Category Archives: nationalism

by | 24 March 2009 · 9:06 pm

Kakania or Russia as “Versuchsstation des Weltuntergangs”

From The War of the World: Twentieth-Century Conflict and the Descent of the West, by Niall Ferguson (Penguin Press, 2006), pp. 13-15:

Czechs in particular chafed at their second-class status in Bohemia, and were able to give more forthright political expression to their grievances after the introduction of universal male suffrage in 1907. But schemes for some kind of Habsburg federalism never got off the ground. The alternative of Germanization was not an option for the fragile linguistic patchwork that was Austria; the most that could be achieved was to maintain German as the language of command for the army, though with results lampooned hilariously by the Czech writer Jaroslav Hašek in The Good Soldier Švejk. By contrast, the sustained Hungarian campaign to ‘Magyarize’ their kingdom’s non-Hungarians, who accounted for nearly half the population, merely inflamed nationalist sentiment. If the trend of the age had been towards multi-culturalism, then Vienna would have been the envy of the world; from psychoanalysis to the Secession, its cultural scene at the turn of the century was a wonderful advertisement for the benefits of ethnic cross-fertilization. But if the trend of the age was towards the homogeneous nation state, the future prospects of the Dual Monarchy were bleak indeed. When the satirist Karl Kraus called Austria-Hungary a ‘laboratory of world destruction’ (Versuchsstation des Weltuntergangs), he had in mind precisely the mounting tension between a multi-tiered polity – summed up by Kraus as an ‘aristodemoplutobarokratischen Mischmasch’ – and a multi-ethnic society. This I was what Musil was getting at when he described Austria-Hungary as ‘nothing but a particularly clear-cut case of the modern world’: for ‘in that country … every human being’s dislike of every other human being’s attempts to get on … [had] crystallized earlier’. Reverence for the aged Emperor Francis Joseph was not enough to hold this delicate edifice together. It might even end up blowing it apart.

If Austria-Hungary was stable but weak, Russia was strong but unstable. ‘There’s an invisible thread, like a spider’s web, and it comes right out of his Imperial Majesty Alexander the Third’s heart. And there’s another which goes through all the ministers, through His Exellency the Governor and down through the ranks until it reaches me and even the lowest soldier,’ the policeman Nikiforych explained to the young Maxim Gorky. ‘Everything is linked and bound together by this thread … with its invisible power.’ As centralized as Austria-Hungary was decentralized, Russia seemed equal to the task of maintaining military parity with the West European powers. Moreover, Russia exercised the option of ‘Russification’, aggressively imposing the Russian language on the other ethnic minorities in its vast imperium. This was an ambitious strategy given the numerical predominance of non-Russians, who accounted for around 56 per cent of the total population of the empire. It was Russia’s economy that nevertheless seemed to pose the biggest challenge to the Tsar and his ministers. Despite the abolition of serfdom in the 1860s, the country’s agricultural system remained communal in its organization – closer, it might be said, to India than to Prussia. But the bid to build up a new class of thrifty peasant proprietors – sometimes known as kulaks, after their supposedly tight fists – achieved only limited success. From a narrowly economic perspective, the strategy of financing industrialization by boosting agricultural production and exports was a success. Between 1870 and 1913 the Russian economy grew at an average annual rate of around 2.4 per cent, faster than the British, French and Italian and only a little behind the German (2.8 per cent). Between 1898 and 1913, pig iron production more than doubled, raw cotton consumption rose by 80 per cent and the railway network grew by more than 50 per cent. Militarily, too, state-led industrialization seemed to be working; Russia was more than matching the expenditures of the other European empires on their armies and navies. Small wonder the German Chancellor Theobald von Bethmann Hollweg worried that ‘Russia’s growing claims and enormous power to advance in a few years, will simply be impossible to fend off’. Nevertheless, the prioritization of grain exports (to service Russia’s rapidly growing external debt) and rapid population growth limited the material benefits felt by ordinary Russians, four-fifths of whom lived in the countryside. The hope that they would gain land as well as freedom aroused among peasants by the abolition of serfdom had been disappointed. Though living standards were almost certainly rising (if the revenues from excise duties are any guide), this was no cure for a pervasive sense of grievance, as any student of the French ancien regime could have explained. A disgruntled peasantry, a sclerotic aristocracy, a radicalized but impotent intelligentsia and a capital city with a large and volatile populace: these were precisely the combustible ingredients the historian Alexis de Tocqueville had identified in 1780s France. A Russian revolution of rising expectations was in the making – a revolution Nikiforych vainly warned Gorky to keep out of.

