China's War with Japan 1937-45 by Rana Mitter: Fragments of other histories beginning to emerge

The scale of suffering in China during the Second World War was unimaginable. Yet China did not submit, and it has only been since the 1980s that fragments of other histories have started to emerge.

China’s War with Japan 1937-45
Rana Mitter
Allen Lane, 480pp, £25

The official history of China, much rewritten in recent times, is full of questionable propositions. Important among them is the assertion that China’s contemporary attitudes are determined by a century of “national humiliation” at the hands of foreigners – from the mid-19th century until the victory of the Chinese Communist Party (CCP) in the civil war in 1949.

China certainly suffered the aggression of upstart powers, including Britain, which was intent on trade. When trade was refused, conflict followed. Yet, for the most part, the national response to foreign incursion was less a sense of humiliation than a painful reflection on what had gone wrong with a once mighty country and a search for modernising options that might restore its power.

It was not until China lost the first Sino- Japanese war in 1895 that the word humiliation first appeared in this context. China regarded its smaller neighbours as tributary states. To be annoyed by western barbarians was one thing; to lose a war against the “northern dwarves”, as China’s president Chiang Kai-shek once described the Japanese in his diaries, was quite another.

The humiliation of the defeat in 1895 was revisited in 1919, when the post-First World War settlement handed German concessions in China to Japan, triggering public outrage and a reform movement that was to touch every aspect of Chinese life. Even then, as Rana Mitter points out in this comprehensive history, Japan was viewed with resentment and respect: Chinese students flocked to Japan to study, seeking the key to its swift modernisation. They included Chiang, the future leader of the Nationalist Party (KMT); Wang Jingwei, who would lead the puppet regime in Nanjing – the Chinese equivalent of Vichy, which lasted from 1940 until Japan’s defeat; and Sun Yat-sen, regarded by both the Nationalists and the Communists as the father of the Chinese Revolution of 1911.

These events were the backdrop to the second Sino-Japanese war, which began with the Marco Polo Bridge incident in 1937 and ended with Japan’s surrender in 1945. China’s long resistance to Japan’s occupation was to shape it profoundly. Mitter has done an important service both in pulling together the complex narrative threads of this period and in reminding readers of China’s vital and largely neglected contribution to the Allied war effort.

The war displaced 90 million Chinese from central and east China to the remote interior. The Nationalists went to Chongqing, in Si - chuan, a city defenceless against Japanese bombing. The Communists settled in the remote northern town of Yan’an, where the founding myths of Chinese Communism were forged. The displacement broke down social barriers and geographic loyalties, while resistance to the invader helped to forge a sense of nationhood out of the fragmented, post-imperial state.

All three regimes, the CCP, the KMT and Wang’s puppet government in Nanjing, ran ruthless secret police and terror operations, fascinatingly described here. The Communist operation was scaled up to national-level terror after 1949 but Mitter raises the question of how oppressive the others might have been in the long run.

 Because Chiang fought the Japanese in China, the Allies did not have to. Had Japan not been tied down in an eight-year war in China, half a million Japanese troops would have been available to fight the war in the Pacific, with potentially different results. And had the Nationalists not been fighting the Japanese, the Chinese civil war could well have taken place much earlier – also, potentially, with different results.

Mao Zedong had reason to be grateful to the Japanese, especially since the victorious CCP got to write the official histories, in which the Communists became the heroes of the anti-Japanese resistance and the KMT’s effort was written out. In reality, Mitter writes, Mao spent much of the war reading.

The scale of suffering in China is beyond imagining: the estimated ten to 12 million dead included victims of the floods in Henan when Chiang ordered the breach of the Huang He River’s levees to cover his desperate retreat, the victims of famine and Japanese bombing and the destruction of a Chinese force of 300,000 in three weeks in the last stages of the war. Yet China did not submit and Mitter gives credit to the often derided Chiang. China began the war as a weak and semi-colonised state and ended it with the promise of a seat in the Security Council of the newly formed UN.

In China, the story faded from official discourse as Mao directed national hostility to the KMT regime in Taiwan and to Soviet revisionism. It was not until the 1980s that fragments of other histories began to emerge. Today, a rash of atrocity museums and growing tensions in the East China Sea are inflaming popular memory. In international narratives, China’s effort was submerged in the new east-Asian configuration in which Japan became a key US ally and Mao’s China a new enemy. Mitter’s excellent history tells us why we need to remember it.

Chinese soldiers depicted fighting with Japanese troops during World War II. Photograph: Getty Images.

This article first appeared in the 01 July 2013 issue of the New Statesman, Brazil erupts

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Sex and the city: the novel that listens in on New York

Linda Rosenkrantz's Talk captures the conversations of a sex-obsessed city.

Especially for New Yorkers such as the ones in Linda Rosenkrantz’s novel Talk, summertime is both maddening and delicious: it’s a limbo during which no serious work is possible, because some crucial decision-maker at the top of the chain is inevitably out of town, so even the most ambitious strivers must find a way to fill their days with something other than striving. It’s a time to take stock of what has happened and speculate about the future – that comfortably abstract time that starts the day after Labor Day and is as blank as the opening page of a new notebook on the first day of school. Meanwhile, because little can be done, there is nothing to do but dissect, analyse, explain, confide, complain, chat and kibitz. Talk is a book that more than lives up to its name.

