Aminda Smith: Donald Trump, Mao Zedong, and the Audacity of the Masses

Donald Trump’s political career has invited all kinds of analogies, some useful, most not. Among the most facile have been the attempts to portray the US president as a Mao-Zedong-like figure. The pundits who make Mao-Trump comparisons tend to be either a). China watchers or China scholars whose specific expertise is not in the history of the Mao era or Maoism, or b). experts, but from a relatively small group of outliers, well known for the distinctive rabidity of their anti-communist views. Most people who specialize in the study of Mao Zedong and his revolution see superficial links, if any, between the Chairman and Donald Trump. The men do indeed share a taste for power and adulation; a willingness to fabricate truths and discard evidence in pursuit of what they deem to be greater goals; and a high tolerance for chaos and violence in both rhetoric and reality. But those characteristics could be attributed to a great many powerful politicians and rhetoricians. In terms of actual politics, message, tactics, and even personality, Mao Zedong and Donald Trump are about as similar as chalk and cheese.

It is unhelpful, if not disingenuous, to draw comparisons between the two men. But thinking about Trumpism in light of Maoism does help us understand why Trump got more votes than any incumbent president in US history. The good news is – it’s not because all those voters are fascists. Rather, it’s that Trumpism, like Maoism, empowers the very people disempowered by the ideology of progressive, liberal, urban elites. It is the failure of liberalism, which time and again, throughout the modern era, has produced subjects who are vulnerable to forms of populist authoritarianism. But the fact that we might be able to compare Trumpism to Maoism, but not Trump to Mao, can also give us hope. It is the form, but not the content, that links the two. And this might mean that it isn’t the content of Trump’s politics, per se, that fuels his popularity. Indeed, many Trump supporters say just that – they note that they don’t always like the things he says; they just like that he says things. Trumpism, like Maoism, empowers people to speak. A politics of equity and emancipation could thus also mobilize massive numbers of people in the US, but it would have to simultaneously grant them the genuine political authority that liberalism denies them.

Take Melissa Carone, for example, the IT worker who was Rudy Giuliani’s star witness at a November 2020 hearing on voter fraud in Michigan. Liberals around the world took great pleasure in mocking Carone after she went viral for shouting down elected officials to allege that Detroit poll workers had counted tens of thousands of fraudulent ballots. In a piece for Slate, Lili Loofbourow urges us “not to laugh at the voter fraud cranks,” noting that Carone represents “a particular kind of American ‘authenticity” that liberals love to mock. (The hearing wasn’t even over before Twitter began demanding an SNL skit; the cast obliged the following weekend). According to Loofbourow, it is precisely the “mockability” of this authenticity that “is its potency,” but she warns us to resist the urge to parody because doing so gives such people a wider audience.  While I sympathize with the desire to stifle misinformation, ignoring the “cranks” or laughing at them are both manifestations of the way liberalism fails the majority and then abets the few in covering their tracks.

To elaborate, let me first ask what, precisely, is inherently or obviously mockable about Carone? Some of her claims were bizarre but familiar (food trucks smuggled in fake ballots), and others seemed more like misinterpretations by someone unfamiliar with the minutiae of electoral procedures— none of them were any funnier than the other tales we’d heard in the preceding weeks. Some commentators seized on her fabulously messy updo, striking eyewear, and perfectly applied dark red lipstick, but that particular expression of midwestern femininity is too common for its satire alone to propel a person to stardom. What is funny about Carone, it seems, is her audacity. As Loofbourow observed, Carone presents “a recognizable “type,” which is “as confident as it is ignorant, so righteous and blustery and simultaneously sincere and unhampered by facts or deference.” And Carone is just one in a long line of similar “types” who testified that they too had seen evidence of fraud and corruption. “Most weren’t quite as theatrical as Carone,” Loofbourow wrote, but they were all like her in that they were “clearly thrilled to be playing important roles, to matter, as they addressed lawmakers.” And that’s really the crux of it—what liberals find funny about Carone is that she thinks she matters.

 As I watched this story unfold, I was reminded of a mid-century porter from China’s Shanxi Province; he was a bit like Melissa Carone in that he became famous for his dogged political accusations, which many around him found outlandish. At the time of the Chinese Communist victory in 1949, Zhang Shunyou was in his late twenties. He had a job driving a cart and hauling wares for a small-time grain merchant named Song Yude. Zhang later claimed that when the new government launched the “Campaign to Suppress Counterrevolutionaries” in 1952 and invited citizens to report any such elements, Boss Song began acting shifty. According to Zhang’s account, Song counterfeited travel permissions for himself and his employee, moved his operation from one province to another, and changed his name. “I began to suspect that Song Yude was not a good fellow,” Zhang told authorities, adding “I thought I should report him.”

