Battle for China's Past : Mao and the Cultural Revolution
Battle for China's Past : Mao and the Cultural Revolution
Battle for China's Past : Mao and the Cultural Revolution
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
CONSTRUCTING HISTORY<br />
once a teenage rebel <strong>and</strong> wrote one of <strong>the</strong> most radical revolutionary<br />
pamphlets, Whi<strong>the</strong>r China, at <strong>the</strong> age of 17, in his <strong>the</strong>n name Yang<br />
Xiguang. Yang <strong>the</strong>n went to <strong>the</strong> United States <strong>and</strong> did his PhD in<br />
economics at Princeton. He was later converted to Christianity <strong>and</strong> had<br />
a successful career as an economics professor at an Australian university.<br />
Be<strong>for</strong>e his un<strong>for</strong>tunate death in 2005 Yang tirelessly advocated<br />
neoliberal economic policies <strong>for</strong> China.<br />
The most successful, that is <strong>the</strong> most popular <strong>and</strong> influential,<br />
memoir is surely that by expatriate Chinese Jung Chang. Chang naturally<br />
assumes that students of peasant background are ‘semi-literate’<br />
<strong>and</strong> had ‘little aptitude’, while she was clever <strong>and</strong> deserved <strong>the</strong> best,<br />
including a generous Chinese government scholarship to study in<br />
Britain. Chang claims that she was <strong>the</strong> victim of a brutal regime but, In<br />
fact, as well as being a Red Guard, Jung Chang was <strong>the</strong> privileged<br />
daughter of China’s Communist elite. It is a peculiarity of <strong>the</strong> reception<br />
of Wild Swans that it was told <strong>and</strong> read as a story of great personal<br />
suffering, when its author grew up with a wet-nurse, nanny, maid,<br />
gardener <strong>and</strong> chauffeur provided by <strong>the</strong> party, protected in a walled<br />
compound, educated in a special school <strong>for</strong> officials’ children. As a<br />
Grade 10 official, her fa<strong>the</strong>r was among <strong>the</strong> 20,000 most senior people<br />
in a country of 1.25 billion, <strong>and</strong> it was in this period that children of<br />
‘high officials’ became almost a class of <strong>the</strong>ir own. Still, <strong>the</strong> enthusiastic<br />
Western audience of Wild Swans found something to identify in Jung<br />
Chang’s perennial fear of being reduced to <strong>the</strong> level of <strong>the</strong> rest of <strong>the</strong><br />
population, shuddering with her at <strong>the</strong> prospect that ‘<strong>Mao</strong> intended<br />
me to live <strong>the</strong> rest of my life as a peasant’ (Heartfield 2005).<br />
It was during <strong>the</strong> supposedly most difficult times of her family that<br />
Chang managed to leave <strong>the</strong> countryside a few weeks after she was<br />
sent down, become a barefoot doctor, an electrician <strong>and</strong> <strong>the</strong>n a university<br />
student, <strong>and</strong> finally receive a generous scholarship to study in <strong>the</strong><br />
UK, <strong>the</strong> kind of career moves that were dreams <strong>for</strong> millions of young<br />
Chinese, all accomplished during <strong>the</strong> <strong>Cultural</strong> <strong>Revolution</strong> years be<strong>for</strong>e<br />
her fa<strong>the</strong>r was officially rehabilitated.<br />
For anyone to consider that such a personal account of contemporary<br />
China is less political is an illusion. There is no personal account<br />
outside <strong>the</strong> political context, <strong>and</strong> ‘<strong>the</strong> personal can be political in a very<br />
literal sense’ (Fitzgerald, 1999: 6). This is worth pointing out because<br />
few actually realize that ‘all histories of China are partly autobiographical’<br />
(Fitzgerald 1999: 8). They are ‘autobiographical’ not only in <strong>the</strong><br />
sense that writers such as Jung Chang <strong>and</strong> Nien Cheng write about<br />
<strong>the</strong>ir lives from which histories emerge, but also in <strong>the</strong> sense that <strong>the</strong>ir<br />
memoirs are artefacts which are <strong>the</strong> results of cultural exchange<br />
between China <strong>and</strong> <strong>the</strong> West in such a way that <strong>for</strong>eign readers <strong>and</strong><br />
writers participate in making Chinese history.<br />
[ 43 ]