A Brief History of Khubilai Khan

kkNow finally available on the Kindle (US/UK):

His grandfather was the bloodthirsty Mongol leader Genghis Khan, his mother a Christian princess. Groomed from childhood for a position of authority, Khubilai snatched the position of Great Khan, becoming the overlord of a Mongol federation that stretched from the Balkans to the Korean coastline. His armies conquered the Asian kingdom of Dali and brought down the last defenders of imperial China.

Khubilai Khan presided over an Asian renaissance, attracting emissaries from all across the continent, and opening his civil service to administrators from the far west. His life and times encompassed the legends of Prester John, the pinnacle of the samurai (and, indeed, the Mongols), and the travels of Marco Polo.

Jonathan Clements examines the life and times of this semi-legendary ruler, detailing the religious scandals and cultural clashes within his supposedly inclusive realm, and the long-running resistance to his reign in Japan and Vietnam. His short-lived “Yuan” dynasty barely lasted a century, but transformed China and the world for ever more.

The First Emperor of China

71FSUWtb1GLIn 1974, Chinese peasants made the discovery of the century… Thousands of terracotta soldiers guarding the tomb of a tyrant.

Ying Zheng was born to rule the world, claiming descent from gods, crowned king while still a child. He was the product of a heartless, brutal regime devoted to domination, groomed from an early age to become the First Emperor of China after a century of scheming by his ancestors. He faked a foreign threat to justify an invasion. He ruled a nation under 24-hour surveillance. He ordered his interrogators to torture suspects. He boiled his critics alive. He buried dissenting scholars. He declared war on death itself.

Jonathan Clements uses modern archaeology and ancient texts to outline the First Emperor’s career and the grand schemes that followed unification: the Great Wall that guarded his frontiers and the famous Terracotta Army that watches over his tomb.

Published in 2015, this revised edition includes updates from a further decade of publications, archaeology and fictional adaptations, plus the author’s encounter with Yang Zhifa, the man who discovered the Terracotta Army.

Available now in paperback (US/UK) and on the Kindle (US/UK).

Collectable

collector's libraryIt’s not abundantly clear from the cover, but the hardback, gilt-edged Collector’s Library edition of Sun Tzu’s Art of War is a new edition of my earlier paperback translation. It’s a very portable pocket size, and does look very posh, particularly after you throw away the horrible dust jacket. See here for details of why the world needs another version of Sun Tzu, and here for my thoughts on performance.

It’s out now in the UK and in the US.

Inside the Shadow Factory

Jonathan Clements investigates the continuing fascination Chinese filmmakers feel for both the First Emperor and the man who tried to kill him.

It was a messy, scrappy struggle in a chilly hall, lasting less than a minute. A suicidal assassin pulled a knife out of nowhere and chased the ruler of the Qin dynasty around his throne. Bodyguards watched in frustration, forbidden on pain of death from mounting the steps to protect their leader. The court physician distracted the assassin by hurling his medicine kit at him, and when the man ducked, his would-be victim was finally able to tug his own long ceremonial sword from its scabbard. The murder attempt was over scant seconds later, as the attacker died under a rain of blows from the man who was supposed to have been his victim.

The incident changed history. Now, nothing stood in the way of the man who would become the First Emperor. The would-be killer, Jing Ke, had been the very last man who stood a chance of getting close enough to kill the power-hungry ruler. His failure to do so was a crucial event in the birth of the nation we now call China, and has been dramatised on countless occasions, not the least on film. Continue reading

China’s Cleopatra

24999580The Indonesian edition of my biography of Empress Wu has just been published, with a racy new title and an even racier new cover.

“Dalam kisah nyata yang sensasional ini, Jonathan Clements menuturkan kisah kelam dan dramatis satu-satunya kaisar perempuan dalam sejarah China, Wu Zetian: selir, manipulator, politikus, pembunuh, dan titisan dewi. Inilah kisah Cleopatra dari China; kisah tentang pembunuhan, seks, cinta, kekuasaan, dan pembalasan dendam…” or “In this sensational true story, Jonathan Clements tells the dramatic tale of the dark and only female emperor in Chinese history, Wu Zetian: concubine, manipulator, politician, murderer, and incarnation of a goddess. This is the story of China’s Cleopatra — a tale of murder, sex, love, power, and revenge…” In your face, Game of Thrones. For the English original, recently reissued on paperback and the Kindle by Albert Bridge Books, see here in the UK or here in the US.

Undercover Manga

shimajiro appI’ve been wondering for a while when the Doraemon bomb was going to go off. Every time I’ve been to China in the last three years, amid ever-escalating sabre-rattling over the Senkaku Islands, I have found the locals avidly denying any interest in Japanese culture. I have found media students unprepared to work on papers about anime, for fear that the word “Japan” will be on their resumé ever more. And I have watched, every day, as two Japanese invaders march in right under Chinese noses.