Zhang’s experiences as he later narrated them run counter to what we usually assume about the Maoist era; it took him months to get anyone in the Party bureaucracy to investigate the case. Zhang did his own research and collected testimonies from others, including accusations that Song was a former landlord who had once killed an innocent peasant. Yet no one would take Zhang seriously; he was turned away from dozens of government units, in large part because officials at all levels questioned his credibility. Zhang did finally find a champion in Central Committee member, Liu Lantao, who saw the potential links between Zhang’s account and the central government’s ongoing efforts to attack the corruption and malfeasance that plagued the bureaucracy. But just as Rudy Giuliani seemed skeptical of Melissa Carone’s political passions, Liu Lantao was apparently skeptical of Zhang Shunyou’s motivations. Historians  later discovered that top officials had conducted an investigation in an attempt to discover the “truth” behind Zhang’s political zeal. A number of theories circulated, and, although Liu Lantao excised the information from the nationwide propaganda campaign, the behind-the-scenes verdict was that Zhang had accused Song for personal reasons, not political ones.

In Mao’s China, as in Trump’s USA, grassroots zealots often baffle people, including the politicians and theorists who sell the ideologies that appear to motivate the zealotry. A common explanation – ideologues don’t believe their own rhetoric and are amused/discomfited when others do – might work in some cases, but most recent studies of the Soviet Communist Party or the US Republican Party suggest that there are more true believers among the elite than the cynics allow. The reason that even other true believers tend to read people like Carone and Zhang as cranks, cynics, or some combination of the two, is probably deeper. In the capitalist globality that produced Liberalism and Marxism, the idea that capitalism is a total system, such that all of human behavior can be understood as part of or analogous to economic activity, is entrenched in modern consciousness. Even the Maoists, with their exceptionally powerful thought reform abilities, seemed unable to completely root out all of the corollaries to the notion that societies are markets and people are self-interested profit-loss calculators.

In this market-consciousness, utility and value are often conflated with self-interest and cynicism, which leads to the conflation of use-value and exchange-value. So, ideology, for example, becomes like a currency, not valuable in and of itself but only as a means to acquire something else, the thing that has the “real” value. We see this interpretation clearly in many of the set pieces oral historians collect from onetime Maoists. I spoke to a former red guard, for instance, who told me that during the Cultural Revolution she had been an ardent radical, but she now spoke of that radicalism as a currency. “I got good at quoting Chairman Mao,” she said, “because it was useful to do that.” I suspect, however, that her hindsight undervalues what Maoist ideology gave to its speakers, because she went on to say that Mao’s words “gave me the right to speak and the power to win arguments. People were more likely to listen to me because they were afraid to ignore Chairman Mao.” If we were to say that her comments revealed a utilitarian deployment of Maoist language, that would be an understatement at best. For this woman, who said that before the Cultural Revolution, she was “someone with no status . . . someone whom no one paid attention to,” the power to be heard, to have her opinions warrant consideration, had a value far more profound than the price of the goods and privileges it might have allowed her to purchase. It transformed her into someone whose ideas mattered.

That market-consciousness can take the investiture of epistemological authority and render it as merely a superficial and often cynical currency exchange is part of what makes liberal ideology so formidable. In recent weeks, as the punch-drunk post-election hilarity ensued, and so many of us were in stitches over satires of conspiracy theorists, I thought of another figure of fun, also from the history of ideology: the most memorable relic of the Korean War brainwashing episode might be the cinematic scene in which the Chinese psychiatrist, Dr. Yen Lo bragged about his thought reform prowess, saying of The Manchurian Candidate: “His brain has not only been washed, as they say. It has been dry-cleaned.” My students and I all laugh every time I show this clip in class, but people once took brainwashing very seriously. In the 1950s and beyond, everyone from the CIA to the Chinese Communist Party was convinced that communist thought reformers had transformed the minds of US prisoners of war, causing them to side with the communists and attack the US for its imperialism. By the 1990s, however, the scholarly consensus, among both US and China-based historians, was that “brainwashing” had largely been a figment of an overactive “American” imagination. This presentist misremembering goes against a great deal of evidence suggesting the Maoism did indeed transform people’s thinking and their actions. It forgets the vast number of ideological converts around the world (from anti-imperialist freedom fighters to French intellectuals). It evades the way Mao’s ideas invigorated radical politics in anti-racist, feminist, and lgbtq liberationist movements and elides the direct links (inspirational and practical) between the Maoist state and revolutionary organizations such as the Black Panthers. But in market-consciousness, brainwashing can only be a joke, a tinfoil-hat conspiracy, because Maoist ideology was simply a currency, which “brainwashed” POWs wielded out of self-interest and/or coercion. Even better than defeating your challengers is convincing the world they don’t exist. If all competing ideologies can be reduced to currencies traded within a liberal-capitalist totality, then that totality appears as the only ontological reality, to which there is, as Margaret Thatcher loved to say, no alternative. Turning Trumpism into a set of bizarre conspiracy theories and then mocking their adherents serves that same agenda.

The value of ideologies, in part, is that they offer epistemologies and lexicons, which people can use to think through and discuss concepts that are otherwise difficult to articulate. The danger of ideologies is also that they advance particular epistemologies and lexicons, so that when one becomes dominant, all others will appear, by definition, as illogical and false. Trumpism, like Maoism, was born and thrives because people are deeply dissatisfied with liberal and neoliberal ideology, and many have caught on to the way it vanquishes its challengers by making them into jokes.

