I just finished reading that book 蚁族 (Ant Tribe) that is all over the place on the Chinese internet. I was curious why it was becoming so hot here while Western media covered it only briefly. I think I know the answer now, but let me introduce the book first and more on this later.

蚁族 (Ant Tribe) is a term coined by the authors to refer to the masses of young university graduates from the provinces that struggle to survive in the Chinese big cities, living in cramped “Ant nests” in the outskirts, and taking unstable and underpaid jobs that are often not related to their studies.

This social group has sometimes caught international attention, especially during the 2009 crisis, when many papers sent their correspondents to interview jobless students, and pundits even saw there the seeds of a new Tiananmen. But it is Beijing Uni doctorate Lian Si who directed in 2008/09 the first comprehensive study, and “Ant Tribe” is a collection of some of his most interesting results, repackaged for the big public. Click to continue »

I have been away for a while because all my holiday time has been absorbed by two fascinating stories of Shanghai, one of them a TV serial, the other a novel.

The serial is WoJu, the Snail’s House, stupidly translated to English as Narrow Dwellingness, or whatever. It has been red hot in China since its first broadcast in November. Alice Liu of Danwei and the Youku buzz blog covered it recently.

As those blogs noted, this has been the most explosive success we remember in Chinese TV serials. In less than a month it sparked heated debate on the internet, attracted millions online and off, and with that came the hideous hand of the censors. One reason for its rapid success is the central theme about the problems to buy a house, which just hit the spot among the young Chinese audiences.

But Woju is much more than a tale of real estate and corruption. It is a gripping drama, with rich subplots evolving around a central love triangle, populated with very real characters. A sharp critique of the modern Chinese society, and by far the best product I have ever seen on the mainland TV. Originally it was a novel published  in 2007 by Liuliu, a Chinese writer that we should be watching more closely in the future.

Here are my impressions of the serial now that I have finished the first 15 chapters.  I will focus on the two main points of interest: the informative contents for anyone looking to understand China, and the quality of the product independently of other considerations. In the end are also some funny things I observed related to censorship and others.

Content

This serial is the paradise of the 中国通, the aspiring China experts.  Anyone trying to understand China should watch it. If the characters are not exactly real (no fiction can ever be) their worries, their problems and their motivations are a hi-fi amplified reflection of those moving the young citizens of China today. It is a concentrate of Chinese reality.

All the elements we have been speaking for the last years are there, not a single one is missing: guanxi building, cadres’ 二奶 (lovers), shanghai men bullied by their wifes, working parents who can’t see their babies, illegal high-interest loans, collusion between developers and local officials, the conflict between shanghaiers and outsiders, the overnight rich of Wenzhou, the ethics of the new China, the 拆迁 or "destroy and move", the "nail people" who resist, the shanzhai mobile phones… you name it.

And all is so precise that you can even see how much the characters are earning in their jobs, what interest the loan sharks ask, or how much it costs a party cadre to get his first little 二奶 (lover).

There are surely better books that depict the Chinese society in the past, but the subject is changing so fast they are all outdated. I do not think there is any other work of fiction today that reflects more precisely the Shanghai society circa 2010.

"Hello, I’m Secretary Song of the Municipal Party Committee  (and I just shagged your girlfriend)"

If you are learning Chinese, the series is a double must for its great idiomatic mandarin. If you are not, then stand by for the DVDs with English subtitles, hoping the pirates get a human translator with his TOEFL levels this time. There is definitely a market for this, and I wouldn’t be surprised if they come up with a movie next year, provided the government doesn’t stop it.

Quality

But more important than all the above is the quality of the product. It is good fiction and good entertainment.

The story is driven by an intense love triangle centered on the young Haizao, played by beautiful actress Li Nian. All the elements listed above, including the winners and the losers of the Real Estate craze, gravitate around this love/hate story that puts in contact two different worlds: the laobaixing and the cadres, the two classes of urban China.

