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Settler Chinese Women's Storytelling in Aotearoa New Zealand

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Settler Chinese Women's Storytelling in Aotearoa New Zealand BENEATH THE LONG WHITE CLOUD: SETTLER CHINESE WOMEN’S STORYTELLING IN AOTEAROA NEW ZEALAND Grace Yee Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) February 2016 School of Culture and Communication The University of Melbourne Produced on archival quality paper ABSTRACT This thesis analyses settler Chinese women’s storytelling in Aotearoa New Zealand in order to articulate a conception of autonomous subjectivity within the context of hegemonic Colonialist Orientalist narratives. Utilising a bricolage methodology that combines the researcher’s creative writing with critical analyses of spoken and written stories, including interviews with authors, it focuses on Chinese women’s lived experiences and the narrative strategies they deploy. The prolonged absence of the feminine voice is barely acknowledged in extant studies of the settler Chinese community in New Zealand. Chinese women’s stories did not emerge in the public domain until the 1990s. While increased recognition of this writing appears to point to the country’s progress, Colonialist Orientalist narratives have continued to characterise Chinese women as either exotic and Oriental or assimilated and invisible, subordinating them in accord with an enduring prototype: ‘Chinese woman’. I contend that the insidiousness of this prototype is reflected in its integration into settler Chinese women’s subjectivities, and in the stories they tell: both ‘inside’ the Chinese community, and ‘outside’ in the Pākehā mainstream. As such, it appears that there exists no space within which these women can express an autonomous subjectivity and thereby assert a ‘separate’ identity. This thesis is concerned with identifying such a space. Framed by key premises drawn from Judith Butler’s critical analysis of subjection, and with reference to Rey Chow’s analysis of Chinese woman’s subjectivity, Linda Alcoff’s positional feminism, Erving Goffman’s dramaturgical schema and Mary Ann Doane’s theory of femininity as ‘masquerade’, this research analyses the stories that settler Chinese women have told in diverse contexts including personal interviews and in their published writing. In these analyses, in which I conceive of storytelling as performance, I identify a range of narrative strategies through which autonomous subjectivities may be articulated and validated, and which have the potential to ground claims for previously unrecognised subject positions. iii The more explicitly imaginative creative writing in this thesis is also interrogative, and as such, has more than adjunctive value to the (more overtly) critical discussion. Chapter Five demonstrates a range of counterhegemonic narrative strategies in its juxtaposition of multiple genres including fictionalised autobiography, poetry, images and excerpts from mainstream New Zealand newspapers. Creative writing is also utilised to articulate an intimate conversation among Chinese women in Chapter Two, and in the autoethnographic narrative threads integrated into the critical discussion in most of the other chapters. The incorporation of this creative writing into the body of the thesis is intended to demonstrate that the language of traditional academic discourse alone is inadequate for the task of illuminating settler Chinese women’s subjectivity. It also reveals how the autonomy and agency of this Chinese woman writer – in the capacity of researcher – may be grounded in the transformation of the very language that has produced her as ‘Chinese woman’. iv DECLARATION This is to certify that: the thesis comprises only my original work towards the PhD except where indicated in the Preface, due acknowledgement has been made in the text to all other material used, the thesis is fewer than 100 000 words in length, exclusive of tables, maps, bibliographies and appendices. Signed: Date: 28 February 2016 v PREFACE Publications: The thesis includes the following published works with minor adaptations: “Sunday Gardening: The Adventures of John Chinaman on the New Gold Mountain.” Meanjin 72.2 (2013): 140-49. Print. “English Mittens.” Eureka Street 19.8 (2009): n.pag. Web. 24 October 2015. “Staples.” Culture Is. Australian Stories Across Cultures: An Anthology. Ed. Anne Marie Smith. Kent Town: Wakefield Press, 2008. 19. Print. Submitted for Other Qualifications: “Like the Meaning of Love.” Southerly 65.1 (2005): 9-10. Print. Submitted for the degree of Master of Arts: Writing and Literature, Deakin University, 2005. Presentations: “Chinese Women in New Zealand: A Gross and Bitter Evil.” Chinese Women in the Southern Diaspora History Symposium. University of Wollongong, Wollongong. 