Brian Bernards. 2015.
Writing the South Seas: Imagining the Nanyang in Chinese and Southeast Asian Postcolonial Literature
Seattle and London: University of Washington Press
In his recent study, Brian Bernards analyses the motif of the Nanyang (the South Seas) in postcolonial fiction from Malaysia, Thailand, Borneo, Singapore and Taiwan. Through a focus on the integration, assimilation and confrontation between (descendants of) Chinese settlers and the local populations, Bernards’s analyses reveal the internal heterogeneity of each perceived group. This book reminds us, through concrete examples, that any ethnic group, national culture or language is always already ‘contaminated’ – a term he uses in a fittingly positive sense; after all it is contamination not sterility that brings life.
Bernards begins his book with two chapters that present the Nanyang motif as an integral, if not major, part of modern Chinese literature. He writes: “Not to be written off as New Literature’s detour into exoticism, the impressionistic South Seas color in the short fiction of Xu Zhimo and Xu Dishan … suggests a broader conception of and enquiry into ‘the world’ than typically attributed to the New Culture movement” (p. 30). The positive effects of structuring the book in this way, is that the early chapters provide a historical context for the Nanyang motif and thus set the scene for the later postcolonial analysis. Just as importantly, they bring to light lesser known aspects of the New Literature movement as well as non-canonized works of famous Chinese writers such as Lao She. On the downside, rooting the whole study in the context of modern Chinese literature does not further Bernards’s bold and otherwise successful project of shifting analytical focus from a cultural centre to a network of cultural connections.
Thus situating his innovative analytic focus in the well-known context of modern Chinese literature, he goes on to provide a short literary history of the Nanyang motif as an expression of the combined pride and despair felt by Chinese writers of the 1920s and 1930s towards their own culture: Bernards’s description of how Yu Dafu championed Sinophone Malayan literature as a literature in its own right, only to go on telling the Malayan writers how best to develop this genre (p. 77), calls to mind the strange mix of arrogance and fascination that characterised the ‘primitivism’ popular among European painters from the late 19th and early 20th, who sought artistic (and sometimes sexual) liberation from so-called ‘primitive’ cultures in the colonies.
Though I find Bernards’s translation of baihua as ‘pure speech’ (p. 33) rather than for instance ‘plain speech’ somewhat misleading, his argument that the enlightenment project of the New Literature movement was not simply a vernacular liberation, but also led to cultural homogenisation, is an important and often neglected one.
No margins no centre
The single greatest contribution this book makes is, in my opinion, that it turns our way of thinking about and analysing literature away from a supposed centre by creating a kind of empty centre (the sea) from the vantage point of which every literature, culture and language is an island in an archipelago of other interconnected islands. This is a brilliant and a much-needed step in literary studies. While I fully recognise the debt to Shu Mei-shih’s work on Sinophone fiction, Bernards’s book adds a new archipelagic focus and, as most pioneering studies, it suffers from a few weak points. Firstly, the very structure that allows multiple geographic points of departure also proves quite challenging to a reader less familiar with the mosaic of southeast Asian colonial and national histories. Bernards does his best to remedy this in the text, but a timeline or some other visual historic overview (such as the very helpful map provided in the introduction) might help the reader navigate between chapters.
Another issue is how the term Nanyang itself simultaneously makes possible and defeats the aim of the book to move beyond national or linguistic literary boundaries. The term ‘the South Seas’ presupposes a point that one is south of; in this case, that point is inescapably China. I do not see how Bernards could have done otherwise, but this dilemma helps to remind us that we are still struggling to get beyond notion of centre-periphery.
While generally thrilled with the works and authors presented, I could wish for more methodical congruity in the literary analyses. Some chapters provide biographical interpretations, other offer sociopolitical readings and one gives a comprehensive narrative analysis. Personally, I find this last instance – which includes a diagram of the author Pan Yutong’s ‘concentric narratology’ – absolutely fascinating, and I can’t help feeling that a consistent comparison of either narrative patterns, character development or literary reception of fiction dealing with postcolonial Nanyang identities might be a highly interesting continuation of the project.
Brian Bernards’s enjoyable and illuminating book successfully diversifies the way we think about national literatures as well as about Sinophone literature as essentially a diaspora phenomenon, for, as Bernards excellently puts it, “rarely (if ever) are the terms ‘British diaspora,’ ‘French diaspora,’ ‘Spanish diaspora,’ and ‘Portuguese diaspora’ applied to communities in the New World of the Americas” (p. 198). Bernards’s study shows that not only are such concepts challenged by hybrids and misfits at the margins, but the so-called margins themselves reach the centre and affect/hybridise it to a degree that renders such concentric vision impractical. With an unswerving eye for the role language plays in creating literatures as well as for the innovate power of fiction in creolising language (and with due attention to original terms available in an extensive glossary), this book will prove an eye-opening read, not only for scholars and enthusiasts of Sinophone and southeast Asian literatures, but for linguists and literary scholars everywhere.