I have been reading a bit about Chiang Yee lately. If any of our readers know him it is probably as the author of Chinese Calligraphy: An Introduction to Its Aesthetic and Technique which he wrote as a professor at Columbia, which was his third or fourth life. He’s one of those people where its hard to count how many careers he actually had. He was born in China in 1903 and worked as a soldier, journalist, teacher and government official. At one point he was probably best known for his Silent Traveler series of books which he wrote/painted after moving to England in 1933. The combination of Chinese-style paintings of English sights
along with wry observations of the foibles of the foreigners proved to be very popular and he became one of the best-known interpreters of China in the West. Yee is credited with the translation 可口可乐 for Coca-Cola1 The Silent Traveller books are written in a style that sometimes seems like interwar faux-oriental stuff and sometimes like a real Chinese literati writing about his travels. The latter is not surprising, given that his first published work was an account of a trip to Hainan that he published in 东方杂志.
Not surprisingly, what I found most interesting was Chiang’s problematic relationship with modern Chinese nationalism. On the one hand he had a fairly rosy view of the Old China, and spent much of his life in self-imposed exile from Chinese corruption, working as a guide to China’s timeless tradition to foreigners. On the other hand, he was a chemist, regretted his arranged marriage, served in the Northern Expedition, strongly supported China in the War of Resistance and returned to spend the last days of his life in China.
He appears quite May-4th-y in Men of the Burma Road, (羅鐵民) a book he published in 1943 to tell the stirring story of the building of the Road by the Chinese masses. He of course did the illustrations, and while they are good.
I can’t help but think that something more along the line of a woodcut might show the toil and suffering better.
The story is quite interesting, since with only a very few changes it could be a Mao-period story about building communes or something. The main figure is Old Lo, a Chinese peasant who is attached to his land. That is in fact the only thing he cares about, like a stereotypical Chinese peasant. He sees no point in education for the likes of himself, and he objected to his son joining the army and to his neighbour’s children getting educated. Like a good Pearl Buck peasant he respects learning but thinks it is not for him.
All this changes with the Japanese invasion. At first, he is unwilling to give up his land to allow the Burma Road to be built to help the war effort. His neighbours and family members, who are up to date and members of a rural co-0p urge him to change, but he is immovable as….well, an old Chinese peasant. Even his best friend’s daughter is is giving speeches in public to support the war effort as the society around him is transformed.
The Japanese kill most of his family, however. His daughter “did not fall into the tiger’s mouth and bring the black spot on our family” because she drowned herself rather than being raped by Japanese soldiers.2 All this causes him to give up his land and work heroically to build the Road, which is, of course, made (and illustrated) with traditional Chinese methods. Chinese workers
Using only their hands, they erected 289 bridges, including two big suspension bridges with a load bearing capacity of 10 to 15 tons, and 1,959 culverts. The road-bed is sixteen feet wide, has a maximum grade of eight in a hundred and a minimum curve radius of fifty feet.3
As if that’s not enough, we also get pictures of Natives in Native dress and a scathing portrait of Mr. Wood and Mr. Coward, an English and American journalist who make up stories about Old Lo that will better fit the ideas westerners already have about China. The pictures of natives seem to be the author buying into stereotypes about minority nationalities, and the journalist parts seem like a sophisticated critique of just those sorts of stereotypes. I doubt there will ever be a critical edition of this book, but if it ever goes up on Google books, you could cover almost everything you need to cover in a Modern China class through this.