But perhaps the best aspect of the serial, a breathe of fresh air on Chinese TV, is its absolute lack of moral lessons for the public. There are no heroes or villains here. The covetous developer, the unbearably vain wife, the fainthearted Shanghai husband, the enigmatic, outrageous Shanghai girl played by Li Nian. Every single one of them is just human, with weaknesses and ambitions like all of us. Every one of them can be up to the best and to the worst.

Even the corrupt official is all too human. A weak man in a midlife crisis with too much power in his hands and a system that doesn’t check his acts. Corruption, like love, happens as a natural course of events, the result of a sick society and not of an evil personal plan. And Jiangzhou, the Chinese Gotham that stands for Shanghai, is the mighty whirlwind of action where all the characters are hopelessly adrift.

Censorship

Not surprisingly, the serial has been censored by the government. However, it has been censored in ways that strike me as prudish, if not plainly idiotic.

Since I am in Europe now, I have been able to watch the serial on YouTube and compare with the censored one available on the Chinese site YouKu.  There was no censorship on the image above, where a Shanghai Party Official brazenly chats with the boyfriend of the girl he has just raped making free use of his political muscle.

Instead, the images below were censored:

See the original scene, and below the censored version as shown in China.

This is the first proper sex scene of the serial. In the original version you see the moaning face of Haizao in one quarter of the screen, while the other images correspond to the respective wife and boyfriend, who are shown at home worrying for their loved ones, while they are being made cuckolds of Olympic category.

Is the moaning face of Haizao more obscene than the happy Mr. Song shown above? Draw your own consequences. Also interesting is to note that the producers have participated in the censoring process, and the hot scenes are not merely cut out, but edited and substituted by other originals, as in the larger image of the wife above.

Other Details and Questions

I will come back with more details when I am done with the serial, but for the moment I have 2 questions for the public, and especially for the many Chinese I know who have already watched the whole 35 chapters:

1- Why does the serial show so prominently the "Coogle" shanzhaied phone of Haizao, is it just to make it more realistic or is it a revenge because Google refused to sponsor?

2- There is one part of the plot I just can’t understand: how can Haizao be a virgin when she first sleeps with Song, if she has been living with her boyfriend for years? Is this a gap in the plot or am I missing some serious (and worrying) element of the Chinese culture?

I have realized lately that, due to a certain unbalance in my training methods, my Chinese reading skills might be running ahead of my speech, and I have been forced to take severe corrective measures. At the risk of turning this into an SM blog, I am going to speak today of the terrible penance I imposed on myself to make up for that error. Brace yourself: I watched a whole 22+ hours communist TV serial on CCTV, all in a single week and pausing to understand every word and chengyu.

It is the latest super production of the “Red Army against Capitalists” kind, called 冷箭, or “Stab in the back”. The first chapter was launched the day of the 60th Anniversary, on CCTV 1 prime time, proving that it was born to be big. Even if it didn’t live up to expectations (it was switched later to CCTV 8 nights), I am guessing that more people have watched this than the “Foundation of the Republic” film that so excited Western minds. Admittedly, there is little buzz on the internet about 冷箭, but that is just because the target audience is a different (and much larger) group than the internet community. My own investigations with taxi drivers indicate that it had a very strong following, at least in the first weeks.

For all those who complained about political propaganda in the “Foundation of the Republic” (or in Independence Day, for that matter), those are just amateur efforts next to this “Stab in the Back”. Because the Stab is not concerned with distorting facts, but with edifying and providing a complete moral system for the people. And like most of these widely watched Chinese TV serials, it still follows loyally in the spirit of the first moralizing plays organized by the 1930s partisans in Shaanxi.

