Mao Dun’s “Spring Silkworms”: Living Like Worms

Abstract

Mao Dun’s (茅盾) 1932 short story “Spring Silkworms” (春蚕), the first of a three-part series known as the Village Trilogy, is widely regarded as one of the author’s most representative works. Given Mao Dun’s leftist politics and commitment to critical realism, the story has generated debate over its depiction of the Chinese peasantry and the extent to which it condemns tradition in support of revolutionary progress. This article contends that the key to the ambiguity of the peasants’ depiction lies in the fundamental questioning of what is human, which underlies the story’s overall ideological framework. Through a close examination of the story and its 1933 film adaptation, the article aims to show how the silkworms act as a metaphor for the villagers themselves, who are dehumanized through their helplessness and alienated labor. By reading the human villagers as metaphorical worms, the article demonstrates how they are both exposed as a kind of valueless “bare life” and situated in a narrative pause in historical materialist time, which indicates a space for the potential fundamental reconceptualization of the human. Ultimately, the article hopes to push beyond didactic readings of the story’s politics to reveal an ontological anxiety at its core.