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by | 15 February 2009 · 12:56 pm

Wordcatcher Tales: Fukko vs. Ishin

Careful readers of my last two blogposts from a book chapter, “Cultural Change in Nineteenth-Century Japan,” by the late Marius B. Jansen, will have noticed a theme that runs through both excerpts: that Japan’s ardent reformers were inspired as much by the need to return to an imagined past as by the need to adapt to the intrusions of the modern world. The section excerpted below focuses on two terms that highlight the nuances of these dual motivations. The book in which it appears is Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art, ed. by Ellen P. Conant (U. Hawai‘i Press, 2006), pp. 32-35:

Some years ago Sakata Yoshio divided the Meiji Restoration epoch into periods characterized by themes of fukko [復古] or ishin [維新], “revival” or “renewal.” In modern parlance the terms are quite different in their connotations. Revival suggests nostalgia and conservatism. The 1974 Kenkyusha dictionary, for instance, gives the following examples: “ōsei fukko—the restoration of the monarchy; fukko ronsha—a reactionary.” By justifying sweeping change in the name of the past, Meiji statecraft might seem, to present-day commentators, to have injected a problematic retrogressiveness into values and culture.

In the Chinese Confucian context from which these terms derived, however, the idea of revival was entirely positive. F. W. Mote has asserted that in Chinese tradition, because neither individual nor state could claim any theoretical authority higher than men’s rational minds, there being no external creator or lawgiver, ultimate authority rested with historical experience….

In Meiji thinking, ishin and fukko could be linked. Tetsuo Najita points out that “I [維 ‘tie’] means to pull together the disparate strands in society, to regroup, as it were, and the second part of the compound, shin [新 ‘new’], means starting out in a totally new direction.” The appeal of return to an imagined moral past made it possible to utilize both “restoration” and “innovation” in government pronouncements. The official chronicle Fukkoki emphasized the theme of return, but contemporary assurances that everything would be changed (hyakuji goishin) had connotations of a “world renewal” (yonaoshi) of the sort that late Tokugawa insurrections had announced. In the event, however, the new government lost little time in suppressing advocates of such radical ideas.

Late Tokugawa nativism modified and added to the notion of the perfect past to which Japan might return. The kokugaku (National Studies) scholars argued the virtues of Japan before it had become tainted by imported values, words, and books. Their version of fukko gave rise to impressive efforts in historical philology…. Another respect in which the Japanese tradition provided helpful arguments for advocates of cultural and institutional change was to be found in tradition and historical memory that validated the practice of cultural borrowing without prescribing the category or the character of what was to be borrowed….

A final element conducive to cultural borrowing was the nature of Japanese cultural nationalism. Acutely aware of other civilizations, especially the Chinese colossus to the west, Japanese thought in comparative and competitive terms. The country and its deities were divine, and the question was how to serve them best….

In sum, revivalism differed in Japan from its counterpart in China, partly because of the shadowy nature of the Japanese past that the nativists exhumed, and partly because of the historical precedents for change and for borrowing. To paraphrase Maraini’s argument and apply it here, Europe might be constrained by absolutes of theology, and China by its commitment to a transmitted body of ancient learning that was relatively constant, but in Japan fukko permitted the greatest flexibility in appropriating or devising stratagems for protection of the cultural polity. It could blend with change and even slide into renewal.

Terms like “Meiji culture” and “Tokugawa tradition” suggest rapid change in a previously stable setting, but it is important to remember that late Tokugawa culture was profoundly eclectic and that the Meiji changes represented acceleration of many trends that were already in progress. What was new was the explicit acknowledgment and the clear assessment of problems and the unity of determination to remedy them.

Nowadays, 明治維新 (Meiji Ishin) is the usual Japanese term for what English speakers often call the “Meiji Restoration.” I was not familiar with the alternate term 復古 (fukko) (‘return-past’) but it seems to be a better translation for ‘restoration’. The core meaning of 復 fuku seems to be ‘return, revert’, as in the everyday term 往復 ōfuku (lit. ‘go-return’) ’round trip’ or in 復活 fukkatsu (lit. ‘return-life’) ‘rebirth, revival, resurrection’ (as in 復活祭 fukkatsusai [lit. ‘return-life-festival’] ‘Easter’).

