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Wang All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. Includes index. ISBN alk. Chinese literature—20th century—History and criticism.
Wang, Te-wei, David. C Chan Xiaobin Yang The weather was cold, but hearts were warm and expectations were high. The event was unusual because of its ambitious range of topics and its participants—it drew not only writers and scholars from Hong Kong, the United States, and Europe, but also a large group from mainland China. An abrupt and total severance of all ties across the Taiwan Straits was followed by decades of political antagonism and great turmoil on the mainland, though Taiwan experienced a very different development.
Possibly, in his hurry to attack his enemies, Wu Sung cannot catch all these fine details, but he certainly could remember whether he has stabbed to death two or three women after he has finished off the nurse and the two children how old are the children, and of what sex? If we do not wish to see yet another wave of scar literature or ideological novels, it is high time that we looked into the merits and demerits of anti-Communist literature. Before it folded in , it dominated the literary scene in Hong Kong and exerted a far-reaching influence. In the s, Haowangjiao [Cape of Good Hope] and Huaqiao wenyi [Overseas Chinese literature and art] published contributions from Taiwan; the latter published works by Ji Xian, Luo Fu, Zheng Chouyu, and others, whereas the former distinguished itself with translations and criticism. They further wanted to portray Liu Pei as a man of benevolence and righteousness but ended in making him a coward of no ability.
Its two million people, who were mainly civil servants and soldiers, were allowed no contact even with family members for almost four decades. It was not until after the conclusion of the Cultural Revolution in late , then the lifting of martial law in Taiwan in , that the first signs of a thaw in mainland China appeared, reflected in its literature. After these two major events, communications were reopened with the Chinese mainland, and cross-Straits family reunions were allowed.
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Starting from this time, Chinese writers began to broaden their scope of literary challenges. Overseas travel became more frequent; old totems and taboos that formerly dominated the two sides began to be reexamined, and very often were jettisoned. Literary creation became invigorated by a new vitality and diversity. This volume is inspired by the spirit of the conference.
Half of the sixteen essays are derived from the papers presented at the conference; others were solicited especially for the volume. All have been substantially revised and expanded to reflect the broader range of Chinese literary mutations from the late s to the late s. Particularly we want to express gratitude to Dr. Yu-ming Shaw and Dr. Chiehming Chen for their support. Our final thanks go to all the scholars and translators who enthusiastically participated in this project.
Throughout this collection, names are spelled according to the pinyin system. In essays where names were originally spelled according to the Wade-Giles system, the pinyin version, followed by the Wade-Giles version in parentheses, is used at the first occurrence of the name. Thereafter, only pinyin is used. Given the complex development of Chinese literature over the past halfcentury, it is impossible to present an exhaustive account of either historical data or theoretical issues.
Therefore, this collection of essays intends to map the scholarly paths already trodden or ready to be explored, and thus to anticipate the scope of critical inquiry in the years to come. The existing paradigm of Chinese literary studies treats the May Fourth Movement as the harbinger of literary modernization, and —the year of the Chinese Communist seizure of mainland China—as the point when this modernization came to an abrupt end.
Chinese literature after is said to be so conditioned by political antagonism and historical turmoil that it lacks the formal and conceptual rigor it had before. Such a scenario treats twentieth-century literary development as two separate and discrete segments, a Pre Era and a Post Era.
This is an ill-informed notion.
Although Chinese literature after has suffered from numerous political interventions, most poignantly attested to in the atrocities of the Great Cultural Revolution, mainland Chinese writers never ceased to produce significant work when given half a chance. Meanwhile, since mid-century, writers in Taiwan, in Hong Kong, and overseas have contributed some of the most stimulating works in the corpus of twentiethcentury Chinese literature.
After the great divide of , China fell into separate literary, political, and historical entities, each reciting its own self-narrative and pursuing its own idea of post modernity. Hence this volume collects fifteen essays contributed by scholars from mainland China, Taiwan, Hong Kong, and overseas, reflecting the fact that since Chinese literature has had far more vitality and diversity than is admitted in the usual monological accounts.
Chindia Alert: You’ll be Living in their World Very Soon
Although endlessly harassed by political intervention, Chinese literature in these five decades has continued to rejuvenate itself, each time endowed with more sophisticated faculties of resistance. Even more important, thanks to the historical fact of fragmentation and dispersal, writers have been made to interpret the Chinese experience in ways that could never be marshaled into a stifling unity.
