Cotsen Research Projects: Fear Neither Hardship nor Death: Stories of Disabled Chinese Children in the Early 1970s

Note: The Friends of the Princeton University Library offer short-term Library Research Grants, awarded via a competitive application process, to promote scholarly use of the research collections. The text and images below were kindly provided by Melissa A. Brzycki, recipient of a 2015 Library Research Grant. She conducted research work with Chinese-language materials at the Cotsen Children’s Library for her dissertation project titled “Inventing the Socialist Child, 1945-1976” in August 2015. This essay reports her investigation of children with disabilities as portrayed in publications for young Chinese readers from the early 1970s, when publishing resumed after a hiatus during the first half of the Great Proletarian Cultural Revolution. Brzycki is currently a doctoral candidate of Modern Chinese History at the University of California, Santa Cruz.

Fear Neither Hardship nor Death: Stories of Disabled Chinese Children in the Early 1970s

by Melissa A. Brzycki

From 1970 to 1972, children’s magazines and storybooks in the People’s Republic of China featured stories about children with disabilities. These documents were products of a time when Chinese citizens experienced a re-establishment of order following the upheaval of the early years of the Cultural Revolution (1966-1976). The first two years of the Cultural Revolution included many student and worker uprisings, and revolutionary fervor in many cases devolved into factional infighting. These struggles brought China closer to a civil war than it had been in the nearly 20 years since the Communists and Nationalists had fought China’s civil war (1947-1949). In the early 1970s, many of the revolutionary policies of the Cultural Revolution were folded into state practices as state control and order was re-established.

Using the Cotsen Children’s Library’s extensive holdings of Little Red Guard (红小兵) magazines and children’s storybooks, I found six stories published from 1970-1972, both nonfiction and fiction, about children with disabilities. In these stories, children found ways to overcome limitations imposed by their disabilities, either through personal struggle or with the help of other children. The stories showcase many of the ideas that structured Maoist thought at the time, including the notion that through the application of Maoism, everything and everyone can advance beyond previously conceived limitations. Furthermore, the revolution depends on every individual, including every child, devoting him or herself to the masses and the revolutionary cause.

The Little Red Guards were a counterpart group to the older Red Guards. Red Guards referred to young people, mostly high school and university students, who took up Mao’s call to renew the revolution and criticize those within the Chinese Communist Party who were straying from the revolutionary path. Red Guards began organizing themselves in 1966, and soon after the state extrapolated from these extra-state (and sometimes anti-state) organizations to create a state-sanctioned junior organization called the “Little” Red Guards. The organization replaced the Youth Pioneers, or “Red Scarves,” which had been the junior organization for the Communist Youth League in the 1950s and 1960s, modeled after the Soviet organizations for children and youth. Little Red Guards were primary school students, generally between the ages of 6 and 14. They were chosen for their good character and revolutionary attitude and deeds. The Little Red Guard magazines that circulated during the Cultural Revolution told stories of Little Red Guards overcoming obstacles and doing good, revolutionary deeds.

Four of the six narratives center on Little Red Guards, and the other two are about “little heroes” (小英雄), children who committed exemplary revolutionary deeds, often risking or resulting in loss of life or limb. All of the stories describe children with physical disabilities. Mental disabilities are rarely mentioned, and only one child, a young girl in “The Three Little Companions,” is described as having mental disabilities in addition to physical ones.

Two essays, “A Disabled Body with a Resolute Will, A Young Person with a Red Heart” and “Making Bricks for the Revolution with a Disabled Body and Resolute Will,” were published only five months apart. “Making Bricks for the Revolution with a Disabled Body and Resolute Will” comes from a Little Red Guard Pictorial published in Tianjin in August 1970. “A Disabled Body with a Resolute Will” was published in January 1970 in the Jiangsu provincial Little Red Guard. Both of these stories are first-person, nonfiction narratives written by children with disabilities who learn to overcome obstacles created by their disabilities through hard work and Maoist thought.