Realising that the lazy conversations that fill up the days during this liminal time might be revealing, Linda Rosenkrantz took her tape recorder to East Hampton, New York, in the summer of 1965. She spent more than a year transcribing the tapes, leaving her with 1,500 pages of text featuring 25 different speakers, which she then whittled down to 250 pages and three characters. The result is a slim novel told in conversations – though Rosenkrantz has said that it was her publisher, “wary of possible legal ramifications”, who insisted on presenting it as fiction.

Emily Benson, a party girl and sometime actress, spends her weekends lying on the beach with Marsha, a working girl who has rented a house there for the season. Often they are joined by their friend Vincent, a painter who is almost as boy-crazy as they are; despite this, he and Marsha share a love that verges on the erotic but never quite manages it. All are around thirty and are single, though none really wants to be.

They pay lip-service to literary and political concerns, listing authors, musicians and political figures such as Kennedy, Castro, Mailer and Roth, but mostly their talk is about sex (they would rather sleep with Mailer than Roth and Castro than Kennedy). Sex acts and their consequences are anatomised in detail, with orgies and abortions brought up as casually as the recipe for salad dressing. Emily is infatuated with a married man named Michael Christy – they always refer to him by his first and last names. Marsha has a few casual involvements but none seems likely to take the place of Vincent, especially as he not only talks to her endlessly but sometimes, after a few glasses of wine, playfully asks to see her vagina or breasts. To the extent that the novel has a plot, it’s a love story but not about Michael Christy or any of the other men who merit recurring mentions. The three friends comprise a love triangle that even they, with their self-consciously avant-garde attitudes, don’t seem to recognise for what it is.

It takes a few pages to get used to the oddness of reading a novel in dialogue form and to stop being annoyed by the characters’ oh-so-Sixties affectations. Everything is “far out” and the word “scene” is deployed with alarming frequency – at one point, Emily memorably dismisses a menu suggestion by declaring that she doesn’t want to “get into a whole home-made pie-making scene”.

It is harder to get past the characters’ attitudes to race. An early chapter shows them being very impressed that Marsha has a “Negro” analyst (although, Marsha says in a casually appalling aside, “You don’t think of him, say, if you want to invite a Negro to a party”).

But these are unvarnished slices of chatty vérité: this was how arty thirtysomething New Yorkers in 1965 talked and thought about their lives. A television show set in 1965 might be criticised for being too on the nose if it reproduced, say, Emily’s rhapsodies about her LSD experience. “I was intimately a part of every pulsebeat of every sun that came up on everybody’s life,” she tells Vincent, and goes on to cite Salinger. These conversations actually happened. And luckily, at the moment when that alone ceases to be enough to sustain the reader’s interest, the characters begin to reveal enough about themselves to become interesting as more than a page of history.

Marsha, it turns out, is very funny and winningly down-to-earth. Emily and Vincent are much too impressed with their own promiscuity and sexual appetites; they relish listing their conquests and describing sex acts in a way that, in 2015, might seem uncool even among 14-year-olds. Marsha’s sex talk, however, is frank and hilarious. In one of her wittiest moments, she describes a liaison that left her with welts on her back and the ruse she then employed to explain them away when her mother came over from Westchester the next day to help her try on bathing suits. Indeed, the guy seems to have been worth the welts: “The time I passed out, we wound up in the shower together and it was very, very wild ecstatic lovemaking, one of the great moments of my life. Except I was worried about my hair getting wet.” Marsha has the best lines in the book. While the friends are debating whether to go to a party, she deploys her finest: “I don’t want to talk to people I don’t know. I can hardly talk to the people I do know.”

As we grow more attached to Marsha, Emily seems increasingly irritating in comparison. But I’m sure if you transcribed the dialogue of many charismatic people they would seem as tiresome and self-involved as Emily does – and we know she must be charming because of how excited Vincent and Marsha are about being around her and how much they miss her when she skips a weekend or two. Still, she’s a bit much. At one point, while discussing their sexual preferences on the beach (again), she cuts Marsha off mid-sentence, saying: “I haven’t quite finished with me.” She never does.

Marsha is also interested in herself but in her case the interest seems merited. Towards the end of the novel, we learn that she has been spending the summer writing a book. Could it be the one we are holding? In the final chapter, as the two women unpack from the summer, Marsha reports telling her therapist about “what a horrible person I emerged as on the tapes and how all the three of us talk about is sex and food and yet how I felt we were the only people who communicate in the whole world”. It may be that the book has doubled back on itself to become about its own composition or that Rosenkrantz is Marsha (she has recently admitted that “one of these three taped ‘characters’ is moi”.)

In this light, the book stands as an early entrant in a field that is now in full flower: works by women who use their lives and personae as raw material for their art, such as Chris Kraus’s influential 1997 novel, I Love Dick, and Sheila Heti’s How Should a Person Be? (2010). Stephen Koch points out in his fine introduction that Talk also paved the way for TV shows such as Girls and Broad City, in which fiction is grounded in the creators’ real-life personae.

Unlike those ongoing sagas, Talk is ­finite: autumn came and the experiment was over. Did Michael Christy ever leave his wife for Emily? Did Marsha finally let go of Vincent enough to make space for a heterosexual man in her life? A lot of plans were made that summer but we will never know whether all they amounted to was talk.

Emily Gould’s novel “Friendship” is published by Virago

Talk is out now from NYRB Classics (£8.99)

This article first appeared in the 27 August 2015 issue of the New Statesman, Isis and the new barbarism