Imagine you are writing a travel narrative to provide information to your friend who wants to sell her artwork to people from a nearby state. What should you include in your travel narrative? In your response, include at least three different pieces of information that would help your friend to develop business relationships with people from that state.

These types of travel narratives written to develop business relationships should focus on the lives of regular people. One important area that “business relationship” travel narratives should focus on is cultural traditions: What are the shared attitudes, values, goals, and practices of the people from this state? A variety of details would be appropriate when discussing cultural traditions, such as how people spend their leisure time and their attitudes about artistic works. Another element to focus on is educational institutions: How do people in this state receive the information that is important to them? Do these institutions value the arts? Lastly, and possibly most importantly, a travel narrative of this type needs to address the motivation of the people from this state: Why do they do what they do? The answer to this question involves religious beliefs and moral practices. The type of art that would be welcomed and the type of art that would be deemed offensive are both important factors to discuss. Information about all these areas will help anyone wanting to establish business relationships in a neighboring state.

kellan is struggling with the amount of work he has to do

hope this : 3

word count 168

serve the people! ,” smoothly translated by julia lovell, offers an initial sample of yan lianke’s writing to an english-speaking audience. a bluntly drawn, mildly erotic fable, it teases mao zedong by poking fun at a true believer who obeys the chairman’s precepts too literally. to a western sensibility, the broad strokes of yan lianke’s humor would seem to pose little risk of inciting rebellion, whether of the flesh or of the body politic. but then, part of the book’s attraction is that it doesn’t have a western sensibility. it lets the reader see — or rather, intuit — what jokes chinese officials don’t consider funny, and how very little it takes for a writer to be branded an incendiary in 21st-century china, more than three decades after the death of mao, a decade after the death of deng xiaoping and seven years since china entered the world trade organization, a move that would seem to signal a willingness (however wary) to mingle with the rest of the world.