Fifth-grade Little Red Guard Wang Dongfeng wrote a first-person account of her political development in “A Disabled Body with a Resolute Will.” Wang was born with only one arm, so she wrote that for a long time she envied other people who had two arms, and she did not think she could do the things that they could do. Eventually her parents and teachers helped her study Maoism and the examples of Communist heroes, including a Liberation Army soldier who continued all his revolutionary work despite losing one arm in battle. Wang realized her own potential to contribute to the revolution, and she began participating in the same work that others did, as well as volunteering for difficult tasks like cleaning the toilets at school. The illustration for Wang’s story shows her carrying rice plants on her back, with one arm stabilizing the bundle.

A Disabled Body with a Resolute Will, A Young Person with a Red Heart

Little Red Guard, “A Disabled Body with a Resolute Will, A Young Person with a Red Heart” [身残志要坚,人小心要红]. Nanjing, Jan. 1970. (Cotsen 46581)

In “Making Bricks for the Revolution with a Disabled Body and Resolute Will,” Li Ruilin also narrates his own story. Li was a Little Red Guard from Dingjiaqiao Primary School. He was paralyzed since birth, so his classmates used a little cart to help him get to school everyday. When Mao called everyone to “prepare for struggle, prepare for famine, for the people,” Li and his classmates decided to contribute by making bricks. As his classmates struggled to carry enough clay back and forth, Li realized that his cart would make the process much easier and more efficient. He hesitated to offer his cart, however, since it was the only way he could get to school everyday. After he thought through the problem with Mao’s teaching on combining learning with practice and not fearing hardship, he offered his cart for his classmates to use. Li himself molded the bricks, despite getting covered in mud and cut by stray shards of glass. In the end, he was satisfied with his decision and the discovery that he “[could] use [his] own energy to fight a struggle and make bricks” (Little Red Guard Pictorial, Tianjin: Jan. 1971.)

In two other stories, “Under the Sunlight,” from a Tianjin Little Red Guard Pictorial and “The Three Little Companions,” from a Shandong Little Red Guard, groups of Little Red Guards helped classmates with disabilities get to school. In both stories, all the primary characters are girls. In the former story, a girl named Xiaohong realized that one of her neighbors, Chen Xiaoyan, could not use her legs, so she had not been going to school. Xiaohong and her fellow Little Red Guards discussed the problem and came up with a solution: using a cart to bring Chen to school. They brought her to school everyday, as well as occasional visits to the local hospital, where – through the use of acupuncture treatments – Chen recovered use of her legs and became not only a Little Red Guard, but also a skilled performer with the Little Red Guard Literature and Art Propaganda Group.

In the latter story, three girls, all Little Red Guards, became close friends as two of them helped the third, Ji Haiyan, to school everyday. Ji had a spinal cord problem that affected her legs, so she could not walk on her own. She also had mental disabilities resulting from her condition, so her friends not only helped her get to school, but also tutored her. They are depicted as close friends, all proudly wearing red scarves.

The Three Little Companions

Little Red Guard, “The Three Little Companions” [三个小伙伴]. Shandong, Dec. 1971. (Cotsen 63947)

Children’s storybooks were also full of stories of real-life child heroes, including those who acquired a disability as a result of their good deeds. Dai Birong (戴碧蓉) is one of the more famous examples of a child hero who was disabled as a result of her heroic actions. The storybook Little Hero Dai Birong, published in Shanghai in 1971, tells her story. The book also contains other stories of child heroes, but Dai receives the most attention for her sacrifice. In 1968, when she was 12 years old, she spotted three small children playing on the train tracks as a train approached. Heeding Mao’s call to fear neither hardship nor death, she managed to save all three children but lost an arm and a leg in the process.

Two sisters from Inner Mongolia were also praised for heeding Mao’s call to fear neither hardship nor death. A 1971 version of their story, The Heroic Grasslands Sisters, explains that in 1964 11-year-old Longmei and 9 year-old Yurong risked their lives saving the commune’s sheep during a surprise winter storm. At one point, Yurong lost a boot while trying to catch an errant sheep, and was so focused on the herd that she did not notice her own boot was gone. Her foot quickly froze, and she had to crawl. The illustration of this scene is a still shot from the 1965 movie. In it, Yurong looks ahead with determination as she crawls in the snow.

Yurong raised her head, stubbornly pushing her body forward in a crawl. "I must protect the herd. I have to catch up [with them], I must catch up." She recalled the teachings of Chairman Mao, phrase by phrase: "Make a firm resolution, and don't fear sacrifice. Conquer every difficulty, as you go strive for victory." She encouraged herself to move forward.

