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THE CHINA MYSTIQUE: Perception, Transformation and Identity, August 6, 2005
China endured a series of dramatic, and often tumultuous transformations in the last century. The 1930's and 1940's, in particular, were decades of major political, social, economic and technological change, and consequently, of major shifts in perception and awareness of the Asian nation and its people by the United States.
Karen J. Leong's THE CHINA MYSTIQUE: Pearl S. Buck, Anna May Wong, Mayling Soong, and the Transformation of American Orientalism, a work of solid scholarship and uncommon acuity, focuses on America's evolving images of China during these decades, specifically as reflected in the public lives of three diverse and singular women widely identified with the emerging nation: Pearl S. Buck, Anna May Wong and Mayling Soong. Scrupulously researched, the book is academic in tone, and written with precision, perception and clarity.
Leong argues that the ability to travel, and the nascent global mass-culture of the day granted these women a broader field of recognition and enhanced form of celebrity than hitherto attainable, thus facilitating a greater sphere of influence contributing to the gendering (or feminization) of a distant country traditionally held to be completely patriarchal, alien and inscrutable to Western eyes.
Adapting the late Edward Said's notion of orientalism--a highly politicized analysis of European colonial perspectives of "the Orient," and the resulting and enduring power relations between Asia and the West--Leong defines "American orientalism" as a distorted image of the Chinese as "primitive, slavish, exotic, manipulative, and amoral." She writes that these images were diametrically opposed to the positive traits of modernity, freedom and fidelity celebrated in American nationalism.
These negative images began to erode with increased immigration and diplomacy between China and the United States, and also through the efforts of American protestant mission boards. As China evolved into a strategically significant ally in the struggle against Japanese aggression, the old images were replaced by a romanticized and progressive view of China. Leong defines this Americanized and "highly gendered" reimaging as the "China mystique."
The author posits these evolving perceptions of Nationalist China concurrent with the United States' own immergence as a world power, and identifies the transformation of "American orientalism" to the "China mystique" as adjunct to America's rise to globalism. This shift of perception is an underlying theme of the book, and Leong masterfully studies the nuances, inconsistencies, contradictions and real power of this change.
Ultimately, this is as much a book about America and Americans, as it is about China.
In the book, Leong examines these women whose "transnational" association with China rendered each a personification of a specific aspect of the Sino-American cultural and political axis: Pearl S. Buck, a European American novelist who spent much of her life in China and was recognized worldwide as an uniquely qualified authority on China and the Chinese, Anna May Wong, a Los Angeles-born Chinese American actress who endeavored to cultivate a hybrid identity embracing both cultures, and Mayling Soong, (more commonly known as Madame Chaing Kai-shek), an American-educated daughter of a westernized Chinese capitalist who garnered sympathy and support for the often repressive Nationalist government as the eloquent and charismatic "First Lady" of China.
If these women helped to put an accessible and very feminine face on China, it was hardly one of traditional timidity and subordination. Instead, it was a countenance that expressed the newfound independence and the fluidity of identity befitting a "New China" and its stature as an emerging democracy. In fact, their unique positions and development of multifarious identities granted each of the women elements of power not typically afforded persons of their gender and/or race at that time.
Buck, Wong and Soong each tested the limits of their transnational status, and Leong expresses their particular experiences within broader political, cultural and historical contexts. It seems that the distinct negotiations of the cultural and political landscape, and the fluid assumption of identity through self-definition evidenced by these women is their lasting legacy.
In the end, Leong exposes America's thorough reassessment and seemingly enlightened appreciation of China and the Chinese in the outward embrace of progressivism, modernity and democratization for an expedient and opportune stance assumed in its own transformation from an isolationist nation to a global power. She also demonstrates how Buck, Wong and Soong each encountered reversals and barriers in their individual careers despite this period of enlightened perspectives on China.
Still, Leong is adept at separating propaganda and hypocrisy from the actual experience and expressions of power manifested in the lives and words of Buck, Wong and Soong. She acknowledges the real long-term and far-reaching effects that these women had on the development of cultural pluralism and the myriad ways in which American citizens choose to define themselves as a national community.
Leong's book is narrow in focus and specific in scope, but expansive in themes and relevance. As an account of personae in a specific historical milieu, a cultural study of perceptions of Americans and Chinese (and Chinese Americans) in the 1930's and 1940's, and as a thought provoking treatment of themes of identity, race, gender and nationality Leong's book succeeds on all levels.
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