Staying Alive: A Contemporary Rejuvenation of the Biji A Dissertation Submitted for the Degree of Doctor of Philosophy To the Department of Communications In the Faculty of Arts and Social Sciences at The University of Technology Sydney 2015 By Dave Drayton Primary Supervisor: Dr Sue Joseph 1 2 Certificate Of Original Authorship I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Dave Drayton Date: 20/08/2015 3 Acknowledgements The completion of this dissertation would not have been possible without the help of the following people: Sue Joseph, for guiding me through Honours and into post-graduate study, being a resounding sounding board, and a source of energy when it all seemed too much. Jo and Nicky, for encouraging and facilitating my love of learning and this gargantuan undertaking. Dr Jack George James Rudi McLean Tsonis, for his support and encouragement from within the deep height of the Atterton Academy. Justine Keating, for her patience and support. The following people and institutes were also extremely helpful in their suggestions, recommendations, clarifications, translations, and inspiration: Tim Kinsella, Dr Esther Klein, Daniel Levin Becker, Chinese Studies Association of Australia, Marcel Benabou, Dr Carrie Reed, James Mackay. 4 TABLE OF CONTENTS Certificate Of Original Authorship..……………………………………………... 3 Acknowledgements ………………………………………………………………... 4 Abstract ……………………………………………………………………………. 8 CHAPTER 1 Introduction ……………………………………………………………………….. 10 Justification of Scholarly Interest 16 CHAPTER 2 Biji …………………………………………………………………………………. 22 A Brief History of Biji 25 Existing Scholarship 32 CHAPTER 3 Oulipo …………………………………………………………………………..…. 39 Anoulipism 40 Sonnet 46 Sestina 48 Oulipopo 49 Oufinopo 50 Anoulipism & Genre 53 Oulipo in the 21st Century 56 Contemporary Critique of Oulipo 59 Oulipian Engagement with Asiatic Forms 65 CHAPTER 4 Critical Analysis…………………………………………………………………… 69 Douglas Coupland 73 Owen Kelly 83 5 Ouyang Yu 85 The Genre-ness of Biji 88 The Influence & Traces of Biji in Contemporary Fiction 91 Contemporary Zuihitsu 97 Kimiko Hahn 102 Anthony Peck 108 Donald Richie 110 CHAPTER 5 The Contemporary Form………………………………………………………… 113 Why Biji Here & Now? 120 Unintentional Biji 138 CHAPTER 6 Creative Component (or: How I wrote one potential contemporary biji)…… 167 What’s In A Name? 167 Arrayed Miscellaneous Notes On Fear & Loneliness 169 Nomenophobia 182 Omegaphobia 183 Docerophobia 184 Aibohphobia 184 Hippopotomonstrosesquippedaliophobia 185 Futuraphobia 186 Arrayed Miscellaneous Notes On Oulipo 186 CHAPTER 7 Reflection………………………………………………………………………….. 193 6 CHAPTER 8 Conclusion…………………………………………………………………………. 206 Bibliography……………………………………………………………………….. 208 Arrayed Miscellaneous Notes On Fear & Loneliness…………………………… 228 7 Abstract Staying Alive: A Contemporary Rejuvenation of the Biji Dave Drayton 2015 In 1998 John Minford and Tong Man attempted to transpose to contemporary English an excerpt from the Qing era biji Liao-chai chih-yi [Strange Stories From A Chinese Studio], by Pu Songling. In the wake of this attempt Douglas Coupland, Ouyang Yu, and Owen Kelly have all published contemporary English language biji. This thesis will analyse, and contextualise, the most recent development in this centuries-old form. Following analysis of the four contemporary biji above I will propose a selection of texts that could be included within this budding corpus. The creative component of this thesis, titled Arrayed Miscellaneous Notes On Fear & Loneliness, offers another potential example of contemporary English language biji. Reflecting the influence of the Paris-based writing group Oulipo on the methodology used during the theoretical research, Arrayed Miscellaneous Notes On Fear & Loneliness explores the potential for the biji as a textual site conducive to constraint and experimentation. 8 9 CHAPTER 1 INTRODUCTION Is it possible to construct a contemporary long-form narrative in the style of a biji collection through a process of anoulipism? And what form does the contemporary English language biji take? The exegetical component of my doctorate will be comprised of eight chapters, in order: Introduction, Biji, Oulipo, Critical Analysis, The Contemporary Form, Creative Component, Reflection, and a Conclusion. This introduction will clarify terms and the framework through which I will be conducting my study; justify the need for such scholarship; and provide an overview of the contents of the thesis. But first: what is the Oulipo – or more accurately, ‘who’? And what is a biji? Oulipo and