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Battle for China's Past : Mao and the Cultural Revolution

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THE BATTLE FOR CHINA’ S PAST<br />

does not have. The main aim of this chapter is, by a case study, to<br />

demonstrate that we are well advised not to take at face value <strong>the</strong><br />

accounts by <strong>for</strong>mer Chinese who now reside in <strong>the</strong> West. We<br />

have to be aware of <strong>the</strong>ir backgrounds, <strong>the</strong>ir personal interests <strong>and</strong><br />

prejudices in <strong>the</strong> production of our knowledge of history.<br />

Memories <strong>and</strong> <strong>the</strong> politics of knowledge production<br />

As an indication of personal interest in constructing history we may<br />

first take Yuan Ming as an example. The fact that Yuan (1994) idealizes<br />

Hu Yaobang, <strong>the</strong> General Secretary of <strong>the</strong> CCP during <strong>the</strong> first years of<br />

post-<strong>Mao</strong> re<strong>for</strong>m, should not be surprising since <strong>the</strong> latter was his<br />

patron <strong>and</strong> protector at <strong>the</strong> height of <strong>the</strong>ir careers.<br />

That one’s personal past is at stake is only one aspect of <strong>the</strong> production<br />

of knowledge. There is also ano<strong>the</strong>r aspect of knowledge<br />

production: what is expected to be well received. We have to be aware<br />

of <strong>the</strong> politics of <strong>the</strong> market. Writers such as Jung Chang may turn<br />

‘<strong>the</strong>ir experience into recognizable stories that satisfy <strong>the</strong> expectations<br />

of a Western public’, <strong>and</strong> a ‘literature of suffering’ that ‘moulded<br />

through outraged victimization <strong>and</strong> a broad generational consensus,<br />

<strong>and</strong> simultaneously as an affirmation of a superior Western way of life’<br />

(Zarrow 1999: 166–67). Like <strong>the</strong> film Raise <strong>the</strong> Red Lantern directed By<br />

Zhang Yimou, which invented scenes of Chinese tradition to suit <strong>the</strong><br />

West’s curiosity – <strong>the</strong> kind of scenes that would puzzle <strong>the</strong> Chinese<br />

<strong>the</strong>mselves – <strong>the</strong> tendency of <strong>the</strong> post-<strong>Mao</strong> literature <strong>and</strong> arts professionals<br />

to commercialize Western voyeurism of <strong>the</strong> Orient is too<br />

obvious to ignore.<br />

Though Li’s memoirs have been widely reviewed (Mirsky 1994,<br />

Young 1994, Bernstein 1994, Link 1994, Wills 1994, Elegant 1994,<br />

Buruma 1995 <strong>and</strong> Teiwes 1996), Li deserves a case study <strong>for</strong> two<br />

reasons. The first is that <strong>the</strong> image of <strong>Mao</strong> propagated in <strong>the</strong> book<br />

needs to be corrected. The second is that we need to look at <strong>the</strong> production<br />

process to reveal at least some aspects of how knowledge of<br />

contemporary China is manufactured in <strong>the</strong> West.<br />

Let us start with <strong>the</strong> academics. Two of <strong>the</strong> Western scholars<br />

involved in <strong>the</strong> production of <strong>the</strong> book are not just obscure academics<br />

working at some obscure topic in isolation but influential public intellectuals<br />

propagating ways to change China. One of <strong>the</strong>m is Andrew<br />

Nathan who has served:<br />

on <strong>the</strong> Advisory Committee of Human Rights Watch, Asia, <strong>and</strong><br />

on <strong>the</strong> board of Human Rights in China. He is frequently interviewed<br />

about East Asian issues in print <strong>and</strong> electronic media,<br />

<strong>and</strong> he has served as an advisor to several film documentaries<br />

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