One is Shimajiro, an infant tiger cub who appears in a hybrid kids’ show that is part anime, part live-action play school. I’ve watched Shimajiro sing songs about London Bridge and demonstrate how to go to the toilet, and nobody has noticed that he’s really Japanese, because the broadcasters have stripped out the original live-action framing footage and replaced it with Chinese people. Also, they don’t make the mistake of calling him Shimajiro, either. In China, he is known as Qiao Hu Dao, the “brave and clever tiger.”

doraemonThe other is Doraemon, that time-travelling blue robot cat who recently enjoyed the surprising honour of a 12,000-page manga translation funded by Japanese government boondoggle money. Doraemon remains a popular movie and TV figure with anime audiences, but was also the subject of so much manga piracy in decades past that he is known by several different names in the Chinese world. My favourite is Ding Dang the Robot Cat (ding-dang, you see, being Mandarin for ding-dong, if you ever need it). He’s even the subject of an exhibition in Hong Kong, which trilled, unwisely, about his true origins.

The Japanese authorities, excited at the amount of love for Ding Dang all over the mainland, have made Doraemon a cultural ambassador, thereby pushing their soft power agenda by showing the Chinese that a perennial favourite was actually from the other side of the water. This has entertainingly backfired, with a schmuck-bait editorial in the Chengdu Daily pointing out the blindingly obvious – that Doraemon was an effort to make Japan look cute and less threatening – and several lesser newspapers getting increasingly irate about the idea, with the Global Times frothing “we must never let a little robotic cat take control of our minds.” Top tip.

This article first appeared in NEO 131, 2014. Jonathan Clements is the author of Anime: A History, in shops now (UK/US).

Empress Wu: Too Hot for TV?

empress wuThis week’s Telegraph reports that the new TV show Empress of China, all about the scandalous Empress Wu, has been taken off air amid scurrilous gossip over its revealing costumes and grotesque violence. Robert Foyle Hunwick in Beijing notes that: “The State Administration of Press, Publication, Radio, Film and Television (SAPPRFT), China’s chief censors, has issued regulations banning depictions of one-night stands, adultery, sexual abuse, rape, polyamory, necrophilia, prostitution, nudity and masturbation, as well as murder, suicide, drug use, gambling and even racy subtitles and puns.” Well, that pretty much covers a to-do list of any historically accurate account of Empress Wu. Oh, except gambling; I don’t remember any gambling.

For more about the historical Empress Wu, see my interview here, my article on film adaptations here, or listen to my Woman’s Hour interview here.

Romans on the Silk Road..?

dragon-blade-posterFrom An Armchair Traveller’s History of the Silk Road:

The Book of Later Han records an expedition by an emissary of Ban Chao who set out in AD 97 to assess the legendary empire in the furthest west, which the Chinese called Da Qin, ‘Great Qin.’ The name is odd, and has confused even Chinese commentators. It may be a garbled reference to a particular place in the Roman Empire, although it is not clear where. Fan Ye made the unlikely suggestion that the people of the exotic west were tall and honest, a bit like the people of the Chinese state of Qin. But the term may have carried a more ominous implication. In the days of the Warring States, before China was unified, Qin was the name of its westernmost territory – a martially-minded, hard-headed soldier state that eventually conquered all the others. In calling the Roman Empire ‘Great Qin’, Chinese chroniclers may have been alluding to a distant threat, further west even than Qin, but potentially even more powerful.

The mission was thwarted partway, probably by wily Parthians who feared that an alliance between Rome and China would crush their own state, which lay between the empires. Instead, the explorer was told that Rome lay across a great sea that would take him three months to cross if he were lucky, or two years if the winds were against him. Perhaps some Parthian merchant hoped to sell him three years of provisions for such a great undertaking, although it seems more likely that he made it to somewhere on the Indian coast, perhaps the Parthian princedoms of Sind, where he received a garbled explanation of the need to wait for the monsoon winds. Whatever the reason, he turned back, reporting that in the west there were many ‘precious and marvellous things’, but he had not seen them. To help out a little, Fan Ye offered his own list of Roman marvels, which included shaven heads, crystal tableware (glass) and ‘kings who are not permanent’ but chosen from a list of the most worthy.

If such reportage seems doubtful or outright apocryphal, we might forgive them for having no other information about particular parts of the world. Historians and novelists, for obvious reasons, are liable to get particularly animated about possible contacts between Romans and Chinese, although certain travellers claiming to have come from ‘Rome’ might have actually been chancers picking an unverifiable home address in their dealings with local potentates.

