accommodating major campaign contributors. To a certain extent, a member of Congress is judged by their ability to deliver funds to their constituents. The Chairman and the ranking member of the United States Senate Committee on Appropriations are in a position to deliver significant benefits to their states. Researchers Anthony Fowler and Andrew B. Hall claim that this still does not account for the high reelection rates of incumbent representatives in American legislatures. Former Hawaii Senator Daniel Inouye described himself as "the No. 1 earmarks guy in the U.S. Congress". Inouye regularly passed earmarks for funding in the state of Hawaii including military and transportation spending.

title: Pork barrel


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Pearl S. Buck

Pearl Comfort Sydenstricker Buck (June 26, 1892 – March 6, 1973) was an American writer and novelist. She is best known for The Good Earth, the best-selling novel in the United States in 1931 and 1932 and which won her the Pulitzer Prize in 1932. In 1938, Buck became the first American woman to win the Nobel Prize in Literature "for her rich and truly epic descriptions of peasant life in China" and for her "masterpieces", two memoir-biographies of her missionary parents.

Buck was born in West Virginia, but in October 1892, her parents took their 4-month-old baby to China. As the daughter of missionaries and later as a missionary herself, Buck spent most of her life before 1934 in Zhenjiang, with her parents, and in Nanjing, with her first husband. She and her parents spent their summers in a villa in Kuling, Mount Lu, Jiujiang, and it was during this annual pilgrimage that the young girl decided to become a writer. She graduated from Randolph-Macon Woman's College in Lynchburg, Virginia, then returned to China. From 1914 to 1932, after marrying John Lossing Buck, she served as a Presbyterian missionary, but she came to doubt the need for foreign missions. Her views became controversial during the Fundamentalist–Modernist controversy, leading to her resignation. After returning to the United States in 1935, she married the publisher Richard J. Walsh and continued writing prolifically. She became an activist and prominent advocate of the rights of women and racial equality, and wrote widely on Chinese and Asian cultures, becoming particularly well known for her efforts on behalf of Asian and mixed-race adoption.

Early life and education
Originally named Comfort, Pearl Sydenstricker was born in Hillsboro, West Virginia, to Caroline Maude (Stulting) (1857–1921) and Absalom Sydenstricker, of Dutch and German descent respectively. Her parents, Southern Presbyterian missionaries, travelled to China soon after their marriage on July 8, 1880, but returned to the United States for Pearl's birth. When Pearl was five months old, the family arrived in China, living first in Huai'an and then in 1896 moving to Zhenjiang (then often known as Chingkiang in the Chinese postal romanization system), near the major city of Nanjing. In summer, she and her family would spend time in Kuling. Her father built a stone villa in Kuling in 1897, and lived there until his death in 1931. It was during this annual summer pilgrimage in Kuling that the young girl decided to become a writer.

Of her siblings who survived into adulthood, Edgar Sydenstricker had a distinguished career with the United States Public Health Service and later the Milbank Memorial Fund, and Grace Sydenstricker Yaukey (1899–1994) wrote young adult books and books about Asia under the pen name Cornelia Spencer.

Pearl recalled in her memoir that she lived in "several worlds", one a "small, white, clean Presbyterian world of my parents", and the other the "big, loving merry not-too-clean Chinese world", and there was no communication between them. The Boxer Uprising (1899–1901) greatly affected the family; their Chinese friends deserted them, and Western visitors decreased. Her father, convinced that no Chinese could wish him harm, stayed behind as the rest of the family went to Shanghai for safety. A few years later, Buck was enrolled in Miss Jewell's School there and was dismayed at the racist attitudes of the other students, few of whom could speak any Chinese. Both of her parents felt strongly that Chinese were their equals (they forbade the use of the word heathen), and she was raised in a bilingual environment: tutored in English by her mother, in the local dialect by her Chinese playmates, and in classical Chinese by a Chinese scholar named Mr. Kung. She also read voraciously, especially, in spite of her father's disapproval, the novels of Charles Dickens, which she later said she read through once a year for the rest of her life.

In 1911, Buck left China to attend Randolph-Macon Woman's College in Lynchburg, Virginia graduating Phi Beta Kappa in 1914 and a member of Kappa Delta Sorority.

China
Although Buck had not intended to return to China, much less become a missionary, she quickly applied to the Presbyterian Board when her father wrote that her mother was seriously ill. In 1914, Buck returned to China. She married an agricultural economist missionary, John Lossing Buck, on May 13, 1917, and they moved to Suzhou, Anhui Province, a small town on the Huai River (not to be confused with the better-known Suzhou in Jiangsu Province). This is the region she describes in her books The Good Earth and Sons.

From 1920 to 1933, the Bucks made their home in Nanjing, on the campus of the University of Nanking, where they both had teaching positions. She taught English literature at this private, church-run university, and also at Ginling College and at the National Central University. In 1920, the Bucks had a daughter, Carol, who was afflicted with phenylketonuria that left her severely developmentally disabled. Buck had to have a hysterectomy due to complications of Carol's birth, leaving her unable to have more biological children. In 1921, Buck's mother died of a tropical disease, sprue, and shortly afterward her father moved in. In 1924, they left China for John Buck's year of sabbatical and returned to the United States for a short time, during which Pearl Buck earned a master's degree from Cornell University. In 1925, the Bucks adopted a child named Janice (later surnamed Walsh). That autumn, they returned to China.

