The Price of War

“Thus, while soldiers have heard that it is stupid to move too fast, it is also unwise to take too long. There has never been a long war that worked to the benefit of a kingdom […]

“Sending forces far away is a heavy expense to the homeland. Meanwhile, a military force nearby will raise prices, and high prices exhaust the wealth of the common people.

“Once impoverished, they are soon forced into service. Their strength drained and livelihood gone, homes are left deserted on the central plains. The cost to the common people will be three-tenths of their worth. For the treasury, the cost for broken wheels and worn-out horses; armour, helmets, arrows and crossbows; lances, shields, spears and tents; oxen and wagons will amount to four-tenths of their worth.”

From Sun Tzu’s Art of War, a new translation by Jonathan Clements.

Vinegar Joe

IMG_0063But why, I hear you ask, would anyone take a ridiculously hilly bend in the river, a thousand miles inland in jungle conditions, and build a massive city there? Everywhere else I have been in China has been carefully built on flat ground. Chongqing is like the map you delete on Sim City because you can’t work out where you are going to put any roads.

Well, for one, this is a bridging point for the Yangtze. Tankers stacked with containers can make it this far on the river, which is itself an amazing thought, thanks to the Three Gorges Dam downriver. But historically, Chongqing only ever flourished where there is no other hope for anywhere else in China. It was first conferred with city status in the Southern Song dynasty, when a game of musical chairs with the refugee Chinese emperors suddenly turned its local princeling into the ruler of what was left of China. And most famously, in the twentieth century, with the Japanese running riot all over the east coast like an outbreak of the walking dead, Chongqing was jury-rigged as the temporary capital, bastion of the Nationalists, kept alive by the infamous Hump airlifts across the Himalayas, which is why there is a wreck-strewn gorge in India called Aluminum Valley.

Chongqing, or Chungking as it was romanised back then, spent half a dozen years as the last hope of free China, landlocked and surrounded. Chiang Kai-shek was the general in charge, although all his dealings with his American supporters were smoothed by his wife, Soong May-ling, who had studied in America and spoke perfect English with a sexy Southern accent. Their best-known unit was the American Volunteer Group, a.k.a. the Flying Tigers, who were formed in secret in Burma in 1941 by “resigned” American pilots, and were hence ready for action a mere fortnight after Pearl Harbor, shooting the Japanese out of the sky in Kunming.

Regular readers of this parish will know about my obsession with the Flying Tigers, although it has never turned into a book because Daniel Ford has already written one that says everything I would say about them. The backs of their flying jackets were sewn with a blood chit, bearing the Nationalist Chinese flag (now only seen in Taiwan), and an oddly poetic statement in Chinese: “From beyond the ocean, he comes to aid in the Celestial war. Soldier and Citizen alike, aid and protect him.” It’s tough to translate; some will take issue with my version, but the choices of wording even in Chinese are a bit quirky and classical.

This is all going to come up again very soon in the media, since the new Bruce Willis film is called The Bombing, and is about the 100,000 people killed by Japanese air raids in wartime Chongqing. No, I can’t imagine why that has suddenly gone into production with Chinese money this year.

Chiang_Kai_Shek_and_wife_with_Lieutenant_General_StilwellI went to the former home of Joseph Stilwell, whose association with China began in 1911, and who was a military attaché in Beijing in the 1930s. He was sent back to China in WW2, over his own protests, because he was the only general Roosevelt had who could speak Chinese. And so he was stuck in Chongqing for several years, arguing with the Flying Tigers and getting increasingly exasperated with Chiang Kai-shek. There is a lovely photograph of him, Chiang and Soong May-ling, cracking up over some joke or other in the garden. The official portrait of the three of them has them all looking serious, but it’s the outtake that makes them all look human, pissing themselves about some long-forgotten fart joke or similar tomfoolery. Stilwell’s otherwise caustic sense of humour earned him the nickname Vinegar Joe, although he was also known as Uncle Joe, largely for his hatred of pomp and ceremony, and his insistence on wearing a uniform without rank or insignia.

His home is a bunker-like block of 1920s chic, set in a hillside on one of the many ridges overlooking Chongqing. It is refreshingly off the beaten track. I cause a traffic jam on the winding mountain road simply by stopping outside to pay my taxi, and inside there is a baffled caretaker washing a cabbage, next to a litter of mewling ginger kittens. Within, the house is wreathed in a jungle of creepers, and surrounded by banyan trees and palm trees, fizzing in the heat. It is a welcome change from the nonsense of so many other Chinese tourist sites, many of which appear to have been designed by the same committee who think that everything needs a shopping mall and a car park.

IMG_0119The exhibition inside includes details of Stilwell’s career, but also pushes his involvement with the Dixie Mission, an abortive attempt by the Americans to collaborate with the Communists, which was called off in 1947. The Chinese still remember, however, that the plane that flew in to Yan’an to evacuate the Americans came loaded with medical supplies to leave behind. Actually, they remember an awful lot about Stilwell, and there is an inscription on the wall about how when the guns are silent and the smoke has faded, only friendship remains.

Across the road, situated in such a way as to make Vinegar Joe spin in his grave fast enough to power all of Chongqing, there is a museum dedicated to the Flying Tigers, the air group who were a royal pain in his arse all the time he was in China. The staff were oddly fluent in English, as if they are used to coach parties of US servicemen rolling up to hear all about the American Volunteer Group and their shark-nosed planes.