The Heroic Grasslands Sisters [草原英雄小姐妹]. Shanghai, 1970. (Cotsen 32669)

Caption: Yurong raised her head, stubbornly pushing her body forward in a crawl. “I must protect the herd. I have to catch up [with them], I must catch up.” She recalled the teachings of Chairman Mao, phrase by phrase: “Make a firm resolution, and don’t fear sacrifice. Conquer every difficulty, as you go strive for victory.” She encouraged herself to move forward.

When her older sister Longmei found her, she wrapped up Yurong’s foot, and carried her the rest of the way. Eventually both were saved after a day and a night in the blizzard. Both sisters had sustained extreme frostbite, which necessitated amputations. Longmei lost a toe, and Yurong lost both her feet.1 Though both sisters were permanently disabled, the ending of the storybook emphasizes that they emerged from the storm healthy, rather than disabled. Just as the other stories emphasized the ability of disabled children to participate fully in educational and revolutionary activities, so do the endings of these stories emphasize the abilities of the sisters. While it is true that neither sister lost the ability to walk, Yurong needed prosthetics and could not engage in physical activities in the same way she could before losing her feet.

Immobilized Yurong, stubbornly and heroically crawling forward, much like the disabled children featured in other articles and stories, demonstrates the ideal revolutionary hero, who struggles for the revolution and the masses, fearing neither injury nor death. In these stories, children are raised up as revolutionary models, showing that children, just like adults, were important social and political actors.

You might also like to read the post on the portrayal of the disabled in recent Chinese picture book or another on soldiers who lost limbs in the Napoleonic wars.

Note

[1]. 崔玉娟, “玉荣: 有些事留给时间去验证,” 中国青年报, (Jan. 13, 2015): 7, http://zqb.cyol.com/html/2015-01/13/nw.D110000zgqnb_20150113_2-07.htm

Celebrating Alice 150: The Colloquium “Alice in Many Wonderlands” October 7-8 at the Grolier Club

October 7th and 8th, Minjie Chen and I attended a colloquium exploring  Lewis Carroll’s Alice in Wonderland legacy as a classic of world literature.   After John Bunyan’s Pilgrim’s Progress, Alice is the second most frequently translated work of English literature.  Alice is by no means the only classic of children’s literature to have travelled so far beyond its culture and country–there is the parallel case of Heinrich Hoffmann’s Struwwelpeter, which has also been translated into a surprising number of languages.

Still, this very Victorian fantasy for children seems a peculiar candidate for the honor.  Carroll’s wordplay ought to be enough to put off any translator in his or her right mind.  One hundred and fifty years after Alice’s publication, so much of the book’s contents are rooted in a particular time and place that children have begun to have some difficulty entering into its world.  And how can the concepts of childhood and gender roles or the topsy-turvy relationships between Alice and Wonderland’s stroppy and peculiar residents be presented intelligibly but amusingly to  readers outside of the Anglo-American world?  Apparently the challenges are not obstacles to the translator who sees Alice as the profession’s Mount Everest. The fact that Wonderland is there means that linguists with a little George Mallory in their souls can’t resist trying to make the ascent.

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George Collingridge, Alice in One Dear Land (1922). Cotsen 22814.

DAY 1

Andrea Immel

The audience waiting in the Grolier Club’s auditorium was brought to order by member Jon Lindseth, organizer of the two-day colloquium, master mind, and general editor behind  Alice in a World of Wonderlands: Translations of Lewis Carroll’s Masterpiece a massive 3-volume bibiography documenting and analyzing the 174 translations of this fantasy, many commissioned for the book.  Before introducing the first speaker, Lindseth thanked all the people present who had contributed in some way to this remarkable project, which would not have been possible without the dedication, energy, and generosity of an amazing number of volunteers around the world.

