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Wound Literature Shānghén Wénxué ​伤痕文学

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Wound Literature Shānghén Wénxué ​伤痕文学 ◀ World War II in Asia Comprehensive index starts in volume 5, page 2667. Wound Literature Shānghén Wénxué ​伤痕文学 Wound literature, a genre appearing after Xinhua (August 1978) and “The Head Teacher” (“Ban- the end of the Cultural Revolution, focuses zhuren” 班主任) by Liu Xinwu (November 1977). Both on psychological and emotional damage to stories deal with the devastation of youth caused by left- individuals, especially youth, from the dep- ist policy and practice, but each has its own valence. redations of that era. Criticized as subver- sive or embraced as cathartic when it first appeared, later analysis of the genre tends Two Examples to focus on its literary weaknesses, includ- Authored by a then little-known​­ freshman in the Chinese ing simplistic narrative and representation department at Fudan University and appearing first on of character. the campus bulletin board, “Scar” tells the story of Xi- aohua, who renounces her own mother after she was of- ficially declared a “traitor.” Never doubting for a second the truthfulness of the verdict, Xiaohua voluntarily and ound literature” (also known as “scar litera- resolutely turns her back on her mother out of a sense ture”) refers to a body of literature that erupted onto the Chinese literary scene in the immedi- ate wake of the Cultural Revolution 文化大革命 (1966– 1976). Representative writers of this camp include Liu Xinwu 刘心武, Lu Xinhua 卢新华, Wang Meng 王蒙, Lu Yao 路遥, Gu Hua 古华, and Zhang Xianliang 张 贤亮, among others. Two stories in particular are com- monly referred to as the inaugurating pieces of this new literary phenomenon: “Scar” (“Shanghen” 伤痕) by Lu Woodcut depicting the smashing of the “Gang of Four.” Liu Xinwu’s story “The Head Teacher” (1977) stresses the psychological damage suffered by China’s youth as the result of the Cultural Revolution and the notorious “Gang of Four.” “ 2480 © 2009 by Berkshire Publishing Group LLC W Wound Literature n Shānghén Wénxué n 伤痕文学 2481 of loyalty to the party and a sense of abhorrence of her Emerging from the frenzy of the Cultural Revolution mother’s shameful past. But her sincere embrace of the but still haunted by fresh memories of its atrocities and party—​­which takes the form of emotional and behav- absurdities, the writers who eagerly embraced this genre ioral alignment with the party ideology in every aspect filled a deep emotional need for collective remembering of her life—​­is never reciprocated. The stigma of being a and catharsis. To a certain extent, wound literature is like “traitor’s daughter” follows her wherever she goes, not “a wreath on the ruin”—​­it provided a platform for public only denying her any chance for recognition and ad- airing of personal and collective grievances, so that the vancement during her years of reeducation in the coun- nation could unload the burden of its traumatic past and tryside, but also threatening to ruin the lives of those start the healing process. In that regard, it is analogous who care about her. As she retreats further into her lone- to a form of therapy. liness, disillusioned and disheartened, the news of her When wound literature made its first appearance, mother’s innocence unexpectedly arrives, prompting the critical establishment greeted it with a great deal of Xiaohua to embark on a personal journey in search of caution, if not suspicion, on grounds of its perceived de- reconciliation and redemption. But she is to be denied parture from established literary standards. Though the yet again: her mother dies shortly before she shows up prestigious journal People’s Literature 人民文学 did pub- at the hospital. lish Liu Xinwu’s “The Head Teacher,” the editors were If Lu Xinhua’s story highlights the deprivation of by no means unanimous about the decision. When Lu even the most basic interpersonal relationship—​­the Xinhua submitted his work to the same journal, he re- mother-​­daughter tie in this case—​­visited on the po- ceived only a typed letter of rejection in return. To the litically naïve young generation, Liu Xinwu’s story mainstream literary critics, then, political correctness, foregrounds the destitution of the youthful spirit as social significance, and didactic function were still neces- the result of the havoc wreaked