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China

Imagine a street with a neo-Gothic church, a fish and chip shop, and bronze statues of Winston Churchill, Florence Nightingale, and Shakespeare. Someplace in England? No, it’s Thames Town, a satellite on the outskirts of Shanghai. German, Czech, Spanish, Scandinavian and American suburbs are also planned, to cater to the new Chinese middle class, for many of whom, like the Chinese for most of the twentieth century, ‘modern’ equals ‘Western’. Or recall your local Chinatown, with its ‘Chinese’ shops and restaurants, curved roof façades and resident diaspora, many of them convinced that they are preserving the ‘real’ Chinese culture, now lost in the mainland’s twentieth­century convulsions. How does each of these represent modern Chinese culture?

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Gloria Davies quotes William Blake in the acknowledgments to her book: ‘true friendship is argument.’ When choosing that quote, I wonder if she had the Chinese concept of zhengyou in mind. That is the word Kevin Rudd chose for friendship when he spoke to the students at Peking University in April this year. Zhengyou is not just about friendship, for which there is another Chinese word (youyi); it defines a true friend as one who dares to disagree.

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The juxtaposition of the three words ‘fashion,’ ‘history’ and ‘nation’ in the title of Antonia Finnane’s study of Chinese clothing indicates the ambitious nature of her richly illustrated book. Her account is an engaging one, based in detailed analysis of the social and political circumstances that shaped not only what people wore but the body shapes they cultivated as well. Finnane, an associate professor of history at the University of Melbourne, tells us that her narrative of vestimentary change across a century or more in China is aimed at showing how ‘the relationship between national politics and fashion is not simple, predictable or steady’, in tandem with an analysis of how technology, industry, commerce and modern communications each played a significant part in changing Chinese styles of dress.

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When five Chinese set themselves ablaze in Tiananmen Square in January 2001, Falun Gong made world headlines. Horrified disciples of the spiritual and qigong (like t’ai chi) organisation claimed that none of the five was a member and dissociated themselves from the tragedy, in which one person died. Today, Falun Gong still sees itself as a victim of a government conspiracy to discredit its 100 million faithful. Sydney-based Jennifer Zeng asks: why did police, some thirty fire engines and cameramen arrive within a minute? How did they get distant, mid-range and close-up images of the self-immolation from so many different angles unless it had been prearranged? Zeng suggests answers to these and other questions in Witnessing History.

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Jack Gregory has devoted much of his long career in China studies to teaching and studying the ways in which the West and China have interrelated. He is well qualified to write on the subject. Classes that Gregory has given in Melbourne to students attending University of the Third Age classes have inspired this book. In style and structure, it is highly suitable for teaching. The writing is clear, interesting and accessible. Though the book could have done with some pictures, it does have a map and the presentation is attractive.

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How seriously do we take an author who, in her mid-forties, writes about ‘street cred’, calls a department store ‘humungous’ and, discussing Deng Xiaoping’s reforms, asks: ‘Bourgeois decadence? Hel-lo.’? Linda Jaivin studied one of the world’s most difficult languages in Taiwan, Hong Kong and the People’s Republic of China, and, as a scholar and journalist, published perceptive analyses of China. Then she turned to fiction and biography.

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One hardly knew where to look. There were breasts everywhere. Not dozens of them mind you. Just two. On Mistress Sabine. The left mammary with a disturbing blue vein running over it, seeming to fill half the room on its lonesome. Other bits and pieces of the Mistress bulged alarmingly around the inadequate constraints of her leather fetish outfit, threatening to break free completely as she tied up Linda Jaivin and administered a paddling at the launch of the author’s Confessions of an S&M Virgin.

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In 1992, Fang Xiangshu collaborated with Trevor Hay, a mandarin-speaking Melbourne academic, on a non-fiction book, East Wind, West Wind, an account of Fang’s escape from China to begin a new life in Australia.

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Without the support of a recognisably unified literary tradition, the Australian poet has had to come to terms with the diverse elements of an increasingly heterogeneous culture. Australia is, was, and ever shall be, someone else’s country, a homeland so fundamentally altered as a concept as to be no longer comfortably recognisable as ‘Home’. Paradoxically, if anything has drawn Australian poets together, it has been a strong attachment to the physical environment, the strange and often harsh beauty of an ancient land but one no longer a comfortingly European possession. As far as forms, genres, literary concepts are concerned, writers have had to draw on their own particular sense of a cultural past that has been, for the most part, European in origin. With the passing of time, a growing disharmony has arisen between the natural rhythms of the land and its hapless European inheritors. This alienation has announced itself often enough in poems of nostalgia, loss, and lovelessness.

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In October 1993 I picked up a copy of Window, the ‘Weekly Hong Kong Newsmagazine with Exclusive Coverage of China’ and found in the Business and Finance section a Profile, ‘Bob Hawke’s Eagle Eye in Asia’. There was a photograph of the Eagle, who described himself as a ‘business commentator and facilitator of increased enmeshment in Asia’. This was certainly a confident label. Reading on I discovered that Hawke saw himself as ‘overwhelmingly responsible for the vision of Australia as part of Asia’. He told the reporter than in his first days as Prime Minister he had used the phrase, ‘our future lies in enmeshment with Asia’, a sentiment that was at first greeted sceptically, but now, Hawke claimed, ‘no one questions the wisdom and correctness of Hawke’s vision. No one.’ Emphatic stuff, claiming sole credit for long term shifts in opinion and cultural practice, while dismissing the doubters. If that was all there was to my theme, this would be a very brief history indeed.

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