The tragedies and dislocations that Buck suffered in the 1920s reached a climax in March 1927, during the "Nanking Incident". In a confused battle involving elements of Chiang Kai-shek's Nationalist troops, Communist forces, and assorted warlords, several Westerners were murdered. Since her father Absalom insisted, as he had in 1900 in the face of the Boxers, the family decided to stay in Nanjing until the battle reached the city. When violence broke out, a poor Chinese family invited them to hide in their hut while the family house was looted. The family spent a day terrified and in hiding, after which they were rescued by American gunboats. They traveled to Shanghai and then sailed to Japan, where they stayed for a year, after which they moved back to Nanjing. Buck later said that this year in Japan showed her that not all Japanese were militarists. When she returned from Japan in late 1927, Buck devoted herself in earnest to the vocation of writing. Friendly relations with prominent Chinese writers of the time, such as Xu Zhimo and Lin Yutang, encouraged her to think of herself as a professional writer. She wanted to fulfill the ambitions denied to her mother, but she also needed money to support herself if she left her marriage, which had become increasingly lonely. Since the mission board could not provide it, she also needed money for Carol's specialized care.

Buck traveled once more to the United States in 1929 to find long-term care for Carol, eventually placing her in the Vineland Training School in New Jersey. Buck served on the Board of Trustees for the school, at which Carol lived for the rest of her life and where she eventually died in 1992 at age 72. While Buck was in the United States, Richard J. Walsh, editor at John Day publishers in New York, accepted her novel East Wind: West Wind. She and Walsh began a relationship that would result in marriage and many years of professional teamwork.

Back in Nanking, Buck retreated every morning to the attic of her university house, and within the year, completed the manuscript for The Good Earth. She was involved in the charity relief campaign for the victims of the 1931 China floods, writing a series of short stories describing the plight of refugees, which were broadcast on the radio in the United States and later published in her collected volume The First Wife and Other Stories.

When her husband took the family to Ithaca the next year, Buck accepted an invitation to address a luncheon of Presbyterian women at the Astor Hotel in New York City. Her talk was titled "Is There a Case for the Foreign Missionary?" and her answer was a barely qualified "no". She told her American audience that she welcomed Chinese to share her Christian faith, but argued that China did not need an institutional church dominated by missionaries who were too often ignorant of China and arrogant in their attempts to control it. When the talk was published in Harper's Magazine, the scandalized reaction led Buck to resign her position with the Presbyterian Board. In 1934, Buck left China, believing she would return, while her husband remained.

United States
Buck divorced her husband in Reno, Nevada on June 11, 1935, and she married Richard Walsh that same day. He reportedly offered her advice and affection which, her biographer concludes, "helped make Pearl's prodigious activity possible". The couple moved with Janice to Green Hills Farm in Bucks County, Pennsylvania, which they quickly set about filling with adopted children. Two sons were brought home as infants in 1936 and followed by another son and daughter in 1937.

Following the Communist Revolution in 1949, Buck was repeatedly refused all attempts to return to her beloved China. Her 1962 novel Satan Never Sleeps described the Communist tyranny in China. During the Cultural Revolution, Buck, as a preeminent American writer of Chinese village life, was denounced as an "American cultural imperialist". Buck was "heartbroken" when she was prevented from visiting China with Richard Nixon in 1972.

Nobel Prize in Literature
In 1938 the Nobel Prize committee in awarding the prize said:

"By awarding this year's Prize to Pearl Buck for the notable works which pave the way to a human sympathy passing over widely separated racial boundaries and for the studies of human ideals which are a great and living art of portraiture, the Swedish Academy feels that it acts in harmony and accord with the aim of Alfred Nobel's dreams for the future."

In her speech to the Academy, Buck took as her topic "The Chinese Novel." She explained, "I am an American by birth and by ancestry", but "my earliest knowledge of story, of how to tell and write stories, came to me in China." After an extensive discussion of classic Chinese novels, especially Romance of the Three Kingdoms, All Men Are Brothers, and Dream of the Red Chamber, she concluded that in China "the novelist did not have the task of creating art but of speaking to the people." Her own ambition, she continued, had not been trained toward "the beauty of letters or the grace of art." In China, the task of the novelist differed from the Western artist: "To farmers he must talk of their land, and to old men he must speak of peace, and to old women he must tell of their children, and to young men and women he must speak of each other." And like the Chinese novelist, she concluded, "I have been taught to want to write for these people. If they are reading their magazines by the million, then I want my stories there rather than in magazines read only by a few."

Humanitarian efforts
Buck was committed to a range of issues that were largely ignored by her generation. Many of her life experiences and political views are described in her novels, short stories, fiction, children's stories, and the biographies of her parents entitled Fighting Angel (on Absalom) and The Exile (on Carrie). She wrote on diverse subjects, including women's rights, Asian cultures, immigration, adoption, missionary work, war, the atomic bomb (Command the Morning), and violence. Long before it was considered fashionable or politically safe to do so, Buck challenged the American public by raising consciousness on topics such as racism, sex discrimination and the plight of Asian war children. Buck combined the careers of wife, mother, author, editor, international spokesperson, and political activist. Buck became well-known as an advocate for civil rights, women’s rights, and the disability rights.

