From The American Scholar:
Censorship in China is a powerful field of force; it affects anyone who gets close to it. Four years ago, I signed five book contracts with a Shanghai publisher who planned to bring out four volumes of my fiction and a collection of my poems. The editor in charge of the project told me that he couldn’t possibly consider publishing two of my novels, The Crazed and War Trash, owing to the sensitive subject matter. The former touches on the Tiananmen tragedy, and the latter deals with the Korean War. I was supposed to select the poems and translate them into Chinese for the volume of poetry. As I began thinking about what poems to include, I couldn’t help but censor myself, knowing intuitively which ones might not get through the censorship. It was disheartening to realize I would have to exclude the stronger poems if the volume could ever see print in China. As a result, I couldn’t embark on the translation wholeheartedly. To date, I haven’t translated a single poem, though the deadline was May 2005.
The publisher publicly announced time and again that these five books would come out soon, sometime in late 2005, according to the contracts. But that spring, the first in the series, my collection of short stories, Under the Red Flag, was sent to the Shanghai censorship office—the Bureau of Press and Publications—and the book was shot down. So the whole project was stonewalled. A year later, I heard that the publisher had decided to abandon the project. In the meantime, numerous official newspapers spread the word that my books had no market value in China.