Aging 1: Encyclopedia of Life Writing

Jolly, Margaretta. Encyclopedia of Life Writing: Autobiographical and Biographical Forms. London: Fitzroy Dearborn, 2001.

I met Prof. Jolly in the UK in 2008. It's all starting to fade a bit from my memory, but I do remember that she gave a keynote address to members of the "Writing Lives in China" workshop on the subject of "global life writing." She basically called on all of us to look beyond the individual traditions we were working in and try to imagine a larger, universal field of letters. I wasn't surprised by her speech because I was already aware of the massive Encyclopedia of Life Writing which clearly aims to answer her own call. What did surprise me, though, was the way my fellow scholars scorned and dismissed Jolly as soon as she had left the room. Could there be something dreadfully wrong with the concept of "global life writing," or at least its application to Chinese literary forms? I've really no clear way to even begin answering this question yet, but I must admit I'm still quite biased in Jolly's favor. From time to time I will take a close look at entries from the Encyclopedia; if the information here forms a major hindrance to my studies, I suppose I'll figure that out sooner or later.

"Aging" by Margaret Morganroth Gullette

Gullette introduces the idea that "age" in literature should be treated critically. Elderly writers are much more likely to write elegies, for example: such are the "politics of aging." But "age positive" writings are not necessarily the best reply to the perception of "agism" in literature; what is needed is a new field of "Age Studies" that would serve to "convey (as others have done for gender and race) the tremendous impact of age discourses on subjectivity and social relations."

Portrait of the Artist as an Old Lady

"Age" as a critical issue is incredibly likely to be a major theme of my dissertation, but I just don't know where I'm going with it yet. A few facts to chew on:

• Yang Jiang's entire autobiographical career dates from after the Cultural Revolution; her first memoir came out as she turned 70.
  
• Her only novel was published at age 77
• In 2003, she started publishing again, and has put out three volumes since. Many articles begin by remarking how amazing it is that she is still writing.
  

Finally, a brief thought to connect with my last entry. When I was reading "scar" literature, I was particularly attentive to the 'elder' characters like the police inspector Wang Gongbo in "Sacred Duty." These characters all serve as important role models that help former red guards and other disillusioned younger people find ways to become active, engaged Chinese citizens again. I really wonder how much the power of the elder figure to serve as a role model owes itself to their age itself. I think again of the passage I've already quoted:

Ai Hua was looking thoughtfully at the hardened and experienced old man in front of her. Something that had always been very difficult for her to grasp suddenly became clear: this is what a common, yet at the same time great, man was like...

How many of the outward signs of what "common, yet at the same time great" is have to do with age? She must consider the man's grizzled face, his neat clothes, and above all the air of certainty about what is good and right. Now, when we turn to Yang Jiang, we have to admit first of all that gender enters into the picture as well as age. I wonder if there is a sense in which I might at some point be able to describe her as "China's mom."