A Little Critique

Regarding artistic merit, I will just briefly say that, although this looks like one of the highest budget “Red Army” serials to date, an improvement in quality does not follow. The main problem is the visible incompetence of its producers and actors almost without exception. Knowing that Chinese are very well capable of doing good films when they are given some freedom, I can only suppose this is the result of dead imaginations bureaucratically selected and nurtured by CCTV mummy-cadres.

In this case the main story is about — surprise- a Long March towards the West, where the Captain discovers that there is a Capitalist enemy spy infiltrated in the team. In fact not only one, but two, and three, and more are found in every chapter, until by the end of the serial the largest part of the brigade are actually undercover agents. This gives the poor captain played by borderline Huang Zhizhong countless occasions to run his fits of histrionic paranoia, apparently a main selling point. One can’t help wondering why all those spies don’t just get together to kill their clownish captain, rename their brigade with the KMT star, and get on with their counter-revolutionary business.

I don’t know if you have experienced this before when watching a film, but it is one of those instances when deplorable script and performance manage to kill the suspension of disbelief right from the first sequence. Then, suddenly, you find yourself watching a bunch of adult people walking around in funny clothes and uttering pointless nonsense. The result is embarrassing.

I have never been much of a TV watcher, but I do understand that TV films are substandard anywhere in the World, and nonsensical plots or braindead dialogs are by no means exclusive of China. Even the fixation with the deeds of the Red Army marching West is not necessarily more ridiculous than, say, the fixation with illiterate cow herders during the golden age of Westerns. But there is something in these Chinese serials that makes them unique beyond the obvious propaganda and quality issues, and that is the complete set of values that they embody for the edification of the masses.

Edifying the Masses: A Communist Catechism

This is the first time, (and most surely the last) that I watch a complete Chinese propaganda serial, but I believe that the effort is not wasted. Because only getting inside these long works one can appreciate that deeper level that flows underneath, the construction of  a public moral system that is very much akin to Religious Instruction.

Here are a few of the points I noted while watching the Stab, for the benefit of those who want to understand these works without throwing 22+ hours of their life down the drain:

• Love: The scenes of love are tacky to nauseate an armored brigade, with perhaps the best example in this scene in minute 40 chapter 4, when the captain “falls in love”. In general, love among the communists is virtuous and innocent, and always secondary to the interests of the organization. There is not the slightest romantic indulgence, no concessions to passion other than for the party. When the communist lover is told that her beloved is a Capitalist spy, she abandons him on the spot, and volunteers to kill him if necessary.

• Sex: Of course, this puritanism does not stop the young lieutenant from having proper sex (under the sheets) starting chapter 25, in a clear effort by the authors to attract more audience. “乱搞男女关系!” (disorderly do man-woman relations!!) chastely exclaims the captain when he gets the news through a disgustingly virtuous informer. But worry not, the ethical purity is safeguarded. These two sinners have betrayed the higher cause, and they receive their deserved punishment without further delay: death at the hands of some brigands.

• Violence: We have  seen enough of the likes of Eastwood in Alcatraz to have some expectations about the frightful fate of new prison inmates (especially if they are male!). I don’t know to what extent this violence is consistent with reality, but what I am pretty sure is that prison wardens do not tell off the inmates screaming “don’t be naughty”, and major disputes in the common cells are not settled through pillow fights. This is exactly how things are done in 冷箭, making the whole experience for the high level KMT prisoners like a children’s Summer Camp. This is one of the most puzzling parts of the communist ethics, and the most difficult to grasp in a movement that was imposed largely through violent revolution. It seems to come from a belief in molding mentalities through peaceful labour, but, as we will see below, it has little to do with the Christian notion of “turning your other cheek”.

• Class virtue: Virtue is presented as a characteristic of the proletarian class, and salvation must necessarily follow. Like the ancient Christians looking for consolation in the Bible before they were thrown to the lions, so the Chinese Laobaixing today seem to find solace in these serials, while they wait for the next corrupt CCP cadre to come and tear their homes to serve a rich developer. The notion of a Final Judgment that accompanies this kind of teaching is represented through the iconic verses of the Internationale, sung at several points in the serial, with the main theme conspicuously inspired in the melody of the first verse.