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by | 14 February 2009 · 3:05 pm

Changing Court Costumes under Meiji

From “Cultural Change in Nineteenth-Century Japan,” by Marius B. Jansen, in Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art, ed. by Ellen P. Conant (U. Hawai‘i Press, 2006), pp. 40-41:

The need for practicality and efficiency affected cultural policy in many ways. The early Meiji years saw the court trying to do business in the garments of antiquity. Albert Craig writes that “when the government structure was first promulgated, officials rushed out to secondhand bookstores to buy copies of the commentaries on the Taiho code (702) so they would know what the new office titles meant.” Many adopted Heian-period names, and “[e]ven the clothing worn by the councilors at certain court ceremonies was dictated by the new ethos. High-ranking samurai officials were required to dress as nobles; and all, including nobles, were required to wear swords. On one occasion the Saga samurai Eto Shinpei, late for a ceremony, dashed into the court uncapped by an eboshi—a small, black, silly-looking hat that perches forward on the head. A noble asked him, ‘Where is your hat?’ Eto retorted, ‘Where are your swords?’ Both hastened out for the proper accouterments.”

But the work of modernization could not be carried out at a costume party. In 1870 the Daigaku Nanko, ancestor of the Imperial University of Tokyo, still ruled out Western clothing, but that same year the imperial court appointed a Western-clothing specialist to its staff. By 1874 Kido Takayoshi, hero of the Restoration and powerfully influential government minister, was agonizing in his diary over the pain caused by “my shoes.” A year later Mori Arinori (1848-1888), natty in a Western suit, was bantering with the Qing statesman Li Hungzhang. Did he not find it unpleasant to wear such foreign clothes? Li asked solicitously. Had not Mori’s ancestors preferred Chinese costume? Yes, answered Mori, but he was doing as his ancestors had done by choosing the better garb. And, he went on, had Li’s ancestors worn Manchu robes like those his host had on? No, was the reluctant answer, they had not.

Before long the Meiji emperor’s Western military uniform was made court dress, and things moved so rapidly that at a birthday ball in 1885, itself remarkable, only two of the ladies did not appear in Western dress. Westerners usually thought this regrettable. In 1887 Herr von Mohl, a specialist in Western protocol hired for the court, suggested going back to Japanese dress for formal occasions but found that “Count Ito let me know that in Japan the costume question was a political issue in which the imperial household advisors had no voice; he requested that the matter should be viewed as settled and not to waste further time in discussing what is, in fact, a fait accompli.”

By the time the Meiji constitution was promulgated in 1889, Tokyo newspapers reported that Western-style tailors were being swamped with business by prefectural officials who had come crowding into the capital. Eboshi had given way to top hats, which alternated with bowlers in the uneasy combination of dress and footwear that is recorded in many Meiji photographs.

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by | 13 February 2009 · 6:32 pm

Modernizing Music under Meiji

From “Cultural Change in Nineteenth-Century Japan,” by Marius B. Jansen, in Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art, ed. by Ellen P. Conant (U. Hawai‘i Press, 2006), pp. 44-45:

Gagaku gained increased prominence, but at the cost of stultification. By the end of the Tokugawa period it was associated primarily with the imperial court; professionals performed at court and the larger Shinto shrines. In 1871 a Gagaku Bureau was established within the Imperial Household Office (later Imperial Household Ministry), and thereafter its representatives served on all commissions charged with musical policy. Gagaku practice became archaized and codified in the process of defining as a “tradition” what must at one time have been considerably more varied. Nagauta, which had deep roots in popular culture, flourished. It gradually became more independent from the kabuki theater, developing a concert format and spread into commoner homes as an amateur skill. Instrumental music was freed from special restrictions. Koto had been a special art reserved for blind performers, while shakuhachi had been associated with Fuke Buddhism, which was banned in 1871. Both skills became middle-class accomplishments. Satsuma and Choshu biwa music, previously considered provincial, now acquired a popularity corollary to the political dominance of those southwestern domains in the new regime. Small wonder that former Tokugawa retainers often sneered at their Meiji successors as imo (potato) zamurai.

Western music had made its entry in Bakumatsu times, sometimes under unlikely circumstances. The captain’s clerk aboard Commodore Perry’s Saratoga wrote that Japanese guests who were treated to a band concert in 1854 courteously asked to hear the first number again, but proved to mean the tuning-up period, whose sounds they found more interesting than the marches that followed. Satsuma samurai were sufficiently impressed by the martial strains that came to shore from the British band celebrating the bombardment that had just burned Kagoshima in 1863 to want to introduce Western military music into their own forces. An English bandmaster of the marine battalion guarding the Yokohama legation was asked to instruct thirty Satsuma militiamen, and in 1871 these formed the core of the new navy band, its English bandmaster’s salary shared by the navy and the Gagaku Bureau. In 1877 the Englishman Fenton was replaced by a German, Franz Eckert. The harmonization and orchestration of “Kimi ga yo,” which came to function as the new national anthem, was the product of the combined efforts of these bandmasters.

