China's Great Train: Beijing's Drive West and the Campaign to Remake Tibet
Author: Abrahm Lustgarten
A vivid account of China’s unstoppable quest to build a railway into Tibet, and its obsession to transform its land and its people
In the summer of 2006, the Chinese government fulfilled a fifty-year plan to build a railway into Tibet. Since Mao Zedong first envisioned it, the line had grown into an imperative, a critical component of China’s breakneck expansion and the final maneuver in strengthening China’s grip over this remote and often mystical frontier, which promised rich resources and geographic supremacy over South Asia.
Through the lives of the Chinese and Tibetans swept up in the project, Fortune magazine writer Abrahm Lustgarten explores the “Wild West” atmosphere of the Chinese economy today. He follows innovative Chinese engineer Zhang Luxin as he makes the train’s route over the treacherous mountains and permafrost possible (for now), and the tenacious Tibetan shopkeeper Rinzen, who struggles to hold on to his business in a boomtown that increasingly favors the Han Chinese. As the railway—the highest and steepest in the world—extends to Lhasa, and China’s “Go West” campaign delivers waves of rural poor eager to make their fortunes, their lives and communities fundamentally change, sometimes for good, sometimes not.
Lustgarten’s book is a timely, provocative, and absorbing first-hand account of the Chinese boom and the promise and costs of rapid development on the country’s people.
The Washington Post - John Pomfret
Abrahm Lustgarten's fine book China's Great Train is one of the few works to bring the Western reader inside the heads of China's builders. Following the lives of two engineers and a doctor, Lustgarten chronicles an incredible feat of modern engineering: the construction of a railway connecting Tibet to the rest of China. …for Lustgarten, a contributing writer for Fortune magazine, the building of the railway is not just a great yarn. It's also a microcosm of how the Communist Party has refashioned China in the last 30 years…Lustgarten translates the palpable excitement of being a builder in a nation where builders rule. He also accomplishes something more valuable: He provides insight into the seat-of-the-pants nature of many of China's massive schemes. Reading China's Great Train, we recognize China's engineers, and by extension its leadership, for what they are: some of the world's biggest risk-takers. Geeks with guts.
Kirkus Reviews
A careful account of the Chinese expansion into the Tibetan Plateau, accelerated by the completion of the world's highest railroad. Fortune contributing writer Lustgarten notes that China has been working to incorporate Tibet wholly into its sphere since the invasion of 1959, when the Dalai Lama was forced into exile. To the chagrin of Communist technocrats, however, China could never quite figure out how to fund highways and other corridors of transport into the high country until recently, with the result that "Tibet's infrastructure in the decades since [1959] had remained more tied to India and Nepal than to Beijing-something Chinese nationalists found excruciatingly untenable." Thanks to President Jiang Zemin's "Go West" development initiative, though, Chinese settlers have pushed ever westward, resettling millions of ethnic Chinese into the remote interior. An important vehicle was the Qinghai-Tibet Railway, begun in 2001, which picked up on a failed effort begun and abandoned in 1979. The mountainous region, "shockingly inhospitable to the lowlander Chinese," has since been sprouting factories, shopping centers, housing developments-and prisons, of course, for China has been striving to break the back of the Tibetan freedom movement. This train would, its builders hoped, "finally provide a permanent, intractable link between Tibet and China," if only by introducing enough ethnic Chinese into the region to outnumber the Tibetan population, and thus converting a backward place full of supposedly docile people into another industrial powerhouse. Reporters remarking on such developments, such as the Swiss journalist Jean-Marie Jolidon, have been summarily expelled from China.Lustgarten had better luck, but it is clear that he asked hard questions along the way, including ones to establish how expensive the whole railway project has turned out to be: about $4.5 billion, perhaps much more. Lustgarten's account, both journalistic and historical, is a welcome addition to the literature of Tibetan enslavement. Agent: PJ Mark/McCormick & Williams
Look this: End of the American Century or Worst Person In the World
Free Culture: The Nature and Future of Creativity
Author: Lawrence Lessig
Lawrence Lessig, "the most important thinker on intellectual property in the Internet era" (The New Yorker), masterfully argues that never before in human history has the power to control creative progress been so concentrated in the hands of the powerful few, the so-called Big Media. Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.