• Forgiveness and Revenge: There is an appalling scene of revenge (ch 31 38:00) when the main spies are apprehended, that completely shocked me after 20 hours of mellow bloodless harmony. The righteous blows of the officers are completely devoid of mercy, enjoying the raw pleasure of revenge. In my observation of the Chinese, this represents very well the paradox of their ethical system: Chinese are by nature far more tolerant than any Western people, but –perhaps as a necessary consequence – once a certain level of crime is attained, this sets off a mechanism of ruthless punishment where the object ceases to be seen as human. This is perhaps the most important difference with Christian influenced ethics, where our less tolerant natures were softened by the love doctrines of the New Testament. The whole discussion of death penalty in China vs. Europe is an interesting modern development of this difference in outlooks.

Some Conclusions

There are many ideas here worth commenting further, perhaps one of the most interesting would be to see how this communist system of ethics is working (or failing) to keep the always delicate balance between 道德 (virtue) and Deng Xiaoping’s 致富 (getting rich).

Clearly, Chinese are not the only ones to introduce ethics into their TV serials. Popular Western serials have long been educating us with teachings as varied as respect for minorities, tolerance of homosexuality, patriotism or democracy. But crucially, while the Western system of moral instruction has evolved with the times and deals with problems facing today’s society, the Chinese system has remained stuck in the 1930s, with the characteristic rigidity of Religious ethics. As a consequence, there is a growing, insurmountable gap in China between the ideas preached and the real needs of the ordinary citizens. This may be having the catastrophic effect of eliminating all ethics from mainland Chinese life.

When we speak of problems like perceived racism, corruption, lack of respect for the public goods or environment, how much of these are related to a lack of a realistic, up-to-date moral support, or to the hijacking of ethics to serve the single interests of the CCP power elite?

I would like to say more about this, but unfortunately this post has got out of control already, and I know nobody reads past the first 1000 words. Write your ideas below about any particular point and if we get some interesting discussion going on we can try to expand the subject in a new post.

This business trip in Sichuan is really full of surprises. Today we went to visit the Project, a giant industrial complex which will be, upon completion, the largest factory in the World to produce X. A typically Chinese megaproject on the bank of the Yangtze.

But the surprise came when we went to town for lunch, and I found out that the river that flowed into the Yangtze at that point was called the Wu. I hadn’t realized before, because the industrial park takes a different name, but sure enough, our client confirmed this point: we were in the riverside town of Fuling.

If you have read the classic China book “River Town”, you know why I was so thrilled. If you have not, then go and get it now. Since you are reading my blog, chances are you are one of those crazy Westerners that seek to understand the Chinese. This books explains them all for you, and in the process it gives you a rare glimpse into the life of inland China. It is fascinating, especially if you don’t live in the country already.

The Book

I am taking this chance to do a little review of River Town, so I can start to catch up with my old plans of running a book reviews section. Considering this book is relatively old and already well known, I will just stick to the main points and try to keep this post reasonable.

The story is very simple, it tells the experiences and feelings of the author during his 2 year stay as Peace Corps in Fuling, a third tier town on the Yangtze.  Nothing really happens, except that it is inland China in the 90s, and everything happens. The book is enjoyable from the beginning, almost every page right to the end.

Here are the key points as promised:

- Very enjoyable natural writing, with vivid descriptions of the places and the people. One of the best examples I know of literature meeting anthropology. Memorable is the description of the Fuling streets and their “stick-stick soldiers” in the initial chapters.

- The author is a fine observer, and he has the advantage of direct access to his students, who write down for him their opinions about a variety of subjects. One of the main highlights of the book is the contrast between the Fuling and the Western mentality, expressed on the background of the classics of English literature.