Military songs and marches quickly became popular. “Oh My Prince!” (Miyasan! Miyasan!) was ascribed to the armies that marched against the shogun’s capital. Words could be changed to fit new themes and occasions. “Battōtai” (The Drawn Sword Unit), composed in 1885 by a French instructor about the Satsuma Rebellion, became “The Sinking of the Normanton” in 1887 for the disaster off Kii in which all the Japanese, and no foreigners, were lost, and emerged again as the “Rappa-bushi” of the Russo-Japanese War. Still other songs adapted the melodies of Stephen Collins Foster to a Japanese mode, as with “Tobe Tobe Tonbi Sora” (Fly, Kite, Fly, High in the Sky!), whose tune turns out to be a version of “Way Down upon the Sewanee River.”

Appropriately enough, some of the last strains of late-Edo chant and song were suppressed with the people’s rights movement, which adapted them to political uses. Dainamaito bushi, satirical pieces designed to be explosive, were composed, sung, and sold by street-singer activists deploring official arrogance and government tyranny in the 1880s. The victories of the state in domestic politics and foreign wars, however, speeded the production of a new and less divisive national culture, homogenized by mass education and literacy, which emerged by the end of the century.

The Ministry of Stultification (or Zombification) would certainly be an appropriate name for the Imperial Household Ministry, even today.

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Filed under Britain, France, Germany, music, nationalism, U.S.

by | 19 January 2009 · 5:06 pm

Japan’s Women vs. Children Left Behind in China

From Memory Maps: The State and Manchuria in Postwar Japan, Mariko Asanoi Tamanoi (U. Hawai‘i Press, 2009), pp. 91-92 (Japanese kanji added):

Today the Japanese state and media woman call [women abandoned in Manchuria at war’s end] chūgoku zanryū fujin [中国残留婦人](Japanese women left behind in China) and distinguish them from chūgoku zanryū koji [中国残留孤児] (Japanese orphans left behind in China) in terms of age and gender. The latter were born of Japanese parents, mostly agrarian colonists, in either Japan or Manchuria, and were younger than thirteen at the time of the Soviet invasion of Manchuria. In the wake of Japan’s capitulation, their parents entrusted them to Chinese families, either because they were too sick to take care of their children or because the latter had little hope of survival. Children who were orphaned or accidentally separated from their families were also adopted by Chinese families. Today, owing to the tender age of these children at the time they were separated from their relatives, they are unsure of their mimoto, their “roots” [身元]. Since the mid-1970s, such children have been urged by the Japanese state to prove their identities as Japanese in the system of nation-states. Only those who have successfully proved their Japanese nationality have been officially allowed to return to Japan permanently.

In contrast, chūgoku zanryū fujin is a gendered category, referring to women who were over the age of thirteen when separated from their families. By 1945, most Japanese men older than thirteen had already been mobilized into the Youth Brigade or military. Hence, whether they were married or not, the women in this category had been left to take care of themselves and all the children. In the turmoil after Japan’s capitulation, some of these women chose to marry Chinese citizens for their own survival, and they stayed in China. These women are different from the children who were left behind in one important way: because they were older, they firmly remember their roots as well as the Japanese language. Precisely for this reason, the Japanese state deemed these women old enough to make choices when they were left on their own. Thus until 1993, the state did not permit them to return permanently to Japan; they were regarded as belonging to China as the spouses of Chinese citizens.

The set of terminology is confusing largely because the difference between the women and the children was artificially created by the Japanese state and media. In addition, the categories excluded Japanese men older than thirteen who left in China as of 1945. In 1994, the Japanese state admitted this confusion. Through the Repatriation Support Law (Kikoku shienhō [帰国支援法]), the state eliminated the differences between the two categories and combined them under the umbrella term of chūgoku zanryū hōjin [中国残留邦人] (Japanese left behind in China). Nevertheless, this term too has generated confusion; as a result, the state and media continue to use the two earlier terms today.