biji are both, if nothing else, chronically miscategorised, often misunderstood, and perpetually intriguing elements of international literature. Oulipo is a French writing group – openly eschewing the labels of a ‘movement’ or ‘literary school’ (Queneau [1965] 1986, p.51) – that originated in 1960 through the efforts of Noël Arnaud, Jacques Bens, Claude Berge, Jacques Duchateau, Latis, François Le Lionnais, Jean Lescure, Raymond Queneau, Jean Queval and Albert-Marie Schmidt. Its name is a shortening of Ouvroir de littérature potentielle or ‘workshop for potential literature’ in English, and the group’s five-and-counting decade existence has seen it pursue potential literature and literature written to various constraints. A personal favourite description of the group and its exploits is offered by Philip Howard, columnist for The Times in London, who references it as: “The French avant-garde 10 coterie famous for its masturbatory and literary experiments” (in Levin Becker 2012, p.7). ‘Constraint’ in this instance refers to self-imposed restrictive systems that aid the construction of texts. Such constraints can vary in intricacy from sonnets to complex mathematical algorithms dictating sentence structure, syllable count and more. As Oulipian Harry Mathews defines it: “…a form that makes you write something that you wouldn't normally say, or in a way that you would never have said it. The form is so demanding that you can't get around it” (Mathews in Ashbery 1987, p.43). As for potentielle, its meaning in the oulipian1 sense is best described by founder Raymond Queneau: The word ‘potential’ concerns the very nature of literature, that is, fundamentally it’s less a question of literature strictly speaking than of supplying forms for the good use one can make of literature. We call potential literature the search for new forms and structures which may be used by writers in any way they see fit (Queneau in Arnaud 1986, p.xi). The more learnt about biji – or ‘pen-notes’ in English – the harder it is to present a definitive description. Chan offers a brief but encompassing overview of the genre, but not without also noting the difficulty of classifying the form, a common scholarly dilemma. Chan states that the biji genre: …was characterized in particular by entries on a wide range of topics – tales of the supernatural, notes on barbarian lore and customs, incidents of historic significance, brief remarks on literature and art, short treatises on geography, and so on. Hybrid as it already was, the biji continued to expand its scope in 1 In accordance with French standards of demonymy, the word oulipian will only be capitalised when it refers to a person. 11 later dynasties, and while some collections evince a certain degree of thematic specialization, the typical biji often turns out to be no more than a smorgasbord of historical, literary, and philological writings. It is partly for this reason that the biji has been described (albeit in a rather exaggerated way) as an ‘anti- genre’ that flaunts the established, more clear-cut categories (Chan 1998, p.8). This dilemma has been grappled with most recently by Gang Liu, and I add my own theories to his classification of biji in my thesis, with a focus on the authorial act of prescribing genre and how that classification can aid our understanding of the limited number of contemporary English language biji. In order to answer these questions I am required to define in a manner clear enough that investigation can proceed uninhibited both the genre of biji, and the pursuits of Oulipo, with special concern given to their anoulipic research. The Biji chapter (chapter 2) examines briefly the history and variety of extant biji, providing an overview of the genre, its foundations, developments, complications arising from conflict in definition, and some seminal texts in the vast corpus available. The chapter also examines existing scholarship of the biji form and proposes new areas of study covered in this thesis. A brief analysis of zuihitsu, a Japanese form that came to prominence during the Heian period (794-1185), commonly associated and comparable to biji, will also be included. A history of biji and scholarship on the genre will be provided in chapter 2, with specific focus on Gang Liu’s doctoral dissertation on Liu Yiqing’s Song-era biji collection Qiantang Yishi [Anecdotes of Qiantang] (2010). Chapter 3 on Oulipo provides a brief history of the French writing workshop and its governing philosophies of potential and constraint. Looking briefly at some seminal