5 Dec 2014. Symposium Paper. “Beneath the Long White Cloud: Settler Chinese Women’s Storytelling in Aotearoa New Zealand.” School of Culture and Communication. University of Melbourne, Melbourne. 18 Nov 2014. Completion Seminar. Funding: University of Melbourne Research Scholarship vii ACKNOWLEDGMENTS The writing of this thesis has been a very long, and at times arduous, undertaking, and I am hugely grateful to those who have shared the journey with me. I have been truly blessed in the supervision of this thesis. Thank you to Marion May Campbell, whose enthusiasm, generosity, and unfailing support for the thesis in all its critical and creative variations kept me moving forward. Thank you to Fran Martin, whose always astute and timely criticisms, enduring interest, patience and ‘can-do’ encouragement ensured the completion of this project. Thank you to the settler Chinese New Zealand woman writers who agreed to participate in this research. This thesis would not have been possible without: Alison Wong, Helene Wong, Eva Wong Ng, Lynda Chanwai-Earle, and Wendy Yee, who participated in interviews that extended over more than three years. All, without exception, went beyond ‘the call of duty’. Thank you to the staff at the National Library of New Zealand/Te Puna Mātauranga O Aotearoa, the staff at the Museum of New Zealand/Te Papa Tongarewa, Lynette Shum, and especially Manying Ip, for responding to many queries over the years. This thesis would not have been possible without the support of the Graduate Students Association. Thank you to all of the staff in the 1888 building, especially Nick Chilcott, for facilitating accommodations on numerous occasions, and the always cheerful blokes in the IT office. I owe thanks also to Eddie Paterson for chairing my Advisory Committee, and for so generously allowing me to inhabit his office in 2013; and to Kevin Brophy, Grant Caldwell, Amanda Johnson, and Tony Birch for invaluable teaching opportunities in the School of Creative Writing. Thanks to Helen Gildfind for continuing to ‘be there’ long after finishing her own PhD journey; to Coral Campbell for countless conversations; and to Lynn Davidson for her thoughtful responses to the penultimate draft. Thanks also to Helen M, Tracie, Wade, Susan, Margot, Jeanette, Brian, Eva, Olivia, Faduma, Sandra, Elsie, Ana, Nancy, and Li, whose friendships have sustained me; and to my parents and entire Chinese New Zealand family, past and present, who have been and continue to be a source of love, inspiration and strength. Thanks especially to George, for listening to my stories; and most of all to Zachary and Demelza, for keeping the home fires stoked. ix TABLE OF CONTENTS LIST OF ILLUSTRATIONS ............................................................................................. xiii TERMINOLOGY .......................................................................................................... xvii GLOSSARY .................................................................................................................. xxi INTRODUCTION: HOW CAN SETTLER CHINESE WOMEN SPEAK? ................................ 1 Economic Scapegoats, Alien Invaders and ‘Ching Chong Chinamen’: A ‘Chinese’ History ................................................................................................... 8 Research Statement ............................................................................................... 17 Critical Literature Review ....................................................................................... 19 Conceptual Frameworks ........................................................................................ 45 Methodology, Methods and Chapter Outlines ...................................................... 53 CHAPTER ONE: AN ‘UTTERLY CHARMING PICTURE OF ORIENTAL WOMANHOOD’ ....................... 60 Progress ................................................................................................................. 61 ‘Chinese Woman’: A Colonialist Orientalist (Re)Construction .............................. 70 Speaking for – and Silencing – Chinese Women .................................................... 77 CHAPTER TWO: AN 'INSIDE' CONVERSATION ........................................................... 86 CHAPTER THREE: PERFORMING 'CHINESE WOMAN' ............................................... 112 Goffman’s Dramaturgical Schema ....................................................................... 113 Becoming ‘Chinese Woman’ ................................................................................ 114 Chinese Women on the ‘Outside’ ........................................................................ 117 Chinese Women on the ‘Inside’ ........................................................................... 121 Telling ‘Retreat’ Stories: Expressing Autonomous Subjectivities
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