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by | 16 January 2009 · 4:18 pm

Manshū Jizō for Japanese Orphans & Their Chinese Parents

From Memory Maps: The State and Manchuria in Postwar Japan, Mariko Asanoi Tamanoi (U. Hawai‘i Press, 2009), pp. 113-114 (inline reference citations omitted):

In 1998, I was introduced to Kōji, a repatriate from Manchuria and a volunteer who assists [Japanese] orphans [left behind in 1945] and their [Chinese] families [who adopted them]. When I visited him at his home in downtown Tokyo, he showed me some fifty tiny figurines of Jizō, placed neatly in a box. Jizō, one of the most important Buddhist deities in Japan, is believed to comfort the souls of dead children while simultaneously comforting their mourning parents. Jizō statues are found throughout Japan, and the deity is “perhaps the most ubiquitous, popular, and widely loved in Japanese religion.” Kōji makes these little figurines. He starts by collecting tiny stones on the beach or by the roadside. Using his artistic skills, he smoothes the surface of each stone, paints a child’s face on it, and transforms the stone into Jizō. Each Jizō represents an immigrant child who died in Manchuria, as well as the sorrow of the child’s parents. According to Kōji, however, each Jizō also represents an immigrant child who has survived in China, as well as the devotion of the child’s Chinese adoptive parents. While the postwar Japanese state regarded orphans as “the dead” for quite some time, Kōji resurrected them in tiny stones and made the compassion of their adoptive parents known to the Japanese public. Kōji also took me to a gallery near his home. Located in the posh Roppongi district of Tokyo, the small gallery attracted many young women and men. There he displayed his figurines—called Manshū Jizō (Manchurian Jizō)—and sold them to gallery visitors. The money he made from the sale of these statues, Kōji said, would go into a fund to support another project: a stone monument to be built in China to express gratitude to the Chinese adoptive parents of the Japanese orphans. Indeed, by the time I met Kōji, the project was already well under way; a well-known artist, himself a repatriate from Manchuria, was already building a monument of a Chinese couple and their adopted son, a child of the Japanese agrarian colonists.

In 1999, Kōji and his group finally completed this grand project. When I read the newspaper report of this event, it surprised me greatly that they had built the monument in Liutiaogou, the very site of the Japanese invasion into Manchuria on September 18, 1931. In addition, they held the ceremony celebrating the completion of this monument inside the September-Eighteenth Museum, which is known for its displays condemning Japan’s imperialism. The monument, then, embodies more than the suffering of the orphans. It embodies the pain of their adoptive parents and, by extension, the pain of the people in China who suffered not only from the departure of their adopted children to Japan but also from the Japanese invasion in the age of empire. Representing the orphans, Fumio spoke at the ceremony to an audience of about two hundred, including his eighty-four-year-old adoptive father. He is reported to have said the following: “After the normalization of diplomatic relations between Japan and China, my adoptive father saw me off to Japan while crying. … My adoptive parents made me eat steamed rice every other day while they ate corn and kaoliang.” Fumio now lives in Japan as a Japanese citizen and yet has never forgotten the adoptive parents he left behind in China.

Kōji and his friends, who erected the monument and organized the ceremony in Liutiaogou, represent the parental generation of Japanese colonists. I later learned that Kōji, along with Satoshi, was one of the key figures who helped the orphans stage their protest march in downtown Tokyo. These volunteers, who themselves experienced tremendous hardships during the journeys of repatriation, are now keenly aware that the suffering of the orphans belongs not only to the past but to the present and the future as well. They are also aware that to understand their concerns and worries, they must go back to the past, and that is why they traveled to Liutiaogou. By so doing, they went far beyond Japan’s national space to understand not only the fates of the orphans and their adoptive parents but also their own involvement in Japanese imperialism. Are the children of orphans, being Japanese-Chinese, no longer Japanese? Is it necessary for the Japanese public to distinguish orphans and their families from Chinese “economic refugees”? I will leave these questions unanswered for now, but note that the wisdom of people such as Kōji gives us the hope that people, regardless of nationality, can learn the value of humanism from a past that they once shared in some ways.

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by | 11 January 2009 · 4:58 pm

Reporting from a Land of Lecherous Clerics

From Lipstick Jihad: A Memoir of Growing Up Iranian in America and American in Iran, by Azadeh Moaveni (Public Affairs, 2005), pp. 100-101:

My father had taught me that clerics were lazy; more specifically, that they were unsuited to run a country because their work kept them in seminaries, sipping tea in robes, and that sort of languid profession did not lend itself to the more challenging task of administering a government. Convinced their worst sin was sloth, I had not assumed they were equally lecherous. One really could not have a proper conversation with a cleric. They were absurd. A one-hour interview with a mullah inevitably cycled like so:

First fifteen minutes: Gaze averted, stares at own feet, wall, space, anywhere but two-foot radius around opposing female.