In 1949, after finding that existing adoption services considered Asian and mixed-race children unadoptable, Buck founded the first permanent foster home for US-born mixed-race children of Asian descent, naming it The Welcome Home. The foster home was located in a 16-room farmhouse in Pennsylvania next door to Buck's own home, Green Hill Farm, and Buck was actively involved in everything from planning the children's diets to buying their clothing. Among the home's Board of Directors were librettist Oscar Hammerstein II and his second wife, interior designer Dorothy, composer Richard Rodgers, seed company tycoon David Burpee and his wife Lois and author James A. Michener. As more and more children were referred to the foster home, however, it quickly became apparent that it couldn't accommodate them all and adoptive homes were needed. Welcome Home was turned into the first international, interracial adoption agency, and Buck began actively promoting the adoption of mixed-race children to the American public. In an effort to overcome the longstanding public view that such children were inferior and undesirable, Buck claimed in interviews and speeches that "hybrid" children of interracial backgrounds were actually genetically superior to other children in terms of intelligence and health. She and her husband Richard then adopted two mixed-race daughters from overseas themselves: an Afro-German girl in 1951 and an Afro-Japanese girl in 1957, giving her eight children in total. In 1967 she turned over most of her earnings—more than $7 million— to the adoption agency to help with costs. Buck established the Pearl S. Buck Foundation (name changed to Pearl S. Buck International in 1999) to "address poverty and discrimination faced by children in Asian countries." In 1964, she opened the Opportunity Center and Orphanage in South Korea, and later offices were opened in Thailand, the Philippines, and Vietnam. When establishing Opportunity House, Buck said, "The purpose ... is to publicize and eliminate injustices and prejudices suffered by children, who, because of their birth, are not permitted to enjoy the educational, social, economic and civil privileges normally accorded to children." In 1960, after a long decline in health that included a series of strokes, Buck's husband Richard Walsh died. She renewed a warm relationship with William Ernest Hocking, who died in 1966. Buck then withdrew from many of her old friends and quarreled with others.

In 1962 Buck asked the Israeli Government for clemency for Adolf Eichmann, the Nazi war criminal who was complicit in the deaths of five million Jews during World War II, as she and others believed that carrying out capital punishment against Eichmann could be seen as an act of vengeance, especially since the war had ended.

During a December 17, 1962 visit to the Kennedy White House, Buck urged the Kennedy administration to help resolve People's Republic of China-Taiwan relations by supporting de facto independence of Taiwan for a 10 to 25 year period with an agreement that afterwards a plebiscite could be held based on a negotiated settlement.

Buck’s ties with her native state remained strong. In the title essay of My Mother’s House, a small book written by Buck and others to help raise funds for the Birthplace Museum, she paid tribute to the house her mother had cherished while living far away: ‘‘For me it was a living heart in the country I knew was my own but which was strange to me until I returned to the house where I was born. In the late 1960s, Buck toured West Virginia to raise money to preserve her family farm in Hillsboro, West Virginia. Today the Pearl S. Buck Birthplace is a historic house museum and cultural center. She hoped the house would "belong to everyone who cares to go there," and serve as a "gateway to new thoughts and dreams and ways of life." U.S. President George H. W. Bush toured the Pearl S. Buck House in October 1998. He expressed that he, like millions of other Americans, had gained an appreciation for the Chinese people through Buck's writing.

Final years
In the mid-1960s, Buck increasingly came under the influence of Theodore Harris, a former dance instructor, who became her confidant, co-author, and financial advisor. She soon depended on him for all her daily routines, and placed him in control of Welcome House and the Pearl S. Buck Foundation. Harris, who was given a lifetime salary as head of the foundation, created a scandal for Buck when he was accused of mismanaging the foundation, diverting large amounts of the foundation's funds for his friends' and his own personal expenses, and treating staff poorly. Buck defended Harris, stating that he was "very brilliant, very high strung and artistic." Before her death, Buck signed over her foreign royalties and her personal possessions to Creativity Inc., a foundation controlled by Harris.

Death
Pearl S. Buck died of lung cancer on March 6, 1973, in Danby, Vermont. She was interred on Green Hills Farm in Perkasie, Pennsylvania. She designed her own tombstone. Her name was not inscribed in English on her tombstone. Instead, the grave marker is inscribed with the Chinese characters 賽珍珠 representing the name Pearl Sydenstricker; specifically, Sai is the sound of the first syllable of her last name (Chinese last names come first), and Zhenzu is the Chinese word for pearl.

Buck left behind three contradictory wills, resulting in a three-way legal dispute over her estate between her financial advisor Theodore Harris, the nonprofit Pearl Buck Foundation, and her seven adopted children. After a six-year battle, the dispute was settled in her children's favor after both Harris and the Pearl Buck Foundation dropped their claims (the latter in return for a financial settlement from Buck's children).

