Frost on Top of Snow

ruffle 1In A Decent Bottle of Wine in China, author Chris Ruffle recounts his foolhardy efforts to set up a vineyard and build a replica Scottish castle in Shandong. This is not as crazy as it might sound, since Shandong was arguably the home of the modern Chinese booze industry – a former German colony that saw the first lines of grapes planted to make the usual acrid Riesling, as well as the site of the Tsingtao brewery. Ruffle decides to get in on the game, naming his company Treaty Port Wines with a certain degree of tactless cheek. His is by no means the first book to grapple with doing business in China – Tim Clissold has twice sobbed into his typewriter on such matters, and then there’s Paul Midler’s horrifying Poorly Made in China, for starters – but the wine trade brings with it unique issues of classification, husbandry and supply, not the least the government’s insistence that it is not “farming”, but “industry”.

Ruffle is no bumbling idiot or starry-eyed dreamer. He has already successfully restored a real Scottish castle, inadvertently becoming a baron along the way, so has a head start on sourcing architects and materials. He is a master strategist, thinking ahead not only about access roads and transport links, but also about the nature of his customers – the castle is there as a branding exercise, and because he knows the biggest chance of the Chinese spending big money is if they are in a wedding party, and he’s as interested in providing the view, the food and the roof over their heads.

Ruffle is a true money man – an investment capitalist with an eye for the bottom line and a smart drive to understand where his customers’ money is going. This being China, the usual troubles of any new business are compounded by additional hassles, which create, as the Chinese say, “frost on top of snow.” Ruffle’s agonies include inclement weather, corrupt officials and workshy staff. Although he sometimes leaves his tormenters anonymous, there are occasions where he bluntly names the names behind incompetences and betrayals. This, of course, only makes the book more fun, particularly when he reveals the blatant grade-inflation of the Shandong authorities, who talk up his investment almost tenfold in their official reports. As Ruffle observes, it’s this disruption between industry on the ground and officialdom’s appraisal of it that makes investment in China such a volatile enterprise. He captures this reality gap with his account of landing in a private jet at Shanghai airport – oh, it’s ever so swish, except one’s plane has been parked so far from the terminal that getting there requires a 30-minute ride across the tarmac in a ramshackle minibus.

Ruffle tries to do right by the local farmers, only to discover that they have been offered the merest fraction of the sum he handed over to the authorities to buy up their land. Some play the system by planting apple trees on their plots. These three-inch saplings transform their cabbage plots overnight into “orchards” and thereby increase their resale value. On several occasions, Ruffle loans money to grasping employees who then skip town, and he is even scammed by men who pretend to be buying an entire truckload of wine for the People’s Liberation Army, merely to get a free meal out of him.

Although Ruffle presents himself as a gruff and exasperated Yorkshireman shouting at yokels in flipflops, he has a degree in Chinese from Oxford. They don’t just hand those out with packets of cornflakes, putting him further ahead of the competition when it comes to getting things done. But as numerous slamming doors and maddened resignations imply, Ruffle’s plan is regarded by many of his underlings and professional advisers (and occasionally by Mrs Ruffle) as a quixotic money pit.

Despite such misgivings, he is an admirable salesman for capitalism. As he makes clear, but could have perhaps even made clearer, his nutty scheme for putting a Scottish castle in eastern China not only creates a slew of jobs for the population, but encourages the government to improve local amenities. His frankly blind faith in the quality of the soil lures the Lafite corporation to set up its own vineyard next door, and several of his disgruntled ex-employees are not quite so disgruntled that they don’t attempt to ape his project with vineyards of their own. Graciously, Ruffle does not regard them as competition, understanding that a cluster of rival vineyards is more likely to attract longer-term tourism. This, of course, brings problems of its own, such as the threat that some latecomer with no taste will ruin the valley by putting up a shopping mall on the next ridge. But it also brings economies of scale, with the rival vintners lending each other plant and machinery to get the best out of their crops.