on the nation by the sary ingredients of “good literature.” Measured by these notorious “Gang of Four.” Two students occupying op- standards, wound literature, in its thematic insistence on posite ends of the ideological spectrum are portrayed exposing “dark problems” at both individual and societal as equal victims of the Cultural Revolution. While levels, could only appear ideologically suspect, if not out- one is a youth league secretary with an extremely rigid right subversive. mind-​­set, the other is a street hooligan whose mental landscape is marked largely by blankness, and occasion- ally by the presence of a mishmash of “feudalist” and Twenty-First-Century “capitalist” ideas. In the story’s narrative, only the street Perspectives hooligan constitutes a problem for the head teacher, but the reader is made aware of a more urgent and daunt- Today, the critical opinion concerning wound literature ing task on a national scale awaiting the attention of the is rather mixed. Some critics contend that wound litera- wise educator. ture transcends the overly politicized narrative model of the Cultural Revolution era by bringing humanism back to the heart of literary imagination. As such, it is a nar- Initial Motivation and rative of emancipation and enlightenment heralding the Critical Reaction reawakening of subjectivity. On the other hand, however, even those who are more generous in their evaluation of As the name of this new literary genre suggests, the the- this literary genre recognize its inherent flaws and inevi- matic topography of these stories focuses on the wounds table limits. A common criticism is that practitioners of inflicted by the Cultural Revolution on the individual, wound literature tell an anti–​­Cultural Revolution story not so much at the physical as at the psychological level. while they continue to rely on the narrative model of the Wound literature is therefore also sometimes referred Cultural Revolution era. The literary merit of wound lit- to as “exposure literature” or “sentimental literature.” erature is also dubious according to the genre’s detractors; © 2009 by Berkshire Publishing Group LLC 2482 Berkshire Encyclopedia of China 宝 库 山 中 华 全 书 not only are these works populated by characters that are Further Reading heavily codified and flat, they have little to recommend for Cheng Guangwei. (2005). Shanghen wenxue de lishi juxi- themselves in terms of narrative technique, artistic form, anxing. [Historical limitations of wound literature]. and aesthetic value. Wenyi yanjiu [Literature and Arts Studies], 1: 18– 22. Moreover, the mode of thinking that infuses wound Liu Dongling. (2007). Shanghen wenxue zaisikao.[Re- literature is considered by some critics to be simplistic thinking wound literature]. Wenyi zhengming [Con- and mechanical. In their so-​­called indulgent and senti- tending Views on Literature and Arts], 8, 65– 67. mental display of their wounds, writers of this genre col- Liu Xinwu. (1977). Banzhuren [The head teacher].Renmin lectively adopt a victim mentality, never bothering to wenxue [People’s Literature], 11, 16– 29. explore their complex relationship—​­such as their own Lu Xinhua. (1978, August 11). Shanghen. [Scar]. Wenhui complicity—to​­ the power system they now condemn. To bao [Wenhui Journal] . the extent that the sentiments expressed in these works, Nie Mao. (2005). Ruozhe wenhua de chuanbo zhengtu: from sorrow to indignation, are seen without exception as shengming huanshi yu jingshen ziliao—​­shanghen wenxue de zhengzhao yuedu.[Transmitting the cul- politically correct under the party’s new directives in the ture of the weak: reading the symptoms of wound lit- post–​­Cultural Revolution period, wound literature con- erature as self-​­aggrandizing delusions and spiritual stitutes for some not the voice of reflection and critique self-​­therapy]. Wenshi bolan [A Bird’s Eye View of Lit- but ironically a device of legitimation. One critic even erature and History], 6, 22– 24. goes so far as to caricature writers of wound literature as Zhang Yesong. (2008). Dakai shanghen wenxue de lijie “pouting children who crave their mother’s attention and kongjian. [Expanding our understanding of wound affection above anything else.” literature]. Dangdai zuojia pinglun [Contemporary Jing JIANG Writer Criticism], 3, 12– 20. Wu ▶ © 2009 by Berkshire Publishing Group LLC.
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