Legacy
Many contemporary reviewers praised Buck's "beautiful prose", even though her "style is apt to degenerate into over-repetition and confusion". Robert Benchley wrote a parody of The Good Earth that emphasised these qualities. Peter Conn, in his biography of Buck, argues that despite the accolades awarded to her, Buck's contribution to literature has been mostly forgotten or deliberately ignored by America's cultural gatekeepers. Kang Liao argues that Buck played a "pioneering role in demythologizing China and the Chinese people in the American mind". Phyllis Bentley, in an overview of Buck's work published in 1935, was altogether impressed: "But we may say at least that for the interest of her chosen material, the sustained high level of her technical skill, and the frequent universality of her conceptions, Mrs. Buck is entitled to take rank as a considerable artist. To read her novels is to gain not merely knowledge of China but wisdom about life." These works aroused considerable popular sympathy for China, and helped foment a more critical view of Japan and its aggression.

Chinese-American author Anchee Min said she "broke down and sobbed" after reading The Good Earth for the first time as an adult, which she had been forbidden to read growing up in China during the Cultural Revolution. Min said Buck portrayed the Chinese peasants "with such love, affection and humanity" and it inspired Min's novel Pearl of China (2010), a fictional biography about Buck.

In 1973, Buck was inducted into the National Women's Hall of Fame. Buck was honored in 1983 with a 5¢ Great Americans series postage stamp issued by the United States Postal Service In 1999 she was designated a Women's History Month Honoree by the National Women's History Project.

Buck's former residence at Nanjing University is now the Pearl S. Buck Memorial House or in Mandarin 賽珍珠紀念館 along the West Wall of the university's north campus.

Pearl Buck's papers and literary manuscripts are currently housed at Pearl S. Buck International and the West Virginia & Regional History Center.

Autobiographies

 * My Several Worlds: A Personal Record (New York: John Day, 1954)
 * My Several Worlds – abridged for younger readers by Cornelia Spencer (New York: John Day, 1957)
 * A Bridge for Passing (New York: John Day, 1962) – autobiographical account of the filming of Buck's children's book, The Big Wave

Biographies

 * The Exile: Portrait of an American Mother (New York: John Day, 1936) – about her mother, Caroline Stulting Sydenstricker (1857–1921); serialized in Woman's Home Companion magazine (10/1935–3/1936)
 * Fighting Angel: Portrait of a Soul (New York: Reynal & Hitchcock, 1936) – about her father, Absalom Sydenstricker (1852–1931)
 * The Spirit and the Flesh (New York: John Day, 1944) – includes The Exile: Portrait of an American Mother and Fighting Angel: Portrait of a Soul

Novels

 * East Wind: West Wind (New York: John Day, 1930) – working title Winds of Heaven
 * The Good Earth (New York: John Day, 1931); The House of Earth trilogy #1 – made into a feature film The Good Earth (MGM, 1937)
 * Sons (New York: John Day, 1933); The House of Earth trilogy #2; serialized in Cosmopolitan (4–11/1932)
 * A House Divided (New York: Reynal & Hitchcock, 1935); The House of Earth trilogy #3
 * The House of Earth (trilogy) (New York: Reynal & Hitchcock, 1935) – includes: The Good Earth, Sons, A House Divided
 * All Men Are Brothers (New York: John Day, 1933) – a translation by Buck of the Chinese classical prose epic Water Margin (Shui Hu Zhuan)
 * The Mother (New York: John Day, 1933) – serialized in Cosmopolitan (7/1933–1/1934)
 * This Proud Heart (New York: Reynal & Hitchcock, 1938) – serialized in Good Housekeeping magazine (8/1937–2/1938)
 * The Patriot (New York: John Day, 1939)
 * Other Gods: An American Legend (New York: John Day, 1940) – excerpt serialized in Good Housekeeping magazine as "American Legend" (12/1938–5/1939)
 * China Sky (New York: John Day, 1941) – China trilogy #1; serialized in Collier's Weekly magazine (2–4/1941); made into a feature film China Sky (film) (RKO, 1945)
 * China Gold: A Novel of War-torn China (New York: John Day, 1942) – China trilogy #2; serialized in Collier's Weekly magazine (2–4/1942)
 * Dragon Seed (New York: John Day, 1942) – serialized in Asia (9/1941–2/1942); made into a feature film Dragon Seed (MGM, 1944)
 * The Promise (New York: John Day, 1943) – sequel to Dragon Seed; serialized in Asia and the Americas (Asia) (11/1942–10/1943)
 * China Flight (Philadelphia: Triangle Books/Blakiston Company, 19453) – China trilogy #3; serialized in Collier's Weekly magazine (2–4/1943)
 * Portrait of a Marriage (New York: John Day, 1945) – illustrated by Charles Hargens
 * The Townsman (New York: John Day, 1945) – as John Sedges
 * Pavilion of Women (New York: John Day, 1946) – made into a feature film Pavilion of Women (Universal Focus, 2001)
 * The Angry Wife (New York: John Day, 1947) – as John Sedges
 * Peony (New York: John Day, 1948) – published in the UK as The Bondmaid (London: T. Brun, 1949); – serialized in Cosmopolitan (3–4/1948)
 * Kinfolk (New York: John Day, 1949) – serialized in Ladies' Home Journal (10/1948–2/1949)
 * The Long Love (New York: John Day, 1949) – as John Sedges
 * God's Men (New York: John Day, 1951)
 * Sylvia (1951) – alternate title No Time for Love, serialized in Redbook magazine (1951)
 * Bright Procession (New York: John Day, 1952) – as John Sedges
 * The Hidden Flower (New York: John Day, 1952) – serialized in Woman's Home Companion magazine (3–4/1952)
 * Come, My Beloved (New York: John Day, 1953)
 * Voices in the House (New York: John Day, 1953) – as John Sedges
 * Imperial Woman The Story of the Last Empress of China (New York: John Day, 1956) – about Empress Dowager Cixi; serialized in Woman's Home Companion (3–4/1956)
 * Letter from Peking (New York: John Day, 1957)
 * American Triptych: Three John Sedges Novels (New York: John Day, 1958) – includes The Townsman, The Long Love, Voices in the House
 * Command the Morning (New York: John Day, 1959)
 * Satan Never Sleeps (New York: Pocket Books, 1962) – 1962 film Satan Never Sleeps, also known as The Devil Never Sleeps and Flight from Terror
 * The Living Reed A Novel of Korea (New York: John Day, 1963)
 * Death in the Castle (New York: John Day, 1965)
 * The Time Is Noon (New York: John Day, 1966)
 * The New Year (New York: John Day, 1968)
 * The Three Daughters of Madame Liang (London: Methuen, 1969)
 * Mandala: A Novel of India (New York: John Day, 1970)
 * The Goddess Abides (New York: John Day, 1972)
 * All under Heaven (New York: John Day, 1973)
 * The Rainbow (New York: John Day, 1974)
 * The Eternal Wonder (believed to have been written shortly before her death, published in October 2013)