Ruffle’s tenses waver from past to present, betraying the book’s origin as an occasional diary – halfway through, we see him having the idea to repurpose it as a book to promote his vineyard, which is honest at least. But like many novice authors, Ruffle has not quite worked out who his readership is. There are several chapters seemingly missing, sometimes out of modesty, sometimes out of discretion, sometimes out of lack of editorial foresight. It’s unclear at the start if Ruffle even knows anything about wine – it’s not until the closing chapters that he describes the industrial process in any detail, and only then reveals his numerous research trips to more established vineyards. Some chapters read like a business report; others like a sump of documents; still others like a Christmas round-robin, name-dropping a bunch of people that the reader stands no chance of knowing. There are odd cul de sacs, such as the full text of a visiting intern’s testimony, along with the suggestion that all was not as reported, but no further details.

As Ruffle notes himself, all land in China is owned by the state, “so what you are buying is only the right to use the land for a specific period of time: residential land for seventy years, industrial for fifty years and agricultural thirty years. No one knows what will happen at the end of the specified periods, but if there is not some ability to roll-over ownership, I guess there will be another revolution.” I was ready to pick up a banner and a brick myself by the end, when he finally glimpses success, only to be kneecapped by the very same institutions he has been struggling against.

In 2013, new government austerity initiatives deliver a savage blow to the gift-giving and booze-drinking market that Ruffle hopes to supply. Meanwhile, the authorities who have thus far only seemed to express an interest in back-slapping and glad-handing, suddenly come up with a bunch of tagalong schemes that seem destined to ruin Ruffle’s venture even as they profess to help it. There is a half-hearted effort to build a Taoist temple nearby, which gets its own eyesore access road, even though it is never finished. Ruffle’s efforts for the valley are eventually rewarded with the news that the government plans to drive a motorway right through the middle of it, compulsorily purchasing back large tracts of the vineyards, and sullying the carefully managed view.

Ever the disarming Oxbridge charmer, Ruffle does not let his anger show, although his quoting of a Czech proverb makes his feelings plain. “In capitalism, man exploits man. In communism, it’s the other way around.”

Jonathan Clements is the author of The Emperor’s Feast: A History of China in Twelve Meals.

The War on Christianity

Christ's Samurai coverJJ O’Donoghue in the Japan Times covers my new book Christ’s Samurai, calling it “a concise and lucid account of a unique period in Japan’s history”.

Come for the article, stay for the comments! I was worried I might be accused of being anti-Christian, but it turns out that I am an apologist for missionary subversion and a whitewasher of colonialism… according to an online pundit who hasn’t actually read the book.

Out now: Amazon US, Amazon UK.

And a child shall lead them…

IMG_6356

Over at All the Anime, Andrew Osmond writes a long piece about my new book, Christ’s Samurai.

“And they had a hero, a Japanese Christian guru called Jerome Amakusa. Clements picks his way through the legends, stressing how little we know of Jerome with any certainty. According to some accounts, he was a strikingly beautiful teenage boy, ‘an eerie, white-robed child messiah.'”

Christ’s Samurai

Christ's Samurai coverIn 1638, the ruler of Japan ordered a crusade against his own subjects, a holocaust upon the men, women and children of a doomsday cult.

The sect was said to harbour dark designs to overthrow the government. Its teachers used a dead language that was impenetrable to all but the innermost circle. Its priests preached love and kindness, but helped local warlords acquire firearms. They encouraged believers to cast aside their earthly allegiances and swear loyalty to a foreign god-emperor, before seeking paradise in terrible martyrdoms.

The cult was in open revolt, led, it was said, by a boy sorcerer. Farmers claiming to have the blessing of an alien god had bested trained samurai in combat and proclaimed that fires in the sky would soon bring about the end of the world. The Shogun called old soldiers out of retirement for one last battle before peace could be declared in Japan. For there to be an end to war, he said, the Christians would have to die.

This is a true story.