If we don’t like the “truths” that people like Melissa Carone use Trumpism to claim, we might start by trying to figure out what they want to say. It seems to me that Carone and her Trumpist comrades have a litany of valid and legitimate grievances. They rightly see that ordinary people are utterly disempowered in this so-called democracy, that we are indeed being defrauded by global alliances between corporations and states, that many of our political leaders are corrupt and do regularly cover for each other, and for other elites, as they commit heinous crimes. Liberalism does not offer the conceptual tools to make sense of those truths; indeed it is designed to conceal them.

Figures like Mao Zedong and Donald Trump harness that broader discontent, and they distill complex affective and libidinal responses to very real injustices into easy to grasp ideas. Their power lies in their ability to create memes that anyone can use to participate in knowledge production and successfully make claims to political and epistemological authority. Whether people such as Mao Zedong or Donald Trump “believe” their own rhetoric, whether or not they think that Zhang Shunyou or Melissa Carone matter, is of little consequence in the end. Maoism and Trumpism make Zhang and Carone matter, precisely because ideology is collectively produced and only tangentially connected to individual ideologues. Indeed, ideology is not ideology unless it is collectively fashioned and practiced by the many – if there were no Maoists, for example, there would be no Maoism, only the writings of Mao Zedong; and if there were no Trumpists, Trump would be no more than an angry  twitter troll. At the grassroots level, in Mao-era villages or factories, or on Trumpist (social) media, the political knowledge associated with these leaders can be quite far afield from any of their actual words or deeds. The millions of people who participated in spreading Mao’s image around the world did as much if not more than the man himself to create the meanings associated with global Maoism in the 1960s. And MAGA warriors, Q-adherents (or the Q-curious) have done as much if not more to create the Trumpism that is spreading around the globe today.

The lesson linking the two movements is that the masses matter, and when we are mobilized and demand to be heard, we can create powerful change, for better and for worse. Zhang Shunyou did succeed in his campaign against his allegedly counterrevolutionary employer; Song Yude was executed in 1952. Melissa Carone and the other voter fraud activists have come extremely close to overturning an election. They’ve got almost half of our elected representatives to publicly promote the idea that the democrats stole a presidential win. As Dahlia Lithwick emphasized, supreme courts denied voter fraud claims by small margins, meaning that almost half of our highest judges might have awarded a victory to Trump. Those truths are not funny at all. And Donald Trump could never have done that without all of the many Melissa Carones. Rudy Giuliani’s “shushing” of his star witness is a small but important reminder that the ideologues and their consiglieri actually have very little control over what the masses do with the ideology the masses produce.

There’s been a lot of talk about what will happen when a “smarter Trump” comes along, one who can play the game better and tip those legislative and judicial scales in his favor. But neither Trump nor anyone else can actually do that alone. They need us, the masses. If more people refuse populist authoritarianism, it will be because they have another powerful ideology instead. Economics need to be part of the package (we all know that Floridians voted both for Donald Trump and a fifteen-dollar minimum wage). But money won’t be enough, because we know – even if we can’t quite conceive of it with our market consciousness, and even if we can’t quite articulate it with our capitalist lexicon – that we are not solely economic subjects. Financial insecurity is only one of the many consequences of the fact that most of us do not have the epistemological tools, the language, or the political authority to identify, articulate, and demand restitution for the ways we are disempowered by our economic and political institutions. What we all want, most fundamentally, is to matter. And until we all do, none of us will. 

Chenshu Zhou, “76 Days: Can the Dead Speak?”

76 Days, a feature-length documentary film focusing on the initial coronavirus outbreak in the Chinese city Wuhan, has been making the rounds at film festivals around the world since September. Unlike Ai Weiwei’s Coronation, which offers a more comprehensive picture of the same subject, 76 Days devotes most of its screen time to one intensive care unit inside a hospital in Wuhan during its 76 days under strict lockdown. Weixi Chen, a journalist for Esquire China, and a local photojournalist credited as “Anonymous” shot the footage, which Hao Wu (director of The People’s Republic of Desire and All in My Family) then edited from his home in the United States.

While the pandemic continues to rage in many parts of the world (including the US), 76 Days is timely, topical, and, despite its limited perspective, relatively informative. For those still insensitive to the reality of the novel coronavirus and for those curious about what goes on behind the closed doors of ICUs, 76 Days is a valuable record of the early stage of the pandemic. Yet watching it as a narrative film, I also find 76 Days to be underwhelming, if not troubling at times. Beyond its immediate topic of the coronavirus, it raises both old and new questions about representation in our now distantly connected world that are worth a closer look.

In several ways 76 Days frustrates expectations. Despite featuring a tense, dramatic scene as its trailer, most of 76 Daysfeels rather quiet. Inside the ICU, there isn’t the chaos one might expect. Patients await their fates in hospital beds while medical workers go about attending to them in a more or less routine manner. It is not that we do not witness emotional outbursts or heart wrenching moments, like when an old man who keeps trying to “escape” suddenly breaks down saying he knows he is dying, or when the head nurse sorts through the belongings of the dead. But overall the mood is not dramatic, and it is clear that Wu aimed not to dramatize (by not including a soundtrack for example). This in itself is refreshing and demystifying. After all, not everyone has time to be sentimental in the face of death. (The contradictory message, of course, is that the marketing of this film clearly privileges intensity and chaos.)