Non-fiction

 * Is There a Case for Foreign Missions? (New York: John Day, 1932)
 * The Chinese Novel: Nobel Lecture Delivered before the Swedish Academy at Stockholm, December 12, 1938 (New York: John Day, 1939)
 * Of Men and Women (New York: John Day, 1941) – Essays
 * American Unity and Asia (New York: John Day, 1942) – UK edition titled Asia and Democracy, London: Macmillan, 1943) – Essays
 * What America Means to Me (New York: John Day, 1943) – UK edition (London: Methuen, 1944) – Essays
 * Talk about Russia (with Masha Scott) (New York: John Day, 1945) – serialized in Asia and the Americas magazine (Asia) as Talks with Masha (1945)
 * Tell the People: Talks with James Yen about the Mass Education Movement (New York: John Day, 1945)
 * How It Happens: Talk about the German People, 1914–1933, with Erna von Pustau (New York: John Day, 1947)
 * American Argument with Eslanda Goode Robeson (New York: John Day, 1949)
 * The Child Who Never Grew (New York: John Day, 1950)
 * The Man Who Changed China: The Story of Sun Yat-sen (New York: John Day, 1953) – for children
 * Friend to Friend: A Candid Exchange between Pearl S. Buck and Carlos P. Romulo (New York: John Day, 1958)
 * For Spacious Skies (1966)
 * The People of Japan (1966)
 * To My Daughters, with Love (New York: John Day, 1967)
 * The Kennedy Women (1970)
 * China as I See It (1970)
 * The Story Bible (1971)
 * Pearl S. Buck's Oriental Cookbook (1972)
 * Words of Love (1974)

Collections

 * The First Wife and Other Stories (London: Methuen, 1933) – includes: "The First Wife", "The Old Mother", "The Frill", "The Quarrell", "Repatriated", "The Rainy Day", Wang Lung", "The Communist", "Father Andrea", "The New Road", "Barren Spring", *"The Refugees", "Fathers and Mothers", "The Good River"
 * Today and Forever: Stories of China (New York: John Day, 1941) – includes: "The Lesson", The Angel", "Mr. Binney's Afternoon", "The Dance", "Shanghai Scene", "Hearts Come Home", "His Own Country", "Tiger! Tiger!", "Golden flower", "The Face of Buddha", "Guerrilla Mother", "A Man's Foes", "The Old Demon"
 * Twenty-seven Stories (Garden City, NY: Sun Dial Press, 1943) – includes (from The First Wife and Other Stories): "The First Wife", "The Old Mother", "The Frill", "The Quarrell", "Repatriated", "The Rainy Day", Wang Lung", "The Communist", "Father Andrea", "The New Road", "Barren Spring", *"The Refugees", "Fathers and Mothers", "The Good River"; and (from Today and Forever: Stories of China): "The Lesson", The Angel", "Mr. Binney's Afternoon", "The Dance", "Shanghai Scene", "Hearts Come Home", "His Own Country", "Tiger! Tiger!", "Golden flower", "The Face of Buddha", "Guerrilla Mother", "A Man's Foes", "The Old Demon"
 * Far and Near: Stories of Japan, China, and America (New York: John Day, 1947) – includes: "The Enemy", "Home Girl", "Mr. Right". The Tax Collector", "A Few People", "Home to Heaven", Enough for a Lifetime", Mother and Sons", Mrs. Mercer and Her Self", The Perfect Wife", "Virgin birth", "The Truce", "Heat Wave", "The One Woman"
 * Fourteen Stories (New York: John Day, 1961) – includes: "A Certain Star," "The Beauty", "Enchantment", "With a Delicate Air", "Beyond Language", "Parable of Plain People", "The Commander and the Commissar", "Begin to Live", "The Engagement", "Melissa", "Gift of Laughter", "Death and the Dawn", "The Silver Butterfly", "Francesca"
 * Hearts Come Home and Other Stories (New York: Pocket Books, 1962)
 * Stories of China (1964)
 * Escape at Midnight and Other Stories (1964)
 * East and West Stories (1975)
 * Secrets of the Heart: Stories (1976)
 * The Lovers and Other Stories (1977)
 * Mrs. Stoner and the Sea and Other Stories (1978)
 * The Woman Who Was Changed and Other Stories (1979)
 * Beauty Shop Series: "Revenge in a Beauty Shop" (1939) – original title "The Perfect Hairdresser"
 * Beauty Shop Series: "Gold Mine" (1940)
 * Beauty Shop Series: "Mrs. Whittaker's Secret"/"The Blonde Brunette" (1940)
 * Beauty Shop Series: "Procession of Song" (1940)
 * Beauty Shop Series: "Snake at the Picnic" (1940) – published as "Seed of Sin" (1941)
 * Beauty Shop Series: "Seed of Sin" (1941) – published as "Snake at the Picnic (1940)