Christ’s Samurai: The True Story of the Shimabara Rebellion, is released on 7th April 2016 (and here in the US).

China Goes Global

51KIiTJn-HL._SX328_BO1204203200_Over at the All the Anime blog, I review Michael Curtin’s Playing to the World’s Biggest Audience, which is possibly the best book I have read on the Chinese film market.

“As Dan Harmon once said of Hollywood, if the food industry offered the same quality standards as movies, every third can of tuna would have a human finger in it.”

Dzen Hajku

dzenhajku_9786191950720For what are undoubtedly thousands of my readers in Bulgarian, there is now a Bulgarian edition of my Moon in the Pines (a.k.a. Zen Haiku), translated by Nadiya Nicheva-Karastoicheva and published by Knigomania in Sophia.

“Jonathan Clements has selected the best of three centuries of haiku, including the work of classic poets such as Basho, Buson and Chiyo-Ni and rendered into English the elusive spiritual quality of the poems.” And… er… now someone else has rendered my renderings into Bulgarian.

Manga & Anime Go To Hollywood

51qMWVRg1SL._SX348_BO1,204,203,200_Up now on the All the Anime blog, my review of Northrop Davis’ new book Manga & Anime Go To Hollywood, which was something of a disappointment from an academic press. Where were the peer-reviewers?

“There are a lot of quotes from contemporary internet reportage but far too much of the book simply rehashes earlier publications, pouring in excerpts from works that any serious researcher will already own.”

The World of Suzie Wong

cropped-the-world-of-suzie-wongThe World of Suzie Wong by Richard Mason is a glimpse of the world of 1957, when old soldiers could still talk of having had a “good war”, and the British Empire was still teetering on the brink. Kindle makes it possible for me to nab it within moments, although Suzie Wong is one of those subjects that I have heard mentioned all my life, but never actually encountered before – a bit like Fu Manchu and the Black &White Minstrels, it seems to have been airbrushed from history in more enlightened times.

Robert Lomax is filth in all but name (Failed in London, Try Hong Kong), a clueless wannabe painter in Hong Kong, who accidentally takes a room in the Nam Kok Hotel, which turns out to be a brothel. Readers of this parish may scoff, but are reminded that the Clements family also somehow managed to end up a few floors up from a knocking shop in Chengdu, so it’s not like it’s impossible.

mysterious_world_01Lomax falls for Suzie, a wilful, proud bar girl with a half-caste baby, and much of the story is taken up with their long, long, looonnng courtship, occasionally interrupted by other suitors and various dramas among the other bar girls. Mason has a matter-of-fact approach to dealings at the brothel, and that, coupled with the coy requirements of 1950s censorship, turn his account into a far less prurient tale than one might at first imagine. He certainly seems to know his way around the etiquette of the red light district, and has interesting observation about the peculiar protocols of the girls, who, for example, deride any sailor who doesn’t pick one girl and stick to her for the duration of his stay in town as a “butterfly”. It encourages comparison with Akasen Chitai (Red Light Zone), Kenji Mizoguchi’s last film, shot in a realist style in Toyko’s brothel district around the same time, just before prostitution was criminalised in Japan.

Curiously, the leading man is presented as somewhat ignorant of the East, which is exactly what I would expect from the average hack cranking out a Hong-Kong-hooker-with-a-heart-of-gold novel. But Mason was an old Asia hand, having fought in Burma in the war, and drafted to learn Japanese as a POW interrogator. It’s thus all the more impressive that he is prepared to present his leading man as a callow, nice-but-dim posh boy, drifting from plantation job to would-be artistry in Hong Kong, and failing to read a single squiggle. I don’t think I would have been able to resist the temptation.