Fan Ye, for example, also recorded that an embassy had supposedly arrived from Rome itself in AD 166. But reading between the lines of his account of these visitors from the ‘King of Great Qin’, everything starts to sound very suspicious. They claimed to have come from the land ruled by a man called Andun – if they meant Antoninus Pius, he had already been dead for several years, and had been succeeded by his adopted son Marcus Aurelius. Let us give them the benefit of the doubt, and assume that Andun is a garbled reference to the Antonine family. But these supposed ambassadors turned up far away from the Silk Road, on the coast of what is now Vietnam, and if they are the source of the Book of Later Han’s information on Rome, they seem to have known little more than the vaguest general facts about Syria and Egypt, and very little about Rome itself, which was apparently at the far end of a bridge that stretched for dozens of kilometres from Egypt.

They presented ‘tribute’ of ‘elephant tusks, rhinoceros horn and turtle shell.’ None of these commodities sound particularly Roman, nor did they much impress the Chinese, who regarded them as singularly undistinguished. Fan Ye gives the official line, which is that the embassy from Great Qin seemed rather shabby, and perhaps rumours of the empire’s splendour had been gross exaggerations. He even notes, with the faint signs of a disdainfully raised eyebrow, that this distant civilisation apparently makes cloth from the cocoons of ‘wild’ silkworms. He does not appear to have considered that the ‘ambassadors’ were not official diplomats at all, but a bunch of Indian sailors trying it on. Instead, he ends his section on Rome with a literary wave of the hand in exasperation, saying that he has heard of ‘many other peculiar and bizarre things that I will not record.’

An Armchair Traveller’s History of the Silk Road by Jonathan Clements is available now in hardback and on the Kindle (US/UK).

“The Half of What I Saw…”

Marco-Polo-NetflixNot even Marco Polo was able to edit his own life into an all-encompassing narrative. On his deathbed, surrounded by his weeping daughters and his long-serving manservant Suleiman, he was entreated by Venetian priests to admit he had made up many of the tall-sounding tales of his travel. The holy fathers were worried that “Marco of the million lies” would go to hell if he did not finally confess that he had made up his stories of a black rock that would burn, of oil that came out of the ground, of giant sea creatures and Chinese gods. His last words were a fitting epitaph: “I have not told the half of what I saw.”

Dozens of writers have grappled with the way to best tell his story. Luckily for me, I only had to write a biography, which begins with his birth and ends with his death. For the writer of fiction, there are myriad temptations. I’ve toyed with a one-act play, in which Marco and his collaborator Rustichello pace the floor of their opulent but confining house arrest, arguing over the best way to set his knowledge down on paper. Marco is all about facts and descriptions, a tedious village-by-village account of the way east; Rustichello, a former troubadour and Crusader, wants stories of derring-do and fortean curiosities, and in one sense, it’s Rustichello’s Marco that survived through the ages.

You could plump for Italo Calvino’s method, concentrating on the relationship between Marco and his patron, Khubilai Khan, as the aging monarch demands stories of Marco’s adventures. But what of the roads less travelled? What of Marco on his homeward route, escorting the mysterious Princess Kokachin to her doomed wedding, and plunged into local conflict in Persia and befriending his Muslim counterpart, Rashid al-Din? What of Marco the official in China under the Mongols, dealing with intrigues, crimes and murders in a nation under military occupation? And what temptations there are to the historical screenwriter to edge gently out of evidence and into reasonable speculation – what if we ignored the evidence that Marco never saw Japan for himself, and inserted him into the Mongol fleet that suffered the consequences of the first Kamikaze.

cc030914j021f15.jpg_1328648940The new Netflix series tries and largely succeeds to have it all, opening with a prolonged throne-room scene in which Marco shows off his knowledge of Uyghur and Mongol, and in which the Polo family’s failure to keep their promises to the Khan lead to the effective handing over of Marco as collateral to save their trading contracts. But there are nods and foreshadowings, even in those opening few minutes, of the direction that John Fusco intends to take. Khubilai’s beloved wife Chabi, a Christian, stands at his side in her distinctive head-dress. An official called Ahmad is pointedly referenced, ahead of the downfall known to all readers of Marco Polo’s Travels. A lissom figure on the sidelines appears to be Princess Kokachin, thought by some to have been the woman who stole Marco’s heart, even as he was forced to convey her to her new husband. And then the credits begin, awash with impressionistic Chinese inks that create simulacra of his tallest tales – figures and creatures that may, or may not, only exist on paper or in his mind, even as the music soars and hints at Game-of-Thrones-y intrigues and Marco’s endless, infectious sense of wonder at the sights of the Far East.

Jonathan Clements is the author of Marco Polo (US/UK) and A Brief History of Khubilai Khan (US/UK). Marco Polo, the TV series, begins on Netflix on 12th December.