Yet the everyday routineness of ICU life also disrupts any sense of time passing. For a film that foregrounds time in its title, Wu made the interesting decision not to time stamp the film but only use the footage itself to suggest time. During most of the film, one thus only gets a vague sense of where one stands in the 76 days. Whenever a specific date is referenced, it feels surprising. At least to this viewer, knowing how long a patient has spent in a hospital matters, and for the film not to provide that it is very unsatisfying. Without the clear progression of time and a strong narrative, 76 Daysalso feels more like raw footage than a finished film.   

The truly troubling part of the film, however, is its portrayal of the patients with more severe symptoms. I am the kind of person who usually cries at everything, whether it’s a six-year-old playing the guitar or John McCain’s concession speech from 2008. I started 76 Days preparing to tear up, but it did not happen. Part of it, I suspect, is due to the difficulty of connecting with the people being filmed over PPE and face masks that hide their faces. During the first 30 minutes of the film, it was difficult to remember who was who and to recognize their faces or voices. Meanwhile, my viewing was frequently interrupted by another unanticipated and uncomfortable thought: did the “subjects” give their consent to be included in the film? For those who can no longer give consent, did their families give consent?

What is undeniably visible in 76 Days are aging, unconscious, and dying bodies lying silently in their hospital beds. There are shots of swollen hands (both pre-and-posthumous), dirty fingernails, wrinkled, yellowing faces with dents from repeated intubation. These images are extremely hard to look at. They unmistakably show us what illness takes away – your dignity as a human being, your individuality, everything that makes you who you are beyond the physical mass of a body that you can no longer control. Are these images there to shock viewers into awareness? Yes, coronavirus is ugly, death is ugly, and there is proof. But my immediate reaction was to turn to my husband who was watching the film with me and said: “if I am ever in a similar situation and if I die, please remember that I do not give consent. I don’t ever want people to see me like that.”

There is one patient who is identified by name in the film. In one scene, she is shown lying in her hospital bed unable to speak while several medical workers surround her and tell her things will be ok. Later we find out that she has passed away and we get a scene of the head nurse handing her belongings to her daughter outside of the hospital. Somehow not knowing whether she was ok with her last moments being shown in this film and whether her family is ok with it really bothers me. Perhaps she didn’t mind it. Perhaps her daughter was even glad that she could at least get a glimpse of her mother in the hospital bed since she could not visit her in the ICU in real life. I wish I knew. I wish I knew more about who she was and what she did before she became a sick body in a film, a number in a pandemic. But I don’t. I don’t know if she felt violated with the camera of a stranger pointing at her in her most vulnerable moments.

What seems likely (unless the filmmakers say otherwise), rather, is that the absence of the need to obtain consent was fundamental to how 76 Days could come into being in the first place. As mentioned earlier, 76 Days was a result of trans-pacific collaboration. Without Wu’s intervention, footage might have stayed footage, or it might lose its independence, become subsumed by bigger narratives of the outbreak more acceptable to both the Chinese state and its people (as in several recent Chinese tv series that dramatize the event). Without Chen and Anonymous, Wu of course would have nothing to work with. I’d like to believe that Wu would have wanted to go to Wuhan if he could have. In an interviewwith the Toronto International Film Festival, Wu was asked about the issue of access. The interviewer was gesturing toward a comment on China’s control of information. But Wu, instead, shared that he had tried to film at hospitals in New York, which he found to be extremely difficult. “It would be more difficult here because of the HIPPA laws,” he said. 

What is implied is that there are no such laws in China, and it was easier to gain access there. But aren’t privacy laws precisely what prevent documentary filmmakers from looking at their stories merely as stories, and their “subjects” as merely characters in a film?

The ethical dilemma of photographing and documenting human suffering is not something new. If consent was necessary for someone to be included in an image, we probably would not have seen a lot of the iconic images that have changed the world, such as the “Napalm Girl” shot by Nick Ut during the Vietnam War. So perhaps the more important question is, does the violation, assuming that in itself it is never ok, lead to something important? Is it a worthwhile price to pay for greater empathy and justice? (Does the greater good even justify the taking of someone’s image if they adamantly refuse to be photographed and filmed?)

French philosopher Jacques Rancière offers a surprising but useful way to think about these questions. In an essay called “The Intolerable Image” (included in the book The Emancipated Spectator), Rancière expresses skepticism at the assumption that making an image so full of pain to the degree that it is intolerable for the spectator can necessarily lead to guilt/indignation and then action. Without a pre-existing political movement that contextualizes the pain, he suggests, the link between knowledge and practice is tenuous. But this also does not mean that images are inherently impotent. Rancière argues against those maintaining that the ubiquity of intolerable images desensitizes us, banalizes horrors while there is always something at the heart of the horror that is unrepresentable (the Holocaust being a prime example). For Rancière, images are potentially transformative; their capacity to effect change is tied to their ability to draw out new configurations of “what can be seen, what can be said and what can be thought, and consequently a new land of possibilities. But they do so on condition that their meaning or effect is not anticipated.” In other words, strong authorial intentions backfire; what is seen as a strength of images is the indeterminacy of meaning, which invites curiosity and contemplation.

