I’m currently working on a critical analysis of the term ‘Chinese literature’ including my own role in the reproduction of it through for instance the title of this blog.
It involves asking a lot of questions, first of all: What is Chinese about Chinese literature? Who and what defines it?
Is it geography? If so, how to deal with overseas or exile writers? Is it Tu Wei-ming‘s notion of a ‘cultural China’? Or are might there be hybrids not answering to one cultural ‘root’ called China but to several roots? Is it about language? Current discussions in global Sinophone literature seems to be some of the most nuanced, but still fail to take into account ethnic Chinese who writes in other languages and foreigners writing in Chinese. And the Chinese language itself, even in its written form, is far from being a homogenous or easily limited subject.
Is this category of Chinese literature at all useful? For me at least, it sprung from a very practical wish to be able to access a lot of great novels and poems written in another language – Chinese. So it started with language, but from there it just grew. The best course for me now seems to be not to stop using the term ‘Chinese literature’ but to use it in a more nuanced and reflected way.
As Ien Ang puts it in her brilliant article “Can One Say No to Chineseness?”: “[A]ny intellectual investment in an object of study -say Chineseness- is not the innocent reflection of a natural reality that is passively awaiting to be discovered; rather the active quest for knowledge actively brings it into being, in the knower’s experience and understanding of the world, slices of reality he or she then calls and classifies as Chinese.”