Second fifteen minutes: Slowly casts glances in direction of head and talking voice.

Third fifteen minutes: Makes eye contact and conducts normal conversation.

Last fifteen minutes: Begins making googooly eyes, smiling in impious fashion, and requesting one’s mobile phone number.

I didn’t understand why they did this with me, since they are supposed to favor round women and fair women, and I was neither. Some actually complained about this, with mock concern for my health (“Miss Moaveni, have you been ill? You’ve lost so much weight. … Don’t you like Iranian food?”). How they could detect a body underneath the billowing tent I wore, let alone its fluctuations, was beyond me. I asked Khaleh Farzi, who explained that clerics had x-ray vision. That was why they didn’t mind keeping women veiled.

It was only over time, after repeated exposure to womanizing clerics, clerics who stole from the state and built financial empires, who ordered assassinations like gangsters, who gave Friday sermons attacking poodles, that I came to understand the virulence of my father and my uncle’s hate for the Iranian clergy. Perhaps their flaws were no greater than those of ordinary mortals, but ordinary mortals did not claim divine right to rule, ineptly, over seventy million people. As the gravity of the Islamic Republic’s hypocrisy revealed itself, I came to the slow, shocking realization that Iranian society was sick. Not in a facetious, sloganny way, exaggerating the extent of culture wars and social tensions, but truly sick. The Iran I had found was spiritually and psychologically wrecked, and it was appalling.

I doubt a thoroughly secular state would be much better if it suffered under the political hegemony of, say, its professors of literature or philosophy (or linguistics, to pick on my own field).

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by | 10 January 2009 · 8:29 am

Japan’s Genre of Uprooted Colonist Memoirs

From Memory Maps: The State and Manchuria in Postwar Japan, Mariko Asanoi Tamanoi (U. Hawai‘i Press, 2009), pp. 53, 59-60 (inline reference citations omitted):

In Japanese, the verb “to repatriate” (hikiage-ru) has multiple meanings; among these are to pull up, raise, refloat, pullout (of a place), and (close a business and) return home. [‘Pull up stakes’ seems the best English equivalent to me—J.] As a noun, “repatriate/s” (hikiage-sha) becomes not only historically but also morally charged in postwar Japan. Repatriates are those who emigrated to Japan’s overseas territories in the age of empire but were forced to (close their businesses and) return home after Japan’s capitulation in the Asia-Pacific War. Once in Japan, however, they were often seen as social misfits, largely because the dominant perception of them dramatically changed over the divide of August 15, 1945. Before then, they were imin (emigrants) who were hailed as the vanguards of imperialism in official discourses. After Japan’s defeat, they were hikiage-sha, who were greeted with pity, suspicion, and callousness by their compatriots who had never left Japan proper. Here, the oral narrative of Aki … is helpful: “When we returned home [to Fujimi in 1946], our neighbors were very cold to us Manchurian daughters. I truly worried that I might become an old mistress.” An arranged marriage for Aki would fail largely because she was “a returnee from Manchuria” who might carry “foreign sexual diseases.” In the end, she married a “Manchurian boy” whom I could not meet since he died a few years before the beginning of my fieldwork. After all, kaitaku imin (agrarian emigrants) were not supposed to return, for they had left Japan to rehabilitate the rural economy at home. With Japan’s capitulation, they lost land and houses in Manchuria that the state had taken away from Chinese farmers. Hence they had no recourse but to return to Japan, the only country on earth that was obliged to take them. Yet in the immediate postwar period, when resources were so meager, the people of their mother villages, who had sent them off enthusiastically, were reluctant to welcome the repatriates back to their home….

Although the first memoir written by a returnee from Manchuria appeared as early as 1949 (and was reprinted in 1976), the upsurge in this genre came decades later, from the late 1960s to the 1990s, with several published in the early years of the twenty-first century. This means that the majority of authors waited for more than two decades before publishing their memoirs—in order, possibly, to keep a certain distance from the past. What characterizes the memoirs is that most authors rely only on their personal memories, as well as the memories of their fellow settlers that they (over)heard while fleeing from Manchuria. In addition, they cite each other’s memoirs, rather than primary or secondary sources on Japanese imperial history. After all, hikiage-mono are the authors’ eyewitness reports and they force the reader to believe in the authenticity of their personal memories.

