IIAS_Newsletter#37 22-06-2005 14:12 Pagina 7

> China’s new pride

The new Chineseness:
great leap forward or backward?
Looking backward is a major trend in Chinese fiction today - writers often set their novels in
the past to reflect on Chinese history and culture. Most such novels take place sometime
between the 1840s and the 1970s, when China suffered defeat, humiliation, coup d’état, until the 1980s, when it died out ics who are confident of their civilization
warlordism, civil war, invasion, again civil war, and revolution. In this genre, Mo Yan’s because of modern entertainment. Mo and proud of its resurgence.
Sandalwood Impalement (Tanxiang Xing) is not only a commercial but an ideological hit, Yan structures his novel like a cat tone
praised by critics as a ‘masterpiece’ of ‘historical importance’ that shows China can opera, quoting opera lyrics and using cat Critical acclaim for Sandalwood Impale-
overcome Western influence thanks to ‘Chinese tradition, Chinese reality, and Chinese tone sounds to signify strong emotions. ment owes to cultural nationalism, not
mentality’ as apposed to vapid ‘universalism’ and ‘humanism’. literary excellence. Ideology outweighs
The novel resembles a folk opera: pas- art. Despite being carefully plotted,
Yu e Ta o they can afford to be because they feel Mei Niang’s lover, Qian Ding, is a local sionate and sensual. It has vivid colors, structured, and written, the novel does
strong now. bureaucrat - an elegant, learned, mar- sounds, images, even smells. The exe- not rise above artisanship. The urge to

