Stateless Subjects: Chinese Martial Arts Literature and Postcolonial History

Known in the West primarily through poorly subtitled films, Chinese martial arts fiction is one of the most iconic and yet the most understudied form of modern sinophone creativity. Current scholarship on the subject is characterized by three central assumptions against which this book argues: first, that martial arts fiction is the representation of a bodily spectacle that historically originated in Hong Kong cinema; second, that the genre came into being as an escapist fantasy that provided psychological comfort to people during the height of imperialism; and third, that martial arts fiction reflects a patriotic attitude that celebrates the greatness of Chinese culture, which in turn is variously described as the China-complex, colonial modernity, essentialized identity, diasporic consciousness, anxieties about globalization, or other psychological and ideological difficulties experienced by the Chinese people.

Petrus Liu received his BA from the University of California, Berkeley, triple major in German Literature, East Asian Languages, and Comparative Literature (1997); MA and PhD in Comparative Literature (2000 and 2005). He was previously Assistant Professor of Comparative Literature at Cornell University from 2005 to 2012. He is currently Associate Professor and JY Pillay Fellow at Yale-NUS in Singapore.

Stateless Subjects, by Petrus Liu, is a well-researched book that offers innovative perspectives on the compelling subject of Chinese martial arts literature of the twentieth-century. Through excellent summaries of individual texts—both film and fiction—as well as contemplative consideration of selected historical events in the socio-political milieu during which they were produced, the author's research aims to challenge both early May Fourth (negative) views of martial arts fiction and to transcend canonical analysis of the genre 'as the ideological instrument of Chinese nationalism' (2-3). Liu provides excellent background analysis of the tensions between pop fiction and May Fourth literature, and in the process brings postmodern comparative literature perspectives to bear in his 'intervention' into the dominant May Fourth literary discourse. Readers interested in interconnections between diverse sociopolitical issues such as intellectual history, feminism in martial arts film, the Cultural Revolution, the Cold War in Asia, and tensions in Taiwan/Hong Kong martial arts literary discourse will find many points of departure for further research. Especially notable are the unorthodox subjects from the martial arts literary canon addressed in the five chapters that comprise this book, including Islam, gender issues, and homosexuality. Liu should be applauded for addressing such seemingly taboo subjects in early twentieth-century literary discourse and supplying interesting readings that demonstrate a creative comparative literature approach.