So as the century that once considered itself supremely modern comes to an end, the Chinese literature of the first five decades has arguably been rivaled or even surpassed by the Chinese literature of the past five decades. The year , frequently cited as a moment of paradigmatic shift in twentieth-century Chinese literature, witnessed the Chinese Communist takeover of the mainland, followed by the retreat of the Nationalist government to Taiwan and the diaspora of more than two million Chinese people to Taiwan, to Hong Kong, and overseas.
Chinese Culture in the 21st Century and its Global Dimensions
Along with the drastic shift of geopolitics came radical changes in the geopoetic configuration of Chinese literature, signaling the arrival of a new era. Writing becomes the textual manifestation of the revolution through which social and political evils can be exposed, new and progressive thoughts can be propagated, and a bright future for a new China can be mapped out. Realism, be it labeled critical, revolutionary, romantic, or socialist, is the major format of this discourse, not merely because of its mimetic presupposition but also because of its adherence to a rationalist agenda and to total truth claims.
Writing and revolution, ink and blood, are mixed to produce a most powerful literary agency. The fact is, however, that marked the beginning of a rapid degradation of Chinese literature in both vitality and variety. Yet one question remains to be asked: If censorship, incarceration, and even execution had never kept writers from churning out provocative works before , how could a successful revolution turn writing into an impossible mission after ?
I call attention here to the implosion of the revolutionary poetics, which, as mentioned above, was derived from the early May Fourth era and evolved into the rationale of Chinese Communist literature. Writing is at one with the state of anticipation, immediate knowledge of a higher knowledge that is to come. However popular, post—May Fourth works by masters such as Lu Xun or Mao Dun entailed this negative dialectic; the more a writer wrote, the more he or she articulated his or her incapacity to reach the ideal state of rationality accessible only through revolution.
Writing in the pre-revolution days thus can best be defined as an act of self-denial—a desperate naming of what reality is not. This new discourse, however, turned out to impose a double bind. On the one hand, it informed the writers that the revolution had succeeded; thus conditions for the existence of pre-revolutionary literature had disappeared.
If the fervor of modernity was formerly occasioned by social and political injustice, indignation had become redundant in the new society, except for recalling the bad old days and reaffirming the happy status quo.
On the other hand, the new discourse informed writers that the revolution was not yet complete; some class enemies remained to be overthrown, and more anti-capitalist wars remained to be fought. But if writers resumed the critical positions of pre-revolutionary days, they would only be postponing rather than hastening the fullness of revolution. Either way, they were forced to adopt roles designed for them by the Party, whose superior knowledge of the future they themselves had proclaimed. Rather, I propose a more complex context for the rise of PRC literary discourse, of which Maoism is only the most outrageous characteristic.
When the majority of established writers stopped producing new and provocative works in the s, they were inhibited, I argue, as much by the invincible coercion imposed by the Party as by an aporia in their own literary beliefs. For most, the disappearance and despair of their colleagues was not sufficient to foreshadow the universal darkness of the Cultural Revolution, in which those who believed in revolution became the subjects of indignant revolutionary tales. Hundreds of writers were served up at this Lu Xun—esque banquet, a cannibalism they thought they had abolished with the help of their now-superfluous writings.
Accordingly, if the cases of Ding Ling and Hu Feng and many other literati are still illuminating to us, it is not because these writers proved their integrity by standing up against the Party, but because they unwittingly acted out the contradictions of the revolutionary poetics shared by modern Chinese. So we should not feel too surprised to see Ding Ling reemerge from persecution in the late s, striking an ever more stubborn posture in defense of Maoism. More intriguing are the cases of Wang Meng and Liu Binyan. Despite their nonconformist stances in the s, both Liu and Wang were apt merely to renegotiate the residual ideological contracts of their literary practices when attempting to start fresh.
Liu Binyan lashed out at the new social and political corruption, but nevertheless adopted the style of the old revolutionary poetics at its most righteous. I disagree.
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Although each of these writers has had his or her own moment of popularity among readers and ideologues, they underwent torture no less than their nonconformist peers. Walking the ever-moving tightrope of the party line still attired in the garb of individual creativity, nobody is guaranteed against falls. Unlike their defiant colleagues, who were willing to risk their lives and blurt out whatever came to mind, these writers had to practice superhuman caution and excruciating ingenuity, yet still could never keep within the parameters of safety.