What held the textual community of the People’s Republic together? This chapter explores how literary acts by individuals across a spectrum of influence, from Mao Zedong to Xu Chengmiao, created meaning and connection out of the imagery of the Hundred Flowers. Despite his leadership of the Leninist state mechanism, in early 1957 Mao joined in what had been dismissed as “language games” with his own extended allegory and metaphor that borrowed more from writers like Ai Qing than from Party formulism. This chapter argues that Mao’s creative appropriation of the imagery of the Hundred Flowers enabled him to speak to a broad audience that included the Soviet leadership, Party conservatives, and literati across the political spectrum. The creative circulation of the Hundred Flowers enacted a resurrection of literary communities with roots in dynastic China. Finally, we turn to the writers Guo Xiaochuan, Xiao Jun, and Xu Chengmiao to observe how personal literary practice connected writers to the growing national movement and how the movement of a literary trope created a national community.