Individual short stories

 * Unknown title (1902) – first published story, pen name "Novice", Shanghai Mercury
 * "The Real Santa Claus" (c. 1911)
 * "Village by the Sea" (1911)
 * "By the Hand of a Child" (1912)
 * "The Hours of Worship" (1914)
 * "When 'Lof' Comes" (1914)
 * "The Clutch of the Ancients" (1924)
 * "The Rainy Day" (c. 1925)
 * "A Chinese Woman Speaks" (1926)
 * "Lao Wang, the Farmer" (1926)
 * "The Solitary Priest" (1926)
 * "The Revolutionist" (1928) – later published as "Wang Lung" (1933)
 * "The Wandering Little God" (1928)
 * "Father Andrea" (1929)
 * "The New Road" (1930)
 * "Singing to her Death" (1930)
 * "The Barren Spring" (1931)
 * "The First Wife" (1931)
 * "The Old Chinese Nurse" (1932)
 * "The Quarrel" (1932)
 * "The Communist" (1933)
 * "Fathers and Mothers" (1933)
 * "The Frill" (1933)
 * "Hidden is the Golden Dragon" (1933)
 * "The Lesson" (1933) – later published as "No Other Gods" (1936; original title used in short story collections)
 * "The Old Mother" (1933)
 * "The Refugees" (1933)
 * "Repatriated" (1933)
 * "The Return" (1933)
 * "The River" (1933) – later published as "The Good River" (1939)
 * "The Two Women" (1933)
 * "The Beautiful Ladies" (1934) – later published as "Mr. Binney's Afternoon" (1935)
 * "Fool's Sacrifice" (1934)
 * "Shanghai Scene" (1934)
 * "Wedding and Funeral" (1934)
 * "Between These Two" (1935)
 * "The Dance" (1935)
 * "Enough for a Lifetime" (1935)
 * "Hearts Come Home" (1935)
 * "Heat Wave" (1935)
 * "His Own Country" (1935)
 * "The Perfect Wife" (1935)
 * "Vignette of Love" (1935) – later published as "Next Saturday and Forever" (1977)
 * "The Crusade" (1936)
 * "Strangers Are Kind" (1936)
 * "The Truce" (1936)
 * "What the Heart Must" (1937) – later published as "Someone to Remember" (1947)
 * "The Angel" (1937)
 * "Faithfully" (1937)
 * "Ko-Sen, the Sacrificed" (1937)
 * "Now and Forever" (1937) – serialized in Woman's Home Companion magazine (10/1936–3/1937)
 * "The Woman Who Was Changed" (1937) – serialized in Redbook magazine (7–9/1937)
 * "The Pearls of O-lan" – from The Good Earth (1938)
 * "Ransom" (1938)
 * "Tiger! Tiger!" (1938)
 * "Wonderful Woman" (1938) – serialized in Redbook magazine (6–8/1938)
 * "For a Thing Done" (1939) – originally titled "While You Are Here"
 * "The Old Demon" (1939) – reprinted in Great Modern Short Stories: An Anthology of Twelve Famous Stories and Novelettes, selected, and with a foreword and biographical notes by Bennett Cerf (New York: The Modern library, 1942)
 * "The Face of Gold" (1940, in Saturday Evening Post) – later published as "The Face of Buddha" (1941)
 * "Golden Flower" (1940)
 * "Iron" (1940) – later published as "A Man's Foes" (1940)
 * "The Old Signs Fail" (1940)
 * "Stay as You Are" (1940) – serialized in Cosmopolitan (3–7/1940)
 * "There Was No Peace" (1940) – later published as "Guerrilla Mother" (1941)
 * "Answer to Life" (novella; 1941)
 * "More Than a Woman" (1941) – originally titled "Deny It if You Can"
 * "Our Daily Bread" (1941) – originally titled "A Man's Daily Bread, 1–3", serialized in Redbook magazine (2–4/1941), longer version published as Portrait of a Marriage (1945)
 * The Enemy (1942, Harper's Magazine) – staged by the Indian "Aamra Kajon" (Drama Society), on the Bengal Theatre Festival 2019
 * "John-John Chinaman" (1942) – original title "John Chinaman"
 * "The Long Way 'Round" – serialized in Cosmopolitan (9/1942–2/1943)
 * "Mrs. Barclay's Christmas Present" (1942) – later published as "Gift of Laughter" (1943)
 * "Descent into China" (1944)
 * "Journey for Life" (1944) – originally titled "Spark of Life"
 * "The Real Thing" (1944) – serialized in Cosmopolitan (2–6/1944); originally intendeds as a serial "Harmony Hill" (1938)
 * "Begin to Live" (1945)
 * "Mother and Sons" (1945)