220px-REB-AVG-CHIT-1I couldn’t resist buying some Flying Tigers tea from the gift shop and a couple of books, although I did balk at the crappily reproduced Flying Tigers T-shirts and baseball caps. I also bought my very own blood chit, advertising me as a man who has come from beyond the sea, although it does so in a pinkish manner that suggests it was run off on a laser printer. I also bought a book about the Hump airlifts, because I find them oddly interesting. There has been quite a lot written about them – the Berlin Airlift was masterminded by Hump veterans – and as the Hump exhibition at the Zhang family mansion in Changchun also mentioned, they didn’t get a lot of glory because there isn’t really a dramatic narrative in simply delivering fuel and fags to a bunch of soldiers, even if doing so involves caroming through narrow canyons in the Himalayas. Who am I kidding, it would make an awesome movie, particularly these days, when special effects could show all the crashes. I am rather surprised Hollywood hasn’t got involved already, since one Arnold Spielberg was a radio-gunner in a B-25 squadron in India, and his son Steven has become something of a name these days. The Hump, for what it’s worth, was set up by Colonel Merian C. Cooper, better known to posterity as the producer of King Kong, although I know him better as the chief of staff for Claire Chennault of the Flying Tigers.

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

We Are Woman

bata00_p_01_04The first of two Chinese translations of my Empress Wu biography is now being advertised, with the title Zhennai Nuren  — “I am Woman” declined with an imperial first-person pronoun, like the Royal We. This Taiwanese edition translated by Lai Yeqian, is released this month by Gusa. There’s another translation coming in the People’s Republic sometime in the autumn.

From my introduction to the Taiwan edition:

“Even as I delivered the original manuscript of this book in 2007, I was fielding phone calls from a TV production company interested in adapting the story of Empress Wu into a drama series. Nothing came of that, but I have twice sold the rights to this book to producers hoping to reimagine it as a saga of intrigue to rival Game of Thrones. Perhaps I shall be lucky the third time.

“What is it about Empress Wu that excites such interest? For foreign producers, it’s the dual appeal of manly adventure and feminine wiles, but also the chance to present medieval China, a country often regarded as monolithic and homogenous, as cosmopolitan and multiracial. At the height of the Tang dynasty, there were ‘blue-eyed girls in the taverns of Chang’an,’ ambassadors from Bohai and Syria, and handsome refugees from Persia. There were Christian priests and Muslim traders, offering tantalising potential for any director wanting to present a diverse and vibrant society.

“Wu remains a lively topic, even today. Since this book was first published, Tsui Hark has brought the pomp and ceremony of Wu’s reign to the screen with Detective Dee and the Mystery of the Phantom Flame (2010, 狄仁傑之通天帝國) and its prequel. Archaeologists have found the grave of Shangguan Wan’er, and Chinese television has become embroiled in a new scandal fitting for its most infamous female sovereign. Low-cut dresses and flashes of cleavage in Fan Bingbing’s lavish Empress of China (2014-15, 武媚娘传奇) had made the PRC censor worried about a possible corrupting influence. Such stories are wonderful news to any historian – if anything lures in new readers of non-fiction, it’s the discovery that the Tang dynasty is ‘too hot for TV’ even in modern times.”

If you can read Chinese, there are several extracts available online, here, here, here, and here.

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.

A Chinese Burn

Terror-in-ResonancePosted on the BBC website on April Fool’s Day, and hence not attracting any attention until it turned out to be serious, was the news that China’s State Administration of Press, Publication, Radio, Film and Television had declared war on “borderline pornographic” Japanese cartoons such as Blood C, Highschool of the Dead, and Terror in Resonance. SAPPRFT promises to draw up a blacklist of proscribed Japanese cartoons, all the more to save Chinese streaming sites the trouble of licensing them.

Even in China, the news was greeted with a degree of hilarity. SAPPRFT, after all, was the same body that tried to ban time travel (fortunately only on TV, my time machine is still legal). But as the Qianzhen news site in south China pointed out, SAPPRFT was making the perennial error that has dogged anime all over the world for the last 30 years, confusing cartoons for adults with cartoons for children, and then making the false assumption that children would be watching them.

It’s Japan that’s really in SAPPRFT’s sights. Anime was dragged off-air in China in 2006, where it was proving far too popular. Anime continued to sneak in on video, since apparently Ghibli films didn’t count as evil cartoons. Then, a survey in 2008 concluded that 75% of Chinese undergraduates were watching anime on their computers. Television might have been stamped out, but anime continued to find an audience in pirate editions and on streaming sites. And consider that percentage for a moment: China generates seven million graduates every year – that’s a big audience.

Streaming sites didn’t count as television, so now they are on the hit list, not the least because of the titles listed in the SAPPRFT press release, only Terror in Resonance appears to have any legal presence in the People’s Republic – it’s got bombs going off in Tokyo, sure to entertain the kids. As for Blood C and Highschool of the Dead, both were released in Hong Kong and Taiwan – in other words, they are sneaking in across the border, unhelpfully subtitled in Chinese by the running dogs of capitalism. Long-term readers may remember a similarly absurd situation a few years ago, when Death Note was “banned” in northeast China, despite not actually being legally available there in the first place.

What’s going to happen? Nothing. Servers at Chinese universities will continue to host terabytes of torrented foreign media. Chinese fans will continue to watch anime on their computers, just now without paying a penny to Japan. And distributors everywhere are doing cartwheels at the thought of being able to say that their anime titles are now “banned in China.” Nothing will bump up audiences more than the idea that the cartoon they’re watching can excite such ire.

One wonders, however, if SAPPRFT has bothered to check the credits on Highschool of the Dead and Blood C, which feature listings for companies such as Xuyang and Xing Yue Animation, both based in Jiangsu province. That’s right: the horrible foreign cartoons that SAPPRFT is targeting were partly made in China.

Jonathan Clements is the author of Anime: A History (UK/US). This article first appeared in NEO #137, 2015.

[Time travel footnote: and here’s me in the LA Times, explaining why Attack on Titan qualifies as “pornographic”]

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.