Bypassing the issue of consent, Rancière’s approach is a practical one that we can apply to assess the efficacy of 76 Days. Does the film draw out new configurations of what can be seen and thought? Did it succeed in reshaping the system of representations (or “the dispositif of visibility” in Rancière’s words) that sustain our sense of the reality surrounding the coronavirus pandemic? I’m afraid 76 Days does not let me see past how the severely ill and the dead appear on screen with no voice and no privacy laws to protect themselves. If the message of the film is simply that medical workers tried their best, patients strived to survive, COVID-19 is a tragedy, and death is ugly, I’m not sure if it is worth it to traffic individual suffering in such a blunt way. After all, as Rancière also writes:

We do not see too many images of suffering bodies on the screen. But we do see too many nameless bodies, too many bodies incapable of returning the gaze that we direct at them, too many bodies that are an object of speech without themselves having a chance to speak.”

76 Days, in my view, accumulates more such nameless, voiceless bodies without a greater trade-off. Given how timely the film strives to be, perhaps rather than watching it as a documentary film with grand artistic ambitions, it is more appropriate to think of it as the visual equivalent of a news report, as journalism. It reveals, observes, and informs – to a certain extent. That’s that.

Poems by Kim Nam-ju (translations by Kevin Michael Smith)

Kim Nam-ju (1945-1994), born in Haenam, South Cholla Province, was a leading leftist poet associated with South Korea’s minjung or “people’s” movement of the 1970s and ‘80s. He was one of 36 individuals convicted by the military government for involvement in the National Liberation Front, an illegal, underground organization agitating for national reunification, and spent the years 1980-88 in prison in Gwangju. His sentence was spent writing dozens of poems commemorating the Gwangju Massacre of May 1980 and protesting his incarceration, South Korea’s military dictatorship, the north-south division system, and US neocolonial domination of the country. With the help of comrades both inside and outside, Kim was able to sneak these poems secretively out of prison for publication. Following his pardon in 1988, he resumed his writing and political activities until his death from cancer in 1994. 

My Name

My name
is red tag 2164
My age
I was in my mother’s belly as Japanese imperialism was chased out the back door
I came out into this world as US imperialism raided through the front door
a so-called “liberation baby”

You ask where I live?
My address is Gwangju City, Munhŭng-dong 88-1
2 S. H. 41 is my house and my room and my toilet

You ask where that is?
My time my place
a day with no sunrise a night with no moon or stars
a cave smaller than 3 meters squared
My freedom?! That’s 24-hour confinement
no make that 365-day confinement
no maybe it’s a 5,475-day grave

My clothing
only a single blue jumpsuit
My food
only three dented nickel dishes
My shelter
only a straw cushion and blanket

I’m “not allowed”
not allowed to t’ongbang1 with the next cell
not allowed to look inmates in the face once in awhile
I’m not allowed
not allowed to leave my designated seat without permission
I’m not allowed
not allowed to lie down or doze off outside of sleeping hours
I’m not allowed
not allowed to possess writing utensils or paper without permission
I’m not allowed
not allowed to read or try to read a book without permission
I’m allowed
allowed to report anyone violating the above conditions immediately to the officer in charge

You ask who I am?
You ask who I am and what I did to live this way?
You, you’ve heard them before
due to American beef imports the price of Korean cattle has plunged
crushed below that is a farmer groaning
those groans belong to my father
You, you’ve heard them before
because they shared the workers’ lives of pain they were accused of being hired illegally2
the pleas of a sexually tortured college girl
those pleas are my sister’s
You, you’ve seen it before
refusing to live like a slave exploited to the maximum
a worker declaring human equality by burning himself
that immolation is my little brother’s
You’ve seen it clearly before
the screams of a mountain village woman raped by American GIs on a “team spirit” mission
those screams are my aunt’s
You right now like every hour of every day
you can see it hear it in your house on your street
down every road you’ve ever walked
your compatriots, no different from your own sons and daughters
you’ve seen them and heard their cries
Let’s rip to shreds the XXX,3 puppet of US imperialism!
Long live the anti-fascist democratic struggle!
Long live the anti-imperialist national liberation struggle!
That chant is mine
mine and my friends’ and my neighbors’ 

 

Father and Son

My son
         you asked
                       your dear father

Shouting Chosŏn
                        Independence
                                           Forever
Arrested by the
                    Chosŏnin4
                                 police detective
Interrogated by the
                          Chosŏnin
                                       prosecutor
Convicted by the
                       Chosŏnin
                                    judge
Under surveillance by the
                                    Chosŏnin
                                                 prison guard
                      10 years
                                  behind bars
Of this dear father
                          you asked
                                       in prison!
This father’s youth
                         gone
                               gray-haired
straight
          from that same prison!