 * "A Time to Love" (1945) – later published under its original title "The Courtyards of Peace" (1969)
 * "Big Tooth Yang" (1946) – later published as "The Tax Collector" (1947)
 * "The Conqueror's Girl" (1946) – later published as "Home Girl" (1947)
 * "Faithfully Yours" (1947)
 * "Home to Heaven" (1947)
 * "Incident at Wang's Corner" (1947) – later published as "A Few People" (1947)
 * "Mr. Right" (1947)
 * "Mrs. Mercer and Her Self" (1947)
 * "The One Woman" (1947)
 * "Virgin Birth" (1947)
 * "Francesca" (Good Housekeeping magazine, 1948)
 * "The Ember" (1949)
 * "The Tryst" (1950)
 * "Love and the Morning Calm" – serialized in Redbook magazine (1–4/1951)
 * "The Man Called Dead" (1952)
 * "Death and the Spring" (1953)
 * "Moon over Manhattan" (1953)
 * "The Three Daughters" (1953)
 * "The Unwritten Rules" (1953)
 * "The Couple Who Lived on the Moon" (1953) – later published as "The Engagement" (1961)
 * "A Husband for Lili" (1953) – later published as "The Good Deed (1969)
 * "The Heart's Beginning" (1954)
 * "The Shield of Love" (1954)
 * "Christmas Day in the Morning" (1955) – later published as "The Gift That Lasts a Lifetime"
 * "Death and the Dawn" (1956)
 * "Mariko" (1956)
 * "A Certain Star" (1957)
 * "Honeymoon Blues" (1957)
 * "China Story" (1958)
 * "Leading Lady" (1958) – alternately titled "Open the Door, Lady"
 * "The Secret" (1958)
 * "With a Delicate Air" (1959)
 * "The Bomb (Dr. Arthur Compton)" (1959)
 * "Heart of a Man" (1959)
 * "Melissa" (1960)
 * "The Silver Butterfly" (1960)
 * "The Beauty" (1961)
 * "Beyond Language" (1961)
 * "The Commander and the Commissar" (1961)
 * "Enchantment" (1961)
 * "Parable of Plain People" (1961)
 * "A Field of Rice" (1962)
 * "A Grandmother's Christmas" (1962) – later published as "This Day to Treasure" (1972)
 * ""Never Trust the Moonlight" (1962) – later published as "The Green Sari" (1962)
 * "The Cockfight, 1963
 * "A Court of Love" (1963)
 * "Escape at Midnight" (1963)
 * "The Lighted Window" (1963)
 * "Night Nurse" (1963)
 * "The Sacred Skull" (1963)
 * "The Trap" (1963)
 * "India, My India" (1964)
 * "Ranjit and the Tiger" (1964)
 * "A Certain Wisdom" (1967, in Woman's Day magazine)
 * "Stranger Come Home" (1967)
 * "The House They Built" (1968, in Boys' Life magazine)
 * "The Orphan in My Home" (1968)
 * "Secrets of the Heart" (1968)
 * "All the Days of Love and Courage" 1969) – later published as "The Christmas Child" (1972)
 * "Dagger in the Dark" (1969)
 * "Duet in Asia" (1969; written 1953
 * "Going Home" (1969)
 * "Letter Home" (1969; written 1943)
 * "Sunrise at Juhu" (1969)
 * "Two in Love" (1970) – later published as "The Strawberry Vase" (1976)
 * "The Gifts of Joy" (1971)
 * "Once upon a Christmas" (1971)
 * "The Christmas Secret" (1972)
 * "Christmas Story" (1972)
 * "In Loving Memory" (1972) – later published as "Mrs. Stoner and the Sea" (1976)
 * "The New Christmas" (1972)
 * "The Miracle Child" (1973)
 * "Mrs. Barton Declines" (1973) – later published as "Mrs. Barton's Decline" and "Mrs. Barton's Resurrection" (1976)
 * "Darling Let Me Stay" (1975) – excerpt from "Once upon a Christmas" (1971)
 * "Dream Child" (1975)
 * "The Golden Bowl" (1975; written 1942)
 * "Letter from India" (1975)
 * "To Whom a Child is Born" (1975)
 * "Alive again" (1976)
 * "Come Home My Son" (1976)
 * "Here and Now" (1976; written 1941)
 * "Morning in the Park" (1976; written 1948)
 * "Search for a Star" (1976)
 * "To Thine Own Self" (1976)
 * "The Woman in the Waves" (1976; written 1953)
 * "The Kiss" (1977)
 * "The Lovers" (1977)
 * "Miranda" (1977)
 * "The Castle" (1979; written 1949)
 * "A Pleasant Evening" (1979; written 1948)
 * Christmas Miniature (New York: John Day, 1957) – in UK as Christmas Mouse (London: Methuen, 1959) – illustrated by Anna Marie Magagna
 * Christmas Ghost (New York: John Day, 1960) – illustrated by Anna Marie Magagna