For all these reasons, the genre is called hikiage-mono rather than hikiage-bungaku, “repatriate literature.” Though a generic term for “genre,” mono is primarily used for classifying popular cultural productions such as movies, comedy shows, and songs. In other words, the term indicates the genre’s lower position in the hierarchy of cultural production: it is neither “literature” (bungaku) nor “history.” Indeed, most repatriate memoirs have small readerships, as the authors, being amateurs, submitted their works to small, local publishing houses. Many of the works are not even for sale. Others are not books at all but short essays printed in magazines published by organizations of former colonists and soldiers, as well as alumni organizations of the Japanese schools built in Manchuria. In fact, I bought most of the works that I examined in secondhand bookstores in Japan since the collections at university libraries are rather limited. It is for this reason, I believe, that Japanese as well as Anglophone scholars have hardly paid attention to them.

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by | 17 December 2008 · 10:05 pm

Where Gandhi Learned His Methods

From Indian Summer: The Secret History of the End of an Emperor, by Alex von Tunzelmann (Picador, 2008), pp. 24-26:

ON 2 OCTOBER 1869, A SON WAS BORN INTO A MIDDLE-CLASS family in Gujarat, a collection of princely states under British authority on the western coast of India. Mohandas Karamchand Gandhi had an ordinary childhood, culminating, as ordinary childhoods often do, in a teenage rebellion. This revealed a boy whose desire to experiment was usually halted by an immobilizing timidity in the actual act of defiance. He tried smoking and stole gold from his family to finance it; but this upset him morally, and so he stopped. Though from a strictly vegetarian family, he tried eating meat; but this upset him physically, and then morally as well, and then he dreamed of a live goat trapped in his stomach, bleating, so he stopped that too. Once he was egged on to visit a prostitute, but stood in the brothel having a crisis of confidence until the woman shouted at him to go away. On another occasion, he and a cousin ventured into the jungle to kill themselves by overdosing on datura, the narcotic seeds of the thorn apple; but, once they found the plant, they lost their nerve.

This boy’s family was reasonably well-off and of a middling but respectable caste. Hindu society had been divided for over seventeen hundred years into four main castes, reflecting second-century social groups: Brahmins (priests), Kshatriyas (warriors), Vaishyas (merchants) and Sudras (farmers). Within each of these were hundreds of minute subdivisions, and below them a mass of outcastes, or “Untouchables”—those unfortunates who, condemned by the bad karma of previous incarnations, were destined to spend their lives sweeping, begging, scrubbing latrines and cleaning up corpses. The Gandhi family were Vaishyas, and within that were of the Bania subdivision. Banias were notorious for being hard-bargaining salesmen, a trait which young Mohan evidently inherited and would one day apply to spiritual and political ends with unprecedented effect.

Mohan’s rebellion was perhaps more unusual because the supposed cure for youthful misbehavior had already been administered. Karamchand and Putliba Gandhi had already married their thirteen-year-old son to a girl from a staunchly religious family. The girl who had been chosen, Kasturbai Makanji (known according to local tradition as Kasturba later in life, when she became matriarch of the household), was also just thirteen.

During daylight hours, etiquette decreed that Mohan and Kasturbai should ignore each other completely. Even an affectionate word between husband and wife was considered taboo. As darkness fell, they were left to their own devices, though neither had much idea what those should be. Mohan went to the bazaar to buy pamphlets, hoping to learn about his conjugal rights and duties. He was taken with the concept of fidelity and decided it should be his task to extract this from Kasturbai. He told her that she could no longer leave the house without his consent.

But, despite her youth, Kasturbai had already mastered the most effective technique available to women who live in extremely restrictive societies: that of passive resistance. She was a devout Hindu from a very traditional background and would not openly disobey her husband. Instead, she found a loophole.

Mohan’s mother asked Kasturbai to accompany her to the temple every day. Because this request was made in the daytime, when the young spouses were not supposed to communicate, Kasturbai was unable to ask Mohan’s permission. To disobey the command of the matriarch, on the other hand, would have been a terrible sin. So Kasturbai went with Putliba to the temple and returned to have her first fight with her husband, which she won by the sheer power of logic. Mohan was forced to remove the restrictions he had placed on Kasturbai.

This small incident would hardly be worthy of note, except for the fact that it formed the basis for Gandhi’s entire political method. In later years, when he found that he was at a disadvantage being an Indian in a white world, he would remember and develop the tactic of a woman in a man’s world. All Gandhi’s most famous tactics—passive resistance, civil disobedience, logical argument, nonviolence in the face of violence, emotional blackmail—had come from Kasturbai’s influence. He freely admitted this: “I learned the lesson of nonviolence from my wife.”