Yelling Anti-American
                              National Liberation
                                                         Struggle
Arrested by the
                     Korean
                              police detective
Interrogated by the
                          Korean
                                   prosecutor
Convicted by the
                       Korean
                                judge

Now under surveillance by the
                                           Korean
                                                    prison guard

Like this you asked
You said nation fear masses love
My compatriot thrown into prison
Who can be comfortable in their own bed you asked
What’s money, law, power, status you asked
What’s a life what’s living you asked

 

T’ongbang
For memory’s sake

Exactly one knock that makes “k”
Knock, knock if two then “n”
Knock knock knock three that’s “d”
Zip if there’s one stroke then “a”
Zip zip if two then “ya”
Zip zip zip three makes “ah”
And so on vowels and consonants together forming syllables
Like this we start the t’ongbang

––Mister, for which incident are you in here?
––The South Korean National Liberation Front incident, sir.
––Ah! Is that right? I’m remembering it now, I’m proud of you, I’ll bet you went through a lot of hardship for that. I expect you’d have some company but just how many of you are there in here?
––Including the women, altogether there are 36 of us, sir.
––Ah! There are women as well? They must have been sent to the women’s block then. I apologize, I should have introduced myself sooner, I’m Yu Han-uk from Sinŭiju,5 what is your name, sir?
––Is that so? I am Kim Nam-ju from Haenam in Chŏnnam province, sir.
––Forgive me for asking, Mr. Kim, but how many years did you get?
––15 years, sir.
––Oh, really! Be especially mindful of your health, then. Does that room not leak water?
––It does leak; the ceiling is all rotten. But this can’t be a place for people to live. It’s no more than a coffin for laying corpses.
––That’s right, it truly is a coffin. Moreover, it’s a coffin on which rain drips. Because we are human we can manage to survive this place, but if it were a goose or chicken or some such caged animal it would have perished right away. Mr. Kim, you must move your body around in order to stay alive. If you don’t move you will not survive. Plenty of people go crazy or have their blood pressure burst in here.
––Yes, I understand well, sir. How long have you lived this life?
––Me, is it me you’re asking? It’s been a full thirty years.

 

Inside and Outside

eating
sleeping
shitting
this is my freedom
here I’m also inside
there I’m outside too
an animal’s freedom

swindling
cheating
stealing
this is my freedom
here I’m also inside
there I’m outside too
law of the jungle

there’s nothing
to read the books I want
to write the essays I want
to say what I want to say
there’s no such freedom
not here inside
not there outside
human freedom

at the top sits the capitalist boss
below the workers carry the weight
one country but two kinds of citizens: owners and slaves
a country split in two in such a country I’m
eating
sleeping
shitting
an animal’s freedom
swindling
cheating
stealing
it’s the law of the jungle
all for one
and one for all
working
singing
fighting
there’s no such freedom
not in prison
not outside 

 

Things Have Really Changed

Under Japanese imperialism if Chosŏn people
shouted “Long Live Independence!”
Japanese policemen would come and take them away
Japanese prosecutors interrogated them
Japanese judges put them on trial

Japan withdrew and the US stepped in
now if Koreans
say “Yankee Go Home”
Korean police come and take them away
Korean prosecutors interrogate them
Korean judges put them on trial

Things have really changed after liberation
because I shouted “Drive out the foreign invaders!”
people from my own country
arrested me, interrogated me, and put me on trial

 

Notes

1 T’ongbang (通房) refers to the morse-code like system of communication among prisoners characterized by patterns of knocks and strokes on the prison walls, in use since the Japanese colonial period, and, as evidenced by Nakano Shigeharu’s 1930 poem “Finally from Today” (Iyoiyo kyō kara), among Japanese political prisoners as well.

2 This refers to student activists who left college to organize factory workers by not disclosing their college backgrounds to employers and getting hired as workers themselves, a common tactic of the 1970s and 80s minjung movement in South Korea.

3 This word was (self) censored in the original.

4 I have chosen not to translate the Korean term Chosŏnin (朝鮮人), which literally means “people of Chosŏn,” using the former title of Korea’s ruling dynasty (1392-1897), by which the Japanese also referred to Korea during the colonial period (1910-1945), and which is still officially used in North Korea. Leaving the term untranslated preserves Kim’s contrast in the original between the colonial period and the contemporary term referring to (South) Koreans, Hangukin (韓國人).

5 Sinŭiju is a city in the far northwest of North Korea along the border with China, near where the Yalu River empties into the Yellow Sea. The date of this poem from the late 1970s implies that the prisoner with whom Kim is speaking, Yu Han-uk, was apprehended shortly after the 1950-53 Korean War for espionage or related activities on behalf of the North. To this day several such long-term North Korean political prisoners remain in South Korean jails.

Critical China Scholars, Open Letter to Monthly Review

Dear friends at Monthly Review,

As scholars and activists committed to charting a course for an anti-capitalist and anti-imperialist left in the midst of rising US-China tensions, we write in response to your recent republication of a “report and resource compilation” by the Qiao Collective on Xinjiang.