Unpublished stories
 * "The Good Rich Man" (1937, unsold)
 * "The Sheriff" (1937, unsold)
 * "High and Mighty" (1938, unsold)
 * "Mrs. Witler's Husband" (1938, unsold)
 * "Mother and Daughter" (1938, unsold; alternate title "My Beloved")
 * "Mother without Child" (1940, unsold)
 * "Instead of Diamonds" (1953, unsold)

Unpublished stories, undated
 * "The Assignation" (submitted not sold)
 * "The Big Dance" (unsold)
 * "The Bleeding Heart" (unsold)
 * "The Bullfrog" (unsold)
 * "The Day at Dawn" (unpublished)
 * "The Director"
 * "Heart of the Jungle (submitted, unsold)
 * "Images" (sold but unpublished)
 * "Lesson in Biology" / "Useless Wife" (unsold)
 * "Morning in Okinawa" (unsold)
 * "Mrs. Jones of Jerrell Street" (unsold)
 * "One of Our People" (sold, unpublished)
 * "Summer Fruit" (unsold)
 * "Three Nights with Love" (submitted, unsold) – original title "More Than a Woman"
 * "Too Many Flowers" (unsold)
 * "Wang the Ancient" (unpublished)
 * "Wang the White Boy" (unpublished)

Stories: Date unknown
 * "Church Woman"
 * "Crucifixion"
 * "Dear Son"
 * "Escape Me Never" – alternate title of "For a Thing Done"
 * "The Great Soul"
 * "Her Father's Wife"
 * "Horse Face"
 * "Lennie"
 * "The Magic Dragon"
 * "Mrs. Jones of Jerrell Street" (unsold)
 * "Night of the Dance"
 * "One and Two"
 * "Pleasant Vampire"
 * "Rhoda and Mike"
 * "The Royal Family"
 * "The Searcher"
 * "Steam and Snow"
 * "Tinder and the Flame"
 * "The War Chest"
 * "To Work the Sleeping Land"

Children's books and stories

 * The Young Revolutionist (New York: John Day, 1932) – for children
 * Stories for Little Children (New York: John Day, 1940) – pictures by Weda Yap
 * "When Fun Begins" (1941)
 * The Chinese Children Next Door (New York: John Day, 1942)
 * The Water Buffalo Children (New York: John Day, 1943) – drawings by William Arthur Smith
 * Dragon Fish (New York: John Day, 1944) – illustrated by Esther Brock Bird
 * Yu Lan: Flying Boy of China (New York: John Day, 1945) – drawings by Georg T. Hartmann
 * The Big Wave (New York: John Day, 1948) – illustrated with prints by Hiroshige and Hokusai – for children
 * One Bright Day (New York: John Day, 1950) – published in the UK as One Bright Day and Other Stories for Children (1952)
 * The Beech Tree (New York: John Day, 1954) – illustrated by Kurt Werth – for children
 * "Johnny Jack and His Beginnings" (New York: John Day, 1954)
 * Christmas Miniature (1957) – published in the UK as The Christmas Mouse (1958)
 * "The Christmas Ghost" (1960)
 * "Welcome Child (1964)
 * "The Big Fight" (1965)
 * "The Little Fox in the Middle" (1966)
 * Matthew, Mark, Luke and John (New York: John Day, 1967) – set in South Korea
 * "The Chinese Storyteller" (1971)
 * "A Gift for the Children" (1973)
 * "Mrs Starling's Problem" (1973)

Awards

 * Pulitzer Prize for the Novel: The Good Earth (1932)
 * William Dean Howells Medal (1935)
 * Nobel Prize in Literature (1938)
 * Child Study Association of America's Children's Book Award (now Bank Street Children's Book Committee's Josette Frank Award): The Big Wave (1948)

Museums and historic houses

Several historic sites work to preserve and display artifacts from Pearl's profoundly multicultural life:
 * The Pearl S. Buck Summer Villa, in Kuling town, Mount Lu, Jiujiang, China
 * Pearl S. Buck House in Nanjing University, China
 * The Zhenjiang Pearl S. Buck Research Association and former residence in Zhenjiang, China
 * Pearl S. Buck Birthplace in Hillsboro, West Virginia
 * Green Hills Farm in Bucks County, Pennsylvania
 * The Pearl S. Buck Memorial Hall, Bucheon City, South Korea

title: Pearl S. Buck


text:
Talk:China O'Brien

Untitled
Another high point: One of the characters delivered a roundhouse kick that knocked three people down. :-) --KQ

Is the film really more famous for Tori Amos - or as a ground-breaking female martial arts film ? -- Beardo 15:48, 22 April 2007 (UTC)

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title: Talk:China O'Brien