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Scar Literature Pushes Through America  

2009-09-18 23:01:28|  分类: 文学 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |
Danwei网站的Joel Martinsen将《伤痕文学转战美国》一文译成了英文,转载如下。其文章关于封面和内容不匹配的讨论很有意思,请看原文。

也感谢Joel的翻译和资料核实。

Scar Literature Pushes Through America

Berlin Fang / SMD*

Peng Lun put up an image of the cover of an English-language book on his blog. On the cover was a Chinese woman in a qipao, only the lower half of her face and her bright red lips visible. The title was Woman of Shanghai, and the subtitle was "Tales of Survival from a Chinese Labor Camp." Peng Lun said that only after looking carefully did he realize that it wasn't a novel about China written for the pleasure of foreigners by an author of Chinese descent such as Lisa See or a light Chinese novel by a Wei Hui-style woman author, but rather an English translation of Chronicle of Jiabiangou, by Yang Xianhui. That's right: if you feel that the blurb is unspeakably vulgar, then take a trip to an American bookstore to see the China-themed books for sale — you'll probably be apoplectic.

Why is this the case? It's a complex issue that involves elements of confidence and cultural power, but for a short answer we can take a look at a few China-themed books that sell well on the American market. Many of the books on shelves in American book stores are memoir-style novels about the abominable Cultural Revolution, and there are quite a few memoirs as well, all of which lead to a confused sense of time. Bookstores here sell Emily Wu's Feather in the Storm: A Childhood Lost in Chaos (暴风雨中一羽毛), Anchee Min's Red Azalea (红杜鹃), Jaia Sun-Childer's The White Haired Girl: Bittersweet Adventures of a Little Red Soldier (白毛女), and also Rae Yang's Spider Eaters: A Memoir (吃蜘蛛的人) and Zhai Zhenhua's Red Flower of China: An Autobiography (中国红花). A few of Da Chen's books, such as Colors of the Mountain (山的色彩) and Brothers (兄弟, not the Yu Hua novel) also seem to be along these lines. Two American friends of mine recommended Brothers, and one even sent me a copy, but I have not read it yet. Like Garrison Keillor says, once you reach sixty you realize that life is catching up on you, and you find you need to give up doing certain things, like reading Russian novels.* I've reached middle age, when burdens are heaviest and time tightest. I read scar literature in Chinese back in my youth, so do I have to read it again in English and endure another round of suffering?

These books are trendy in America on the one had because of the first batch of overseas students to find their feet after the Cultural Revolution lived lives that were basically carefree and so were able to start writing. The Chinese writers who emerged were mostly a group born in the 50s and 60s who had spent childhood and adolescence during the era of rusticated youth and the Cultural Revolution that they described in their books. When they came to America, they were cut off from Chinese life, so what would you have them write? Having grown old, all that is left to that generation are bitter memories.

People who grew up in a transitional China had no place to find their feet. Hard at work, they had no means of writing about their lives in China during the 1980s and 90s, even though those experiences would be even more valuable when written out because they would tell of Chinese life in a different environment. But this requires time and means. If we take another look in another decade or two, overseas Chinese writers may present an entirely different picture.

JDM090914jiabiangous.jpg
Covers to the Chinese editions of Chronicle of Jiabiangou by Yang Xianhui

As Library Journal describes it, the majority of these memoirs are written by Chinese women who have come to America, and thus they mostly have the faces of Chinese women on their covers. Perhaps in some cases it is the man who supports the family after coming to America, so the woman has time to write. Subjectively, therefore, there is nothing wrong about the choice of subject matter, yet coming over and over, creates a phenomenon to the point that the publisher of the translation of Yang Xianhui's Chronicle of Jiabiangou hitched it to the "women's Cultural Revolution + Communist China + Scars" bandwagon. Evidently the publisher is very familiar with this road.

Some of Amazon's descriptions of memoirs of China are even more straightforward: there's the line "I was raised on the teachings of Mao and on the operas of Madam Mao, Comrade Jiang Ching,"* and a cover showing a Chinese woman. Such treatment is in line with the traditional understanding some American readers have of China: this is a painful place full of oppression and devastation. There is nothing wrong with an individual author writing about this material, but enough of it turns into a phenomenon that will prop up certain prejudices. Americans do not know much about China, so everyone takes advantage of the same familiar elements: Chinese restaurants are called either Panda or Great Wall. Reading about China, then, people anticipate pain and persecution, they expect to see wounds, little realizing that this is but one facet of China. Sometimes, to cater to westerners' stereotypes about China, authors will indulge in depicting persecution or even exaggerate their characters. On the Barnes and Noble website, an anonymous commenter wrote of Da Chen's Brothers, "The main characters seem improbable, larger than life."*

American readers also have a snobbish side. You might not find favor by pandering, but you'll end up strengthening publishing's prejudices and clogging up the road for other subject matter. Immigrant literature of other countries inhabits a much wider range of roles. Peng Lun recommended to me two novels this year. One was the biography of Sudanese immigrant Valentino Achak Deng*, in which Deng survives regufee camps in Africa to reach Atlanta only to be nearly killed by thugs, a contrast that brings a new force to immigrant literature. The other was Joseph O'Neill's Netherland,* whose protagonist is an immigrant living in post-9-11 America. Though the novel spares no efforts to mock and satirize the US, it made best-seller lists, won awards, and was recommended by Obama. This demonstrates that immigrants who pursue literature in a uncensored environment have the latitude to not adhere so rigidly to stereotypes.

Which reminds me of a seemingly unrelated topic that is actually slightly connected: the export of culture (and overseas Chinese have a responsibility here as well).

If you say that Chinese books published in the US are basically complaint literature divorced from a contemporary Chinese context — a uniform, rigid genre — then it's the same with movies. Check out Netflix, America's largest online movie rental company, and look under the foreign film category for Chinese movies. You'll see an expanse of flesh, or else a bunch of fighting, as if Chinese films are all sex or violence. Either the fist or the pillow, and we don't know how to shoot anything else.

At a national level, this appears like trade issue. According to the Yilin Publishing House website, Ever since China entered the WTO its cultural trade deficit has been growing. In the arts marketplace, the ratio of imports to exports is 10:1; for publishing, 6.84:1; copyrights, 10.3:1. And in the film market, the ratio in 30:1. In other words, China does not have all that much to export to begin with. But if this is the kind of stuff that does get exported, where does the problem really lie?

The US government has lodged another complaint with the WTO saying that China is engaging in cultural protectionism and that the country must further open up its markets. I support additional opening up, but it is our own problem as to whether we'll be able to compete after opening up, or whether we'll be able to go out ourselves. In China's film and book sectors, the current state of exports is truly abysmal. These are not trade problems, but cultural problems. Cultural problems must ultimately be solved by cultural means. Can official letterhead fix the problem of fists and pillows in exported movies and make-up on the covers of books?

* * *
JDM090914womans.jpg
Variant cover of Woman From Shanghai
JDM090917shanghaigirls.jpg
Shanghai Girls by Lisa See

Notes

  1. According to the author, Garrison Keillor said something along these lines on his radio variety show, A Prarie Home Companion. Few program transcripts are available online, so I was unable to locate the original text.
  2. This line is actually the first sentence of Anchee Min's Red Azalea.
  3. The complete review can be found under Customer Reviews on B&N's page for the book:
    Interesting as a narrative on the Cultural Revolution. The prose style is hurried and awkward at times. The main characters seem improbable, larger than life. I think this writer has a lot of potential, and if tempered could write more compelling fiction.
  4. What is the What, by David Eggers, subtitled "The Autobiography of Valentino Achak Deng: A Novel."
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