M o Yan (Don’t Speak, a pen name)
was born in Gaomi County, Shan-
dong province. He quit primary school
Sandalwood Impalement is truly ‘made
in China’. It bustles with noise and activ-
ried man. She is passionately in love
with him because he gives her every-
thing - sex, respect, culture, psycholog-
cution scenes are graphic - over ten
thousand words describe decapitation,
death by slicing, and impalement.
recreate an authentic China is detri-
mental to creativity. Compared with Mo
Yan’s earlier novels, Sandalwood Impale-
and became a farmer during the Cul- ity like a Chinese funeral - weeping and ical support, and expensive presents. Sounds are piercing: gossip, scolding, ment is contrived. It is a skilful imitation
tural Revolution, after which he joined wailing followed by loud music and a Her husband tolerates (even encour- singing, trains roaring, cats yowling. of folk opera - a splendid street per-
the People’s Liberation Army and began banquet. The story takes place around ages) Mei Niang’s extramarital affair One can smell not only the scent of formance full of sound and imagery,
his writing career. He gained fame by 1900 in a Shandong peninsula village because it augments the family income. cooked dog meat and rice wine, but also leaving nothing to the imagination.
the late 1980s for his ‘lavish’, ‘wild’, where the Germans are building a rail- Qian Ding, under orders from the cen- the stench of body odor, vomit, urine,
‘backward’ style. The filmmaker Zhang way through farmland. The Qing gov- tral government to arrest Sun Bing, does and excrement. The language is pep- Cultural nationalism does even more
Yimo based his prize-winning movies - ernment, under pressure from Ger- what he is told in order to keep his job. pered with dialect, slang, and old folk damage to literary criticism, supplanti-
Red Sorghum (1987) and Ju Dou (1990) many, is on the hunt for a rebel sect One day a stranger who claims to be opera lyrics. Mo Yan’s fictional world is ng aesthetic appreciation with moral
- on Mo Yan’s novels, making the author leader who kills Germans. He is finally Xiao Jia’s father comes to Mei Niang’s the antithesis of refined Confucian soci- judgment. Moralizing has always been
well-known internationally as well as a caught and publicly impaled on a san- home. Xiao Jia adores his ‘father’, Zhao ety; it is also ‘unpolluted’ by Communist a weakness of Chinese literary criticism.
bestseller at home. Big Breasts, Wide dalwood stake. Jia, China’s chief executioner sent by the ideology or Western values. It is exactly Today, when Chinese writers enjoy free-
Hips (Fengru Feitun), translated into Dowager Empress and General Yuan this ‘backwardness’ that charms many dom of expression, critics are conform-
several foreign languages, won the high- The main characters all depend on and Shikai to devise a cruel and unusual Chinese. Without it, the novel would ist. They conform not to any official line,
est national literary prize. In Sandalwood interfere with each other. Their inter- punishment for Sun Bing, who has to read like cliché anti-colonial class- but to public opinion, which (if any-
Impalement (2001), Mo Yan not only woven family conflicts are typically Chi- suffer five days and nights and die dur- struggle stories that often appear in thing) is more chauvinist than the gov-
develops his style to the utmost, but also nese; the logic is transparent to native ing the opening ceremony when the first Communist history textbooks. ernment. Chinese readers have good
declares his return to Chinese tradition. readers. Mei Niang, the heroine, is a German train rolls through. reason to dislike highbrow intelligentsia
beautiful young woman who runs a dog Mo Yan spent five years writing Sandal- writing that it is often a clumsy imita-
Like most writers who came of age after meat eatery; her nickname is ‘Dog Meat Trains and cat tone opera are the two pil- wood Impalement, and the language and tion of Western literature. They also
the Cultural Revolution, Mo Yan read Beauty’. She is ambivalent toward her lars of the novel. The story turns on plot show the effort he invested. The have good reason to disdain con-
foreign literature in translation. His ear- father, Sun Bing, a leading cat tone superstition about trains. When village effect, however, is strictly lowbrow. The sumerist yuppie writing that is often
lier works got wide circulation in the (maoqiang) opera singer and womaniz- people first saw trains, they thought they roots of the Chinese novel lie in street mawkish, affected, narcissistic, and sen-
West thanks to his ‘incorrect’ view of er. Her mother died when she was little, were monsters that could run without storytelling and folk opera; Mo Yan sational. But a return to folk tradition is
Chinese society and history; many in so she was brought up by her father. eating because they absorbed energy deliberately returns to these roots. Chi- no cure for bad writing. <
China, however, remarked that he pan- Due to his negligence, however, her feet from the tracks laid on ancestral graves, nese novels from before the New Cul-
dered to perverse Western interest. were never bound, and because of her disturbing fengshui. They believed the ture Movement of 1919 are almost all Reference
Some said that he bartered China’s dig- ‘big’ feet (she envies women with bound Germans conscripted young boys, third-person narratives about conflict - Mo Yan. 2001. Tanxiang Xing. Beijing:
nity for personal fame; he even got into feet) she has to marry Xiao Jia, a sim- trimmed their tongues to make them and intrigue - their main function is to Zuojia.
trouble with the PLA. But not any more. pleminded butcher she does not even speak an alien language, cut their entertain. Sandalwood Impalement is
An unorthodox writer going back to his like. Sun Bing hits and accidentally kills queues to steal their souls, and buried closer to traditional novels of three and Yue Tao studied English language and liter-
roots at peak career confirms Chinese a German railway technician he sees the queues under the tracks to ‘feed’ the four hundred years ago than to new nov- ature at Fudan University, Shanghai, and
public opinion that their civilization is sexually harassing his young second trains. They were also convinced that els since 1919. Mo Yan himself calls this social sciences at the University of Amster-
matchless. Mo Yan boasts that Sandal- wife. In response, German soldiers kill bad fengshui and this theft of young book a great leap backward - it is a dec- dam. She is currently International Pro-
wood Impalement is not translated his wife, children, and neighbours, so souls caused poverty, disaster, war, and laration of war on both highbrow intel- gramme Officer and Chinese Affairs Coordi-
because it is too Chinese. Chinese are he organizes ‘boxer’ rebels to retaliate. misfortune. Cat tone (a local opera that ligentsia writing that imitates Western nator at Leiden University International
ethnocentric and always have been, but He dresses up like the Song general Yue mimicked cats yowling) was performed fashion and consumerist yuppie writing Office. Her interests include comparative lit-
confidence makes ethnocentrism stri- Fei (1103(1142) and believes he is pos- at funerals, weddings, and religious fes- that panders to a public eager for sen- erature and intercultural communication.
dent. Confidence about the future sessed by Yue’s spirit, making him tivities. It was unique to Mo Yan’s home sation. The great leap backward wins
makes Chinese candid about the past - invulnerable to blades and bullets. village and an integral part of local life applause from Chinese readers and crit-
scoff at my enemy, while in terms of tactics respect my enemy, and I will have

Son: Thank you for your praise, only when we stand on the shoulders of previous
Son: I remember Mao said “ the world is yours, and also ours, but in the end it is still
Son: Your instruction has touched me deeply. Although the road is windy, I must

yours...” He was right, we young people are like the morning sun of 8 or 9 a.m.”
to worry about not being able to march in sync with the new century, or not

Grandfather: There will be people to carry on internatonal relations in the new
only establish and maintain a correct philosophy, and in terms of strategy

Father: Very good, I have been waiting for you to speak these words.
Mother: Hope is on your shoulders, we are all depending on you.

Mother: I so envy you; how I’d love to go ahead with you.
Grandfather: You are modest like your grandfather.
connect with the international.

generations can we see far!

Father: I am no longer alone.
Grandmother: Good work.

Grandmother: A good kid.
century.

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IIAS Newsletter | #37 | June 2005 7