Emer O’Sullivan, a specialist in German- and English-language children’s literature and translation studies at Leuphana University, delivered the keynote address, “Alice in Many Tongues 50 Years On.”  She provided invaluable context for the day’s proceedings which revisited the 1964 study of  Alice in translation by Warren Weaver, Alice in Many Tongues.  A mathematician by training, a science administrator by profession, and collector by avocation, Weaver was a pioneer of machine translation.  O’Sullivan cogently explained how translation studies has moved away from the paradigm of equivalence, or sense for sense translation, towards one that negotiates the complexities of two literary systems embedded in wider cultures.  Hence the centrality of  back translation to the Alice in Many Wonderlands project.  Back translation is the process by which a native speaker of the target language turns the translation back into the original’s language, then annotates the difficult phrases and tricky concepts that pose challenges.  The annotations allow a reader without competence in a particular target language–Slovenian, Turkish, Japanese, Swahili–to appreciate the solutions the translator devised to problems throughout the text that highlight the differences in world views those languages reflect.    PR4611.A73W4frontcover (2)

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Warren Weaver in his library from the dust jacket of Alice in Many Tongues. ExParrish PR4611.A73 W4.

Juan Gabriel Lopez Guix, senior lecturer at the Autonomous University of Barcelona, spoke about translations of Alice into the six languages of Spain.  His discussion of the Catalan translation was highlighted by the analysis of its illustrations by the well-known artist Lola Anglada.  The architecture of her Wonderland was in the traditional style of the region, not, as is so often the case, a reworking of Tenniel.  Lopez Guix also regaled the audience with a wonderful account of  the chapter about the perfect horse with an Eton education invented and slyly interpolated by the translator into the work.  It has subsequently been accepted by many Spanish-speaking lovers of Alice as pure Carroll.

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Alicia outgrowing a Catalan farmhouse by illustrator Lola Anglada. From the second edition of Alicia en terra de meravelles (Barcelona: Edicions Mentora, 1930). Cotsen 40594.

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Alicia, the Duchess, the baby, and the cook in a Catalan kitchen with vegetables much in evidence. Alicia en terra de meravelles (1930). Cotsen 40594.

Endangered languages was the thread connecting the day’s final two presentations, which  I (Andrea) found unexpectedly moving for the pride both speakers communicated about the expressiveness of Scots and Hawaiian.  Derrick McClure, emeritus professor Aberdeen University and MBE for service to Scottish culture, began by noting that the demise of the ten Scots dialects has been confidently predicted for at least two hundred years and yet people still speak and write in them.  He read excerpts from translations of Alice into Shetland, one of the dialects of Insular Scots, Northern which is centered around Aberdeen, and West Central or the Scots spoken in Glasgow.  Keao NeSmith, professor at the University of Hawaii at Manoa and one of the two hundred remaining native speakers of Hawaiian, began with a welcome in his language.   He agreed to translate Alice in Wonderland (which he had never read before taking on the project) in order to increase the books for pleasure reading available to the growing number of people learning Hawaiian as a legacy language.  NeSmith has gone on to translate Through the Looking Glass and Tolkien’s Hobbit–and in the future, Harry Potter.   Hearing the sound of Scots and Hawaiian made this session especially memorable, even I could not understand what was being said.

 

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Down the rabbit hole! Antje Vogel, Alice im Wunderland (Munster: F. Coppenrath, c.1984) Cotsen 1129.

DAY 2

Minjie Chen

Zongxin Feng, Russell Kaschula, and Sumanyu Satpathy, three scholars from China, South Africa, and India respectively, talked about the tribulations of Alice publications in varying socio-economical and political contexts. Their presentations detailed the challenges of enabling young readers whose native languages are not English to appreciate Alice’s adventure in Wonderland.

From Feng’s presentation, we learned that Alice in Wonderland was first translated into Chinese by Yuen Ren Chao (赵元任), a China-born and US-educated linguist, in 1922. (As an interesting connection, one of Chao’s daughters is Lensey Namioka, a mathematics major and a successful children’s writer in the United States.) Thanks to Chao’s pioneering work, Alice became a well-known story to Chinese readers and, until the establishment of the Communist regime in 1949, was also the source of inspiration for derivative children’s stories and plays, as well as allegorical writings and political satires for the general audience. During the first three or four decades of the People’s Republic of China, however, Alice was among the numerous Western publications that were censored. Reprints and new translations of Alice did not flourish until the 1980s.

