Hang Tu. Sentimental Republic: Chinese Intellectuals and the Maoist Past. Harvard East Asian Monograph Series. Harvard University Press, 2025. 326 pp. Hardcover $52.95
In Sentimental Republic, Hang Tu reframes the complex intellectual and political landscape of the post-Mao decades, shifting emphasis away from what he describes as “ideological” positions and focusing instead on the role of emotions. He asks, “How does emotion—as a constellation of affective intensities, moral sentiments, and political judgments—factor in the post-Mao political debates about China’s revolutionary past?” (3) Tu argues that, “By analyzing how rival memory projects stirred up melancholy, guilt, anger, and resentment, the polemics surrounding the country’s past cannot be properly understood without reading for the emotional trajectories of the post-Mao intelligentsia.” (8)
The book attempts to answer why “emotion” is a good entry into this material. Each of the five chapters is devoted to a set of intellectual/literary figures of the post-Mao era as well as a corresponding set of emotional attachments and sentimental approaches to the Maoist past. Tu moves from Li Zehou and Liu Zaifu’s differing conceptions of enlightened emotions, one based on pleasure the other on guilt (Chapter 1), to the elevation of the scholar Chen Yinke into a liberal martyr and a symbol of scholarship against politics (Chapter 2). Leftist melancholia is the topic of chapter 3, examined through the connection between Taiwanese writer Chen Yingzhen and Shanghai novelist Wang Anyi. Chapters 4 and 5 are devoted to the “right” of the political spectrum and focus on conservative thinker Liu Xiaofeng and the neo-nationalists of the China Can Say No phenomenon.
Tu starts by postulating that previous scholarship has viewed the intellectual and political articulations of the post-1978 era as produced solely by “rational deliberation” or logically embraced political ideologies. That, in turn, has produced an artificial separation between the rational and the emotional, and reduced the debates of the 1980s and 1990s to “stark polarities: liberty versus equality, modern versus anti-modern, and forgetting versus remembering.” (13) Against this backdrop of hyper-rationality, Tu proposes instead to analyze those various -isms not solely as the product of rational deliberation, “but also as sensorial, affective, and emotive utterances deeply informed by personal desires, shared feelings, and moral sentiments,” (15) in particular the feelings connected to the legacy and the memory of the Maoist revolutionary past.
This emotional-rational dichotomy is largely a straw man. Few scholars frame political positions as simply the result of “rational deliberation” or the appeal of political ideology simply in terms of logical choice. Even less is this true for the post-Mao period, where the emotional legacy of the past has loomed very large and of course has contributed to the political choices actors make. So why does Tu need this false dichotomy? Postulating a fake dichotomy between reason and emotion, ideology and feelings, Tu successfully removes politics – as collective practice, shared experience, and communal ideation – from the post 1978 debates. He thus successfully depoliticizes not only the post-Mao era but the Maoist revolution itself. If mass politics is the site of irrational passion, depoliticizing allows historical actors to be rationally emotional without being political. And in that, Tu’s re-proposition of the emotion-rational dichotomy reprises its long and fraught history in Cold War orientalism, when it was deployed to separate the logical, democratic, appropriately thoughtful West and the irrational, emotional, and unruly East.
As Tu states, throughout the book, “Mao’s revolution” serves as “a generic term to designate a constellation of sociopolitical events, values, and memories” (4). Maoism is described as a quasi-religion, as brainwashing, as trauma, and Tu also repeatedly mentions something called the “Maoist sublime,” without ever explaining what that might have been. This is a way to erase the complex historical experience of the Chinese revolution and to empty that experience of any political significance. This is most evident in the first chapter on Li Zehou and Liu Zaifu, who famously and explicitly bid “farewell to revolution.” Tu uncritically espouses Li’s concept of “the double bind of enlightenment and national salvation” (30) and accepts the completely ahistorical view that connects May Fourth iconoclasts to the children of Mao’s Cultural Revolution, who “both sought a ‘cultural-intellectualistic approach’ to political ills, fueled by ‘obsession with youth’ and “destruction of the past.” (47-48). The decades-long Chinese revolution is flattened by erasing any historical difference (1919 becomes 1966) and by reducing politics to irrational youthful emotions and destructive feelings.
Tu actively embraces Li’s politics of depoliticization, even when he cites the Chinese New Left’s criticism of Li and Liu’s thesis “as a thinly disguised neoliberal schema to ‘depoliticize’ radical thinking and legitimatize ‘end-of-history’ liberal triumphalism.” (47) Interestingly for a book about the debates of the post-Mao era, the New Left is left to haunt the books as a specter, appearing here and there, usually as a critical voice, only to be dismissed and banished to oblivion. Indeed, any direct engagement with the Chinese New Left would require taking the politics of the Maoist revolution seriously as politics, and not only as memory, trauma, or emotional attachments.
Does Hang Tu consciously adopt the politics of depoliticization and Sentimental Republic? I cannot say. But with the excuse of recovering an emotional dimension to post-Mao China that nobody actually has ever denied, Tu effectively flattens historical complexities into a story about the passions of a few individuals. To be clear, there is nothing wrong in an approach that centers affects and emotions, and there are excellent histories of emotions; here however, this approach serves mainly to produce a simplified and depoliticized depiction and to reduce profound political and intellectual differences to emotive responses. It’s all about the vibes.
In addition to the flaws in the main argument and analysis, I also want to highlight a glaring omission: Tu does analyze the work of one female writer, Wang Anyi, but he does so only through her relationship with Chen Yingzhen. That relationship developed after their participation in the 1983 Iowa writing program. Curiously, nowhere in the book does Tu mention that Wang went to Iowa with her mother, Ru Zhijuan, an important writer and editor in the 1950s, 60s, and 70s; nor does he mention that Wang and Ru wrote a memoir together about that trip. In a book ostensibly about the political memory of the Mao period, this critically relevant source is never mentioned. Instead, Wang Anyi’s approach to the revolutionary past is refracted through her relationship with the (male) Taiwanese leftist, Chen Yingzhen.[1] To be sure, this was a crucially influential relationship, but Wang and Ru’s own words, which are available, are absent. The silence about Wang and Ru is quite significant, especially in what is already a male-centered book.[2]
This review was originally commissioned by Twentieth-Century China, but it was rejected (in a slightly different version) as too harsh and straining “the bounds of collegiality.”
Notes
[1] Carlos Rojas, “Mothers and Daughters: Orphanage as Method,” Chinese Literature Today, Volume 6 (2017) https://doi.org/10.1080/21514399.2017.1375283
[2] Tu’s evident neglect of gender issues is on display again, for example, on p. 3, where he labels the speech of the famously emotional Chai Ling on the eve of the June Fourth massacre as “hysterical.”
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