He died of cancer in Sydney at the age of 78, in August 2014, surrounded by his wife and four children, Etienne, Jeanne, Louis and Marc. Works Ryckmans wrote in French, English and Chinese. His books on the Chinese Cultural Revolution and on Maoist China - beginning with his trilogy Les Habits neufs du président Mao (1971), Ombres chinoises (1974) and Images brisées (1976) - gave scathing descriptions of the cultural and political destruction in mainland China while denouncing the hypocrisy of its western defenders. In 1971, on the advice of his publisher, he decided to adopt a pseudonym before the release of Les habits neufs du président Mao, in order to avoid the risk of becoming a persona non grata in the People's Republic of China. He chose "Leys" after the main character of Victor Segalen's novel René Leys (published in 1922). During the 1970s these books by Ryckmans provoked intense hostility among many Western intellectuals, particularly the French Maoists associated with the journal Tel Quel (such as Philippe Sollers) and attracted attacks from daily newspapers such as Le Monde. However, he was defended by some intellectuals such as Jean-François Revel and Étiemble. In 1996 he delivered the Boyer Lectures on the theme "Aspects of Culture", in which he argued the need to cultivate the gardens of the mind and which were later published as The View from the Bridge: Aspects of Culture (1996). Ryckmans was also a translator of Chinese literature, such as the Analects of Confucius and The Treatise on Painting by Shitao. His translation of The Analects of Confucius (1997) sought to introduce readers to "the real, living Confucius" rather than the official Confucian cult portraying him as "always proper, a bit pompous, slightly boring" — and appropriated by authoritarians. The 2001 film The Emperor's New Clothes, directed by Alan Taylor, was based on Leys' novel The Death of Napoleon. Leys expressed distaste for the film, however; stating in an afterword accompanying a reprint of the novel that this "latter avatar [The Emperor's New Clothes], by the way, was both sad and funny: sad, because Napoleon was interpreted to perfection by an actor (Ian Holm) whose performance made me dream of what could have been achieved had the producer and director bothered to read the book." His collection of essays, The Hall of Uselessness (2011), revealed the scope of his eccentric interests, wit and insights. His