The New York Times
The shrinking of the public domain, and the devastation it threatens to the culture, are the subject of a powerfully argued and important analysis by Lawrence Lessig, a professor at Stanford Law School and a leading member of a group of theorists and grass-roots activists, sometimes called the ''copyleft,'' who have been crusading against the increasing expansion of copyright protections. Lessig was the chief lawyer in a noble, but ultimately unsuccessful, Supreme Court challenge to the copyright extension act. Free Culture is partly a final appeal to the court of public opinion and partly a call to arms. — Adam Cohen
The Washington Post
As the rest of Free Culture makes clear, the arcane ins and outs of today's copyright battles now mask a much deeper cultural struggle in which the stakes have grown unthinkably high. — Chris Lehmann
Publishers Weekly
From Stanford law professor Lessig (Code; The Future of Ideas) comes this expertly argued, alarming and surprisingly entertaining look at the current copyright wars. Copyright law in the digital age has become a hot topic, thanks to millions of music downloaders and the controversial, high-profile legal efforts of the music industry to stop them. Here Lessig argues that copyright as designed by the Framers has become dangerously unbalanced, favoring the interests of corporate giants over the interests of citizens and would-be innovators. In clear, well-paced prose, Lessig illustrates how corporations attempt to stifle innovations, from FM radio and the instant camera to peer-to-peer technology. He debunks the myth that draconian new copyright enforcement is needed to combat the entertainment industry's expanded definition of piracy, and chillingly assesses the direct and collateral damage of the copyright war. Information technology student Jesse Jordan, for example, was forced to hand over his life savings to settle a lawsuit brought by the music industry-for merely fixing a glitch in an Internet search engine. Lessig also offers a very personal look into his failed Supreme Court bid to overturn the Copyright Term Extension Act, a law that added 20 years to copyright protections largely to protect Mickey Mouse from the public domain. In addition to offering a brilliant argument, Lessig also suggests a few solutions, including the Creative Commons licensing venture (an online licensing venture that streamlines the rights process for creators), as well as legislative solutions. This is an important book. "Free Cultures are cultures that leave a great deal open for others to build upon," he writes. "Ours was a free culture. It is becoming less so." (Mar. 29) Forecast: This book will have a wider appeal than Lessig's previous works, and author appearances in New York and San Francisco could attract buyers. With peer-to-peer file sharing constantly making headlines, the book has added relevance. Copyright 2004 Reed Business Information.
Kirkus Reviews
"A free culture, like a free market, is filled with property," writes a copyright expert. But, he adds, extremism in asserting rights in that property can kill a culture. Consider Disney Corp., which regularly clamps down on artists who use the likeness of, say, Mickey Mouse for their own purposes. Now, Mickey has been around since 1928, born, Lessig (Law/Stanford Univ.; The Future of Ideas, 2001, etc.) argues, to the great magpie Walt Disney, who "ripped creativity from the culture around him, mixed that creativity with his own extraordinary talent, and then burned that mix into the soul of his culture. Rip, mix, and burn." Fair enough, and it's inarguable that many of Disney's early creations were parodies of or commentaries on other films of his time. Try that today, though, and you'll invite a lawsuit, for the big media have taken pains to secure legislation that extends copyright terms, and always in their favor; you wanna use Mickey, you gotta pay on Disney's terms. "No society," writes Lessig, "free or controlled, has ever demanded that every use be paid for or that permission for Walt Disney's creation must always be sought. Instead, every society has left a certain bit of its culture free for the taking." Until now, that is. The result: rampant piracy, ever-tighter commercial control over intellectual rights, and a derivative, commercialized, impoverished culture. Though no stranger to rhetorical excess ("every generation welcomes the pirates from the last"), Lessig quite sensibly suggests that copyright become harder to hold onto for long stretches, and that the emphasis of the law shift to a "some rights reserved stance," particularly where the work in question is no longeractively sold on the market-an out-of-print book, say, or CD. Provocative, and sure to inspire argument among the myriad lawyers who, Lessig hints, are the only ones who benefit from the current mess. Amanda Urban/ICM
Table of Contents:
| Preface | ||
| Introduction | 1 | |
| "Piracy" | 15 | |
| Ch. 1 | Creators | 21 |
| Ch. 2 | "Mere Copyists" | 31 |
| Ch. 3 | Catalogs | 48 |
| Ch. 4 | "Pirates" | 53 |
| Ch. 5 | "Piracy" | 62 |
| "Property" | 81 | |
| Ch. 6 | Founders | 85 |
| Ch. 7 | Recorders | 95 |
| Ch. 8 | Transformers | 100 |
| Ch. 9 | Collectors | 108 |
| Ch. 10 | "Property" | 116 |
| Puzzles | 175 | |
| Ch. 11 | Chimera | 177 |
| Ch. 12 | Harms | 183 |
| Balances | 209 | |
| Ch. 13 | Eldred | 213 |
| Ch. 14 | Eldred II | 248 |
| Conclusion | 257 | |
| Afterword | 273 | |
| Notes | 307 | |
| Acknowledgments | 331 | |
| Index | 333 |
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