- For the sake of balance, some points I liked less: towards the end the  book looses some strength (not surprising, after the great first half). The scientific detachment of the author can become a bit exasperating, and sometimes it feels like the anthropologist has taken over the writer. The last dramatic scene with the mob doesn’t help to fix this, and I couldn’t help feeling that it was an unnecessary addition. But then, that is only my opinion, and I was never in Fuling in the 90s.

The River Town

From what I have seen today, the town of Fuling is doing pretty well, changing so fast that it is almost impossible to recognize it in the descriptions of the book. For one thing, it took us less than an hour to get there from the center of Chongqing, which qualifies it as a close suburb. This is in great contrast with the backwater river town of the 90s.

Now the Fulingers are going to have some World class production facilities, and a good part of the population will be working there, with thousands more coming from all over China. It feels strange to realize suddenly that I have become myself one of the characters (although a very secondary one) in the story of the transformation of Fuling.

There seems to be only one thing eternal in China, and that is the masses of the working people, the “laobaixing”. Sure enough, the stick-stick soldiers are still there and in good shape, running up and down the stairs with massive loads hanging from their bamboo poles. For them, nothing has changed.

Last night I went to the evening organized by Earnshaw to launch their two latest books: “I sailed with Chinese Pirates” and “Shanghai Story Walks”. I have been a fan of Earnshaw Books since they published the first of their series of reprints, Carl Crow’s “Foreign Devils in the Flowery Kingdom“, my favourite China read of ’08. Since then they have continued to publish new originals and reprints faster than I could read them, so I jumped on this opportunity to try to catch up.

The event was announced - and recommended - on the Shanghaiist calendar, so I thought I’d get there a bit earlier to catch a seat before the masses arrived. Actually, apart from the collection of smiling ladies with cups of tea that populate all these literary events, the attendance was pretty moderate. It came as a shock to me, but I suppose not everyone is interested in fascinating expat stories that happened 100 years ago.

Too bad for them. The evening went really smooth, with a bit of blues by the big man Earnshaw, great atmosphere and free drinks just for showing up. But what I enjoyed most were the two presentation speeches. If you have been to literary festivals you know how boring these things can get: people who can write are not necessarily good speakers, more often than not they are timid individuals who find themselves forced to deliver hour-long speeches, and they take ample revenge by boring the public to the marrow.

This time it was different. The presentations were brief, well prepared and yet spontaneous, and with their repertoire of pirates and big-eared gangsters they managed to catch our ear. Suffice to say that I ended up buying both, in spite of my firm resolution to not bring any more new books to my home on the verge of collapse. But let’s have a look at the babies:

The author of this book, Yvette Ho Madany, is originally from Shanghai, and she draws from her family connections and from her own research to guide us in a series of story-walks around the city. She told us the tragic life of Mrs. Dong and the spicy beginnings of the JinJiang hotel. A must-read and must-walk.

Expat intelligentsia hero Paul French spoke for the original author Mr.Lilius, who was unable to attend, presumably due to his demise in 1977. Mr. French gave us a well-rounded speech with some good pirate jokes and enough teasers to make me run to the stalls and get the product. Then, like usual, he scolded us for being XX century citizens and paying attention to the GDP instead of to Pirate Queens, and if you ask me he was damn right on that one, arr!

The reading List

Now, I know what you are thinking and you are right: I am brazenly posting a Book Review post when I haven’t read a page of the books in question. I sold my soul for a free glass of Chinese red wine and some good vibes, I admit it. But frankly speaking, the efforts of Earnshaw to bring us of those old gems, first on his website and then on fine quality paper editions, deserve already all my praise. And let’s not forget that I owe them the discovery of the inimitable Carl Crow.

As for these 2 new books, I will read them and I will walk them, and I promise I will get back to this post and update it with my frightful reviews.