This, I regret to say, is my last excerpt from one of the best books I’ve read in quite a while. Von Tunzelmann is both a wonderful storyteller and a diligent researcher. (In that she is the equal, in my estimation, of Barbara Tuchman, one of my all-time favorite narrators of history; and I hope she already has another manuscript in the works.) In my many excerpts, I have excised all the endnote references, leaving no indication that supporting notes, maps, and glossaries consume almost 20% of a book nearly 500 pages long.

My historian brother has done a lot of research on Gandhi and is very critical of him, as are many revisionist historians. Von Tunzelmann also dishes plenty of dirt on Gandhi (and the other principal actors), while crediting him with two outstanding achievements: launching an effective campaign of nonviolence with the Salt March in 1930 and dampening communal violence in Bengal during the partition in 1947, a partition that he fervently opposed but unwittingly abetted. Between those two events, many of his efforts were irrelevant, at best, and counterproductive, at worst.

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by | 13 December 2008 · 8:24 pm

“One Million Dead”: Just a Number

From Indian Summer: The Secret History of the End of an Emperor, by Alex von Tunzelmann (Picador, 2008), pp. 273-275:

“ONE MILLION DEAD”: This is the most convenient number to have come out of the wildly varying estimates of how many people may have been killed following partition. Mountbatten preferred the lowest available estimate, which was two hundred thousand, and has been widely condemned for it; the denial of holocausts is always a sticky business, and yet more so when one may be implicated personally. Indian estimates have ranged as high as two million. Many historians have settled for a figure of somewhere between half a million and a million. The figure of one million dead has now been repeated so often that it is accepted as historical fact. “What is the basis for this acceptance?” asked the historian Gyanendra Pandey. “That it appears like something of a median?” Unfortunately so, for the truth is that no one knows how many people were killed, nor how many were raped, mutilated or traumatized. The numbers anyone chooses say more about their political inclination than about the facts. Fewer than four hundred thousand suggests an apologia for British rule; four hundred thousand to one million moderation; a million or more usually indicates that the person intends to blame the deaths on a specific party, the most usual culprits being one or more of Mountbatten, Patel, Jinnah or the Sikhs.

Beyond the dead, there were more numbers, too, plucked from the extrapolations and imaginations of regional officials, army, police and historians. Refugees on the move by the beginning of September: five hundred thousand, or perhaps one million. Women abducted and raped: 75,000, or perhaps 125,000. Total who would migrate from one dominion to the other between 1947 and 1948: ten million, or perhaps twelve million, or perhaps fifteen million. The Indian National Archives contain sheaves of charts scribbled by British and Indian officials, recording eighty-seven killed in Bengal here, forty-three injured in Madras there. “The figures make no pretence to accuracy,” admitted the Home Department. The Punjab government reported that its casualty estimates were “increasing daily as investigation uncovers further tragedies”; the North-West Frontier Province government referred to “stray murders,” which were not counted! Usually it was impossible to count the number of victims amid the “confused heap of rubble & corpses” that was left behind after riots. Sir Francis Mudie, governor of the West Punjab, remembered, “[I had to] ignore any report of a riot unless it alleged that there were at least a thousand dead. If there were, I asked for a further report, but I cannot remember any case in which I was able to do anything.”

In Stalin’s famous words, one death is a tragedy; one million deaths is a statistic. In this case, it is not even a particularly good statistic. The very incomprehensibility of what a million horrible and violent deaths might mean, and the impossibility of producing an appropriate response, is perhaps the reason that the events following partition have yielded such a great and moving body of fictional literature and such an inadequate and flimsy factual history. What does it matter to the readers of history. today whether there were two hundred thousand deaths, or a million, or two million? On that scale, is it possible to feel proportional revulsion, to be five times more upset at a million deaths than at two hundred thousand? Few can grasp the awfulness of how it might feel to have their fathers barricaded in their houses and burned alive, their mothers beaten and thrown off speeding trains, their daughters torn away, raped and branded, their sons held down in full view, screaming and pleading, while a mob armed with rough knives hacked off their hands and feet. All these things happened, and many more like them; not just once but perhaps a million times. It is not possible to feel sufficient emotion to appreciate this monstrous savagery and suffering. That is the true horror of the events in the Punjab in 1947: one of the vilest episodes in the whole of history, a devastating illustration of the worst excesses to which human beings can succumb. The death toll is just a number.

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