We fully acknowledge the need for a critique of America’s cynical and self-interested attacks on China’s domestic policies. We are committed to that task. But the left must draw a line at apologia for the campaign of harsh Islamophobic repression now taking place in Xinjiang.

Qiao’s “report” is written in a style that is sadly all too common in leftist discussions of China today. While the report “recognize[s] that there are aspects of PRC policy in Xinjiang to critique,” it finds no room for any such critique in its 15,000 words. Eschewing serious analysis, it compiles select political and biographical facts to suggestively point at, but not articulate, the intended conclusion – that claims of serious repression in Xinjiang can be dismissed.

We wish it were the case that talk of internment camps was a myth, fabricated by the National Endowment for Democracy and the CIA. But it is not. Problematic links do exist between individual activists and organisations and the American security state, and there have been errors and misattributions in reporting on Xinjiang. The applicability of terms such as “genocide” and “slavery” can be debated. But none of this should permit agnosticism, let alone denialism, towards what is clearly a shocking infringement on the rights of Xinjiang’s native peoples.

Since 2016, Xinjiang has seen a massive expansion of its security infrastructure, featuring a network of camps that mete out a punishing program of political indoctrination, compulsory language drills, and workhouse-style “vocational” training. Internees range from party members deemed disloyal, intellectuals and artists whose work has sustained the distinct non-Chinese cultural identities of the region, through to those thought to display signs of excessive piety. In the same period Xinjiang has seen a surge in incarcerations, with Muslim Uyghurs imprisoned for as a little as encouraging their peers to observe their faith. Others, meanwhile, have been sent to the Chinese interior, as part of non-voluntary labor programs designed to instill factory discipline into Xinjiang’s rural population. In some cases, these workers have been sent to factories linked to the supply chains of Western corporations

Families inside Xinjiang have been torn apart, with some 40% of school-age  children now enrolled in boarding schools, and many growing up in state orphanages. Outside China, Uyghurs, Kazakhs, and others live with the trauma of not knowing the fate of their relatives.

While elements of these policies call to mind the excesses of past ideological campaigns in China, they occur today in new conditions of rapid capitalist development in Xinjiang, intended to turn the region into an economic hub of Central Asia. The link here between capitalist expansion and the oppression of indigenous communities is one the left has long been familiar with. To fail to recognise and critique these dynamics in this case is a form of wilful blindness.

There are various ways in which the politics of the Qiao Collective abandons what should be key principles of an internationalist left today, but we wish to highlight one in particular: their treatment of the issue of “counterterrorism.”

Qiao would have us believe that the PRC’s “deradicalization” campaign stands in “stark contrast” to American policies in the War on Terror. On the contrary, China’s deradicalization discourse represents a deliberate appropriation of Western counterterror practices. In his speeches, China’s President Xi Jinping himself encouraged officials to adapt elements of the Western-led War on Terror since 9/11.

The authors of the report are aware of these precedents, citing Western policies to preemptively identify those “at risk” of radicalization and intervene. They make note of France’s highly intrusive deradicalisation policies, as well as Britain’s Desistance and Disengagement Programme, part of the notorious Prevent Strategy. (To this list we could of course add the abuses of counterterror policing in the US, Australia, and elsewhere). Astonishingly, though, they cite these policing techniques not to criticize them, but simply to accuse the West of double standards: China, they complain, has received a level of criticism that these European governments have not.

This is entirely disingenuous on Qiao’s part, a deflection worthy of the Chinese state media that they frequently cite. The left, along with Muslim advocacy groups, have long called for an end to these Islamophobic policies, resting as they do on a bogus association of Islamic piety and/or anti-imperialist views with a proclivity to anti-social violence (see here for a recent example of such a call). Would Qiao then be happy for China to receive only the same level of criticism, and face these same calls?

Judging from their report, they would not. The entire thrust of their report is instead to normalize harmful paradigms of “deradicalisation” and “counter-extremism” as an acceptable basis for a state to engage its Muslim citizenry.

Qiao is evidently impressed by the fact that “Muslim-majority nations and/or nations that have waged campaigns against extremism on their own soil” stand in support of China at the United Nations. We are not so impressed. These local “campaigns against extremism” have replicated the worst violations of America’s War on Terror, and often in collaboration with it.

One example Qiao gives here is Nigeria, whose counterterrorism Joint Task Force was accused by Amnesty International in 2011 of engaging in “unlawful killings, dragnet arrests, arbitrary and unlawful detentions, extortion and intimidation.” Another is Pakistan, which the US commander-in-chief in Afghanistan once praised as a “a great ally on the war on terror,” and whose air and ground forces are responsible for serial abuses against civilian populations.

The incidents of violence against ordinary Chinese citizens that Qiao cites should of course not be dismissed: we must criticize those who engage in terrorism, while at the same time recognizing the social conditions that produce it, and pointing to the need for political solutions.

Qiao, by contrast, directs us toward the murky world of “terror-watching” punditry that has arisen in symbiosis with the two-decade-long Global War on Terror, and has provided justifications for that state violence. One of the authorities they cite on terrorism in Xinjiang is Rohan Gunaratna, a discredited figure who made his name in the 2000s urging America and its allies to invade Muslim-majority countries and enact repressive security laws at home. If Gunaratna and his ilk are our friends, the left will have no need of enemies.