Meanwhile, his slice-of-life of 1950s Hong Kong presents tantalising glimpses of a small town overwhelmed by a massive refugee influx from over the border. Suzie herself is from Shanghai, and there are whispers throughout the book that the girls are women fallen on hard times, forced to seek any job they can in order to escape the even greater miseries of (we now know) the Great Leap Forward.

stepsLomax is just as much an outsider among the British expat community, which he regards as stifling and hidebound, not the least for its refusal to accept mixed-race marriages – when he approaches a consul for a wedding certificate for him and Suzie, the consul is actually surprised to learn that he is allowed to marry them. He also has some deeply odd things to say about oriental femininity, such as suggesting that the attitudes of Asian girls are designed to support masculinity, while those of European women are designed to destroy it.

Really. Presumably, by “destroying it” he means the unhelpful willingness of European women to have ideas and opinions of their own, thereby threatening to shatter the fragile worldviews of thin-skinned men.

I’d say that the book could never be written today (except that there’s one about Thai bar girls, called Paradise Lust, which is basically the same story, and many of the same observations, from fifty years later). But certainly modern readers would tut in indignation at the sense of entitlement of Suzie’s suitors, one of whom spanks her for daring to look at another man (like that isn’t her job). Although the book does attempt to present the girls’ case and the girls’ view, it is largely the tale of Chinese women available for rent, to largely uncaring and callous men, often cheating on their wives, who are themselves presented as ghastly termagants.

20081209173338484338368380There have been two unofficial sequels, both of which seek to tell the story of Hong Kong as a whole through Suzie’s eyes. One wonders what a modern author would do with the same material. Guo Xiaolu, for example, author of A Concise Chinese Dictionary for Lovers, might take the title literally, and tell it solely through the eyes and words of Suzie herself, thick with detail about the China left behind and the intricacies of the Nam Kok, but as numb and uncomprehending of Lomax’s world as he is of hers.

Suzie Wong was adapted for the stage within a year of its publication (starring William Shatner in the initial theatrical run, imagine!), and then turned into a film. The book was apparently a best-seller, which perhaps explains why Richard Mason doesn’t appear to have worked all that hard at being a novelist afterwards – he died in 1997, living just long enough to witness the Hong Kong Handover, but despite listing him as a “novelist”, his obituaries only seem to come up with four books to his name, of which Suzie Wong was the fourth. In 1962, at 43 years old (my age), his writing career was apparently over, presumably because he was quids-in for the rest of his life. I might be wrong – other mentions of him online suggest that he had a day-job working for the British Council, so possibly lost interest in writing anything else.

Jonathan Clements is the author of A Brief History of China.

The Troubled Empire

61YMFqnan3L._SY344_BO1,204,203,200_I have long been a fan of the Harvard History of Imperial China collection, but series editor Timothy Brook has presented a star turn in awarding himself the Yuan and Ming dynasties. With deliberate and playful provocation, he lumps these two later periods together, instead of following in the footsteps of most other researchers, who usually cover the Mongol century of the Yuan as an addendum to the fore-running Song dynasty.

His reason for this is climatic – Brook identifies nine distinct periods of drought, flood, pestilence and famine, each of which constitutes a “slough” in fortune that sorely tests the imperial regime’s ability to manage its state. In fact, he collates the Yuan and Ming because, between them, they span the period that we now know to have constituted the Little Ice Age.

But Brook also displays winning originality in his choice of sources. He begins and ends with gripping accounts of sightings of “dragons”, triangulating this catch-all term for water-spouts, comets, tornadoes and earthquakes with his new-found data on climate change and natural disaster. He also maintains this thread throughout the book, returning to insightful new views of big data, such as the fluctuating number of Ming-era paintings that depicted snowy scenes.

One might be forgiven for thinking that the Yuan and Ming dynasties had been well and truly picked over. With strong grounding in untranslated sources, and intriguing new uses for old materials (do you know the 16th-century Chinese word for a sailor’s gay husband? “Rice-paddy” over “woman” if you ever need it.), Brook excellently demonstrates that history remains an ongoing and evolving practice, and that there is always something new to say.

Jonathan Clements is the author of Coxinga and the Fall of the Ming Dynasty, and biographies of Marco Polo and Khubilai Khan.