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阿麗斯的奇夢 = Alice’s Adventures in Wonderland (abridged) / Lewis Carroll ; translated and retold by Xu Yingchang (徐應昶). (Shanghai: Shang wu yin shu guan, 1933) Cotsen 68440.

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阿麗思的夢 [Alice’s Dream] / by Yu Zheguang. (Shanghai: Shanghai mu ou ju she chu ban she, 1935?) Cotsen 90246.

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愛麗思夢遊奇境記 = Alice’s Adventures in Wonderland / Lewis Carroll ; abridged by Fan Quan (范泉). 5th ed. (Shanghai: Yong xiang yin shu guan, February 1949) Cotsen 75170.

The richness of linguistic diversity in Africa and India poses the first challenge for making Alice accessible to children in those areas. (2,000 languages are estimated to be spoken in Sub-Saharan Africa and 22 languages are officially recognized in India.) Kaschula addressed the question of why we should desire Alice in more language editions: being able to enjoy a literary text in one’s native language has a huge benefit for literacy acquisition. His and Satpathy’s presentations examined Alice in nine African languages and eleven Indian languages, focusing on how translators grappled with the often-times irreconcilable tension between fidelity and a friendly text to young readers. As Satpathy pointed out, particularly thorny cases were with names of food, dress, flora, and fauna specific to Victorian England, in addition to puns, parodies, and songs.

African translators’ localization efforts resulted in many creative solutions, replacing foreign food, animals, birds, and objects with indigenous ones in Africa. “Tea-tray” became “winnowing basket”; “treacle” turned into “honey.” Most fascinatingly, Kaschula explained that in the African context, the phrase “murder the time” (from the chapter “A Mad Tea-Party”) does not make sense. Time is conceptualized as being circular (as it is seasonal) as opposed to being linear and one-directional the way it is perceived in Western cultures. It is not something that can be killed. In respect to African storytelling tradition, some translations have also adopted the present tense for the book.

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The White Rabbit in African dress late for his very important date from a translation into Swahili by St. Lo de Malet entitled Elisi Katika Nchi Ya Ajabu (London: Sheldon Press, 1966) Cotsen 33665.

Indian translators took no less liberty when it came to rendering the Alice story more intimate to local children. “Hat” became “topi”; through a rather convoluted or mysterious process, “wine” became “rice pudding.” Well, transformations are such a normal occurrence that Alice learns to embrace them by the time she finishes a bottle that is not marked “poison.” Therefore, we should not be surprised by these name swaps. Indeed, Alice herself transforms as she travels across culture. In illustrations of some African and Indian editions, she is depicted as either a delightful black girl or one dressed in a bright sari.

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Elisi Katika Nchi Ya Ajabu. Cotsen 33665.

 

The conference closed with a linguistic feast offered by Michael Everson. He runs Evertype, a publishing company which has produced Alice in seemingly a myriad of languages and alphabets. Some of the more unusual examples are:

  • Alice in a font friendly to dyslexic readers, featuring rotund “bottoms” of each alphabet;
  • Alice in a font that simulates the difficult decoding experience of dyslexia, with the purpose of fostering empathy between non-dyslexic and dyslexic readers;
  • Alice in the International Phonetic Alphabet, an alphabetic system of phonetic notation frequently used by foreign-language learners.
  • Mr. Everson ended his presentation by reading aloud the scene of Alice’s encounter with the hookah-smoking Caterpillar in multiple languages and accents: Irish, Icelandic, Middle English, Old English, Latin, Ladino, Ulster Scots, Scouse, and Appalachian English. I (Minjie) had no idea what he was reading most of the time, but with the rise and fall of his dynamic voice, I seemed to understand everything.

The conference closed a round table discussion among the day’s speakers.   The proceedings closed with a festive dinner for several hundred people at the Cosmopolitan Club, where Michael F. Suarez, S. J., the director of Rare Book School at the University of Virginia, spoke after dinner on the subject of “Alice the Book: A World-wide Phenomenon.”

Cheers to everyone who participated in this marvellous two-day tribute to Alice and her devoted and ingenious translators.

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The Anthony Groves-Raines tailpiece for one of the pamphlets of Alice parodies that Guinness produced as holiday keepsakes, Alice Aforethought: Guinness Carrolls for 1938. Cotsen 9049.