Uncritically invoking China’s “terrorism problem,” and downplaying the severity of Beijing’s response to it, paints a left-wing façade on a global discourse of counterterrorism that poses a threat to Muslim communities everywhere. The struggle against anti-Muslim racism and the devastating effects of the ongoing War on Terror is international, and our solidarity in that struggle must extend to its victims in China.

For these reasons, we find it regrettable that you have chosen to give wider audience to the Qiao Collective’s “report and resource compilation.” In recognition of the existence of alternative perspectives on the left, and in the interest of debate, we hope you will also publish this letter alongside it.

We look forward to future opportunities to collaborate on critical left analysis regarding China and the US-China conflict, and we hope you will contact us whenever we can be of assistance. To find out more about the Critical China Scholars and our activities, please see our website, which includes video recordings of past webinars.  

In solidarity,

Joel Andreas

Angie Baecker 

Tani Barlow

David Brophy

Darren Byler

Harlan Chambers

Tina Mai Chen

Charmaine Chua

Manfred Elfstrom

Christopher Fan

Eli Friedman

Jia-Chen Fu

Daniel Fuchs

Joshua Goldstein

Beatrice Gallelli

Paola Iovene

Fabio Lanza

Soonyi Lee

Promise Li

Kevin Lin

Andrew Liu

Nicholas Loubere

Tim Pringle

Aminda Smith

Sigrid Schmalzer

Alexander Day

Rebecca Karl

Uluğ Kuzuoğlu

Ralph Litzinger

Christian Sorace

Jake Werner

Shan Windscript

Lorraine Wong

David Xu Borgonjon

For the Critical China Scholars

Emily Jungmin Yoon, Comfort

special issue: critical reflections on "comfort women" 75 years on

From a piercing collection of poems, A Cruelty Special to Our Species, poet Emily Jungmin Yoon explores gender, race, and violence, confronting the histories of sexual violence against women, especially that of “comfort women,” who were forced into sexual labor in Japanese-occupied territories during World War II.

Comfort

On Wednesday, I ate plain yogurt.
    Opened a notebook. Vivaldi 
as I folded my laundry.

It was his birthday. On Wednesday,
    it rained. On the succulents,
on the surviving women.

Tricked or taken, carted to Japanese soldiers.
    The condom said, Attack Number One
Rinsed for reuse. On Wednesday,

I listened to The Four Seasons.
    It stopped raining. It never stopped
raining. On Wednesdays, it rains

for the children they bore. For the children
    they could not bear. For the children
they were. Give them this day. Give them 

Vivaldi, violin, give them the all-girls choir.
    L’inverno, come and gone. All four seasons,
come and gone. On Wednesday,

nothing happened. Rain evaporated,
     and so did the concertos.
Wednesdays ago, the women,

the girls, clutched each other. Who will live,
    who will leave, who believes this life.
The world will be better after you and me.

 

“Comfort” from A Cruelty Special to Our Species by Emily Jungmin Yoon. Copyright© 2018 by Emily Jungmin Yoon. Courtesy of HarperCollins Publishers.

위안

수요일에, 나는 플레인 요거트를 먹었다.
     공책을 펼쳤다. 빨래를 개는 동안
비발디.

그의 생일이었다. 수요일에,
     비가 내렸다. 다육식물들 위로,
살아남은 여자들 위로.

속거나 납치당해서, 일본군에게 끌려갔다.
     콘돔에 적혀 있는 건, 돌격 1번.
헹궈서 재사용. 수요일마다,

나는 사계를 들었다.
     비가 그쳤다. 비는 그치는 법이
없었다. 수요일에, 비가 내린다

그들이 품었던 아이들을 위해. 그들이 품을 수
     없었던 아이들을 위해. 그들이었던
아이들을 위해. 그들에게 이날을 주어라. 그들에게

비발디를, 바이올린을, 그들에게 소녀 합창단을 주어라.
     겨울, 오고 갔다. 네 계절이 전부,
오고 갔다. 수요일에,

아무 일도 없었다. 비가 증발했고,
     협주곡들도 그랬지.
오래전 수요일들에, 여자들이,

소녀들이 서로를 꼭 붙들었다. 누가 사는가,
     누가 떠나는가, 누가 이 삶을 믿는가.
너와 나 다음 세상은 나아지기를. 

 

Translated by Han Yujoo and reprinted from 우리 종족의 특별한 잔인함 (2020) with permission of publisher Yolimwon.

Emily Jungmin Yoon is the author of A Cruelty Special to Our Species (Ecco, 2018), which was released in Korea as 우리 종족의 특별한 잔인함 (Yolimwon, 2020), and Ordinary Misfortunes (Tupelo Press, 2017). She has also translated and edited a chapbook of poems, Against Healing: Nine Korean Poets (Tilted Axis, 2019). She is the Poetry Editor for The Margins, the literary magazine of the Asian American Writers’ Workshop, and a PhD candidate in Korean literature at the University of Chicago.