On a side note: These last 3 months I have dedicated an absurd proportion of my free time to reading in Chinese. I have just finished my third novel, and I am very proud of that, but in the meantime normal reading has been on hold, and the List has got completely out of control. I am afraid I will not catch up with myself before the Summer holidays. More about my experiments on Chinese reading in coming chapters.

I was a bit reluctant to read “Chinese Gods”.  I never had much of a taste for the mystical, and the rows of whiskered statues staring in the temples fail to arouse in me more than a cautious curiosity. But when I received the latest publications of Blacksmith, the promise of a book that “makes sense” of China’s religions caught my eye, and I thought perhaps this was my chance to jump into it and cover a gap in my education.

You might be familiar by now with Blacksmith books of Hong Kong -  the same Blacksmith that did the Asian edition of Apologies and other gems like King Hui and Business Republic. I am, and I have come to expect good surprises from them;  many things can be said of their books, but surely not “hackneyed” or “banal”. Pete Spurrier, the man behind the company, is not afraid to go with first-time authors, and he seems to have a knack to find intriguing writers with original points of view. Jonathan Chamberlain is perhaps his best find.

Indeed, in terms of surprises, this book delivers from the preface.  First, you discover it was actually written and self-published by Chamberlain 30 years ago, inspired by a series of painted glass figures he collected from local markets. It goes on to describe an unusual interview in Bangkok with British mystical writer John Blofeld, a reference in Asian religions, who agreed to give the book a prologue in articulo mortis. And then suddenly, before you realize it, you are swimming in the thick soup of China’s beliefs, following the author in his daring quest to make sense of  all the Gods. Click to continue »

I first read about  “China Underground” last Friday, during my daily browse of the China blogs. I had never heard the name of Zachary Mexico before, but the review on  China Beat made me feel curious, so after work I stopped by the Garden bookshop and got my copy. Only 24 hours later I had been to a speech by the author, queued at the Shanghai literary festival to get his autograph, and finished reading his complete works. I guess this qualifies me as his fastest fan.

Over the weekend I spoke with a few friends about the book and I could  feel some resistance. Some China hands clearly disapproved of the cover’s pop approach to a grave subject like the Middle Kingdom - a friend of mine from New York even warned me against what looked like “an East Village poser”.  All this probably explains why the few  who had actually read the book were so excited about it:  they weren’t expecting it to be readable in the first place.

Not having any kind of prejudice against pop illustrated covers, I found the price tag fair and the promise of a fresh perspective on China exciting enough to give it a try.  Here’s the results. Click to continue »

Today I am starting my review section with one of the books on Chinese economy that has impressed me most in the last year, “Capitalism with Chinese characteristics”, by MIT professor Huang Yasheng. It is a book that clearly stands out from the recent China books, and it might be destined to become one of the big references in the field.

There is no shortage of good China books in the last years. Many are written from a business perspective, by people with first hand experience who will tell you exactly how things are done here. Others look at the available economic data and build interesting theories to explain them. Few go deeper than this, to look into the heart of the matter: the politics behind the Chinese economy.

The problem is:  it is so difficult to obtain reliable information on Chinese policy that most efforts in this field turn into circular arguments over the same limited data. Professor Huang breaks the circle by going back to the sources and questioning directly all the mainstream assumptions, leaving many of them upside down. The situation in China requires this approach, as he says in the preface:

In studies of American economy, scholars may debate about the effects of, say, “Reagan tax cuts”. In studies of the Chinese economy, the more relevant question would be, “Did the government cut taxes in the first place?

By going back to the archives of what, in his own words is “some of the world’s most medieval record keeping”, Huang Yasheng is able to come up with a whole new picture of Chinese economic policy in the last three decades. This book is the result of painstaking archival research into rarely examined files, such as a “22 volumes compilation of internal bank documents” or the archives of the Ministry of Agriculture.

A qualitative leap from the classic tea leave reading, and one that deserves some careful consideration, even if the conclusions drawn will not be to the taste of every reader. Click to continue »