Abstract
This article provides an account of the literary recreation of the semi-colonial Shanghai of 1931, carried out by the Chinese contemporary author Xiao Bai in his 2011 novel Zujie. It also includes the features and implications of such an operation. Critically praised as a turning point in contemporary Chinese fiction about old Shanghai, the novel appears to transcend genre categories, and was welcomed as a heterogeneous “third type” crossing the boundaries between genre fiction and pure literature. Inspired by historical facts and supported by painstaking archival research, Zujie originally incorporates a variety of literary models, narrative techniques, sources, genres, themes, and perspectives. The heterogeneity at play in the novel can be essentially scrutinised at three levels. Such levels are: the debate on the genre as it emerges from a number of paratextual sources; the treatment of historical factuality and its relationship with fictional creation; the use of polyphonic devices, with reference to the portrayal of hybrid characters, deliberately disorienting narrative techniques, and a re-elaboration of imported and domestic sources and literary models that plays havoc with the very notions of foreignness and identity. Xiao Bai’s original representation of 1930s Shanghai is analysed and commented upon with respect to such factors. Finally, the significance of this multi-layered literary operation and its implications for the reader are highlighted.
Highlights
The late 2000s and early 2010s marked a boom in Chinese spy and crime stories set in the Republican era (1912–1949): Mai Jia’s and Long Yi’s latest novels, which are set against the background of the period spanning from the 1920s through the 1940s – as well as their adaptations into films and/or TV series – are but a few examples of a genre that is still thriving to this day (Lu Ye 2013: 12)
After its publication in March 2011, the novel was critically praised in China as a distinctive achievement in contemporary fiction set in the city of Shanghai for its complex narrative technique, its original treatment of history, and its depiction of multifaceted characters
In 1931, when the story recounted in Zujie takes place, the Shanghai urban area was subdivided into three sections: a Chinese city under the jurisdiction of the Nanjing-based Nationalist government, an International Settlement under British-American rule, and a French Concession directly administered by Paris
Summary
The late 2000s and early 2010s marked a boom in Chinese spy and crime stories set in the Republican era (1912–1949): Mai Jia’s and Long Yi’s latest novels, which are set against the background of the period spanning from the 1920s through the 1940s – as well as their adaptations into films and/or TV series – are but a few examples of a genre that is still thriving to this day (Lu Ye 2013: 12). After its publication in March 2011, the novel was critically praised in China as a distinctive achievement in contemporary fiction set in the city of Shanghai for its complex narrative technique, its original treatment of history, and its depiction of multifaceted characters.
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