1

Abstract Historians are often hardcore analysts, breaking down facts and scrutinizing sources to present the most accurate historical picture to their readers. Sometimes historians will indulge in some storytelling, but it is very rare that a historian uses stories as more than just introductions to chapters. Jonathan D. Spence, a historian focusing on Chinese history, then, is a rare breed of historian indeed. As a narrative historian, he is very unique in a discipline that is widely populated by very scientifically-minded professionals. Spence has brought forth to the discipline of history new elements of storytelling as well as a new literary style based on traditional Chinese history writing which contributes to his unique outlook on Chinese history and how it has been studied and recorded. Just how unique is Spence in the field of historians and what are the ups and downs of his distinct narrative approach? Background and Teaching Jonathan Spence was born in England in 1936 to a family of intellectuals and achievers. His mother studied literature and his father worked at an art gallery.1 He started out his schooling interested first in writing, then in European History, and then he became unsure as to what his concentration would be for some time but remained interested in history. Finally, when he attended Yale University in the United States on a fellowship after graduating with a Bachelor of Arts from Cambridge University, he met the person that would influence him in his decision to become a specialist in Chinese history: Professor Mary Wright, who not only helped him with her expertise in the subject, but also sent him to Australia to study under Fang Chao-Ying, the Master of Manchu Dynasty Biography.2

1 2

American Historical Association Biography: http://www.historians.org/info/aha_history/spencebio.cfm Ibid.

After completing his Masters Degree and then his Ph.D. in 1965, Spence went on to join the Yale faculty where he became a very prominent professor, beginning to write books not long after he took a post as an assistant professor of history.3 He eventually rose to a prominent position among the faculty and received many honors and awards during his time as a professor, including eight honorary degrees, medals, and awards.4 He retired from the faculty in 2008, but not before leaving a lasting impact upon his students and the readers of his many books.5 Susan Jakes reflections on Spences teaching bring new light to how Spence interacted with his students. A former Yale student, Jakes first spoke about auditing one of Spences lectures, in which Spence simply walked into the classroom in a phantom-like manner, clad in a large black coat, wrote terms on the board and then began to speak eloquently about things he found interesting in Chinese history, ending with a standing ovation.6 She describes Spence as a storyteller in the classroom who presented the stories of individuals, citing him as stating, No event worth mentioning was too large to be refracted through a single human life and no life was too minor to have its humanity summoned up from the past alongside the abstraction of its historical significance.7 After her time as a student, Jakes returned as one of Spences teaching assistant and found among his students the same enthusiasm and interest in Chinese history that she had.8 Still, Spences lectures remained the same: simple, eloquent, and focusing on the everyday experiences of people that lived during the time period that he is describing, from ordinary peasant to emperor. Spences Repertoire
3 4

Ibid. Ibid. 5 Ibid. 6 Jakes, Susan Jonathan Spences Yale Lectures: A Memoir, The China Beat: http://thechinabeat.blogspot.com/2008/06/jonathan-spences-yale-lectures-memoir.html 7 Ibid. 8 Ibid.

Spences work is unique and great in the field of Chinese history and his writing began when he was an assistant professor, continuing all through his career. The first book that he wrote was 1969s To Change China: Western Advisers in China, 1620-1960. The book was originally written during the Cultural Revolution in China as well as the escalation of American involvement in Vietnam, a time period that he refers to as a time of global violence.9 The book is split into ten chapters, which are about the experiences of foreigners in China in different time periods, beginning with Adam Schall, a Jesuit missionary in the 1600s.10 In each chapter, Spence narrates the experiences of each person in the manner of novelist as opposed to a historian. Schall, for example, is more than just a background character to the attempted conversion of the Chinese to Christianity. Rather, he was an active participant in the effort, and his voice is made especially clear throughout the chapter. He was ever optimistic that he could convert the Chinese, but also bears the brunt of the blame for his failure and the challenges he faced, making him, and the other individuals featured in the book seem more humanlike to the reader than most history books make participants in the past seem.11 Spence moves through his book to address the experiences of many other men, including a traveler ensnared by the spirit of adventure turned hostile, an arrogant interpreter who tried to further British interests in China, a scholar trying to further Western learning in a reluctant Hunan and finding himself caught in the middle of riots and violence, and soldiers trying desperately to force the evil ideas of communism out of the country. Some common trends among these men include the confidence in Western superiority and eventual subjugation to Chinese terms, ending up swallowed by their own

To Change China: Western Advisers in China, 1620-1960, (New York: Penguin Books, 1969), xi. Ibid., 3. Ibid., 20.

10 11

techniques and having to make a stand for themselves.12 The book follows a linear narrative structure and seems to seamlessly switch from experience to experience. Spences focus on the lives of individuals will carry on to his next few books. To Change China, being Spences first major work, still follows some conventions of Western history writing, although it is unique in its own way. Spence shows some inklings of the idea of a slowly modernizing China here, particularly in the introduction when he describes China as finally being able to challenge the world superpowers once it modernized.13 This is unusual for Spence, who as we will see was highly supportive of the idea of China as its own entity that did not need to modernize in accordance with Western ideology. However, in a unique twist, Spence completely demolishes this viewpoint as China breaks free of its reliance on the West and comes into its own as a power to challenge the West that tried to influence it. Since this work is the first of Spences, it gives readers but a taste of his narrative human-focused style, but shows the beginnings of such a style as Spence explores it by studying individual men. Using an individualized storytelling approach is a good way to attempt to get into the mind of the Western participants, but the views of the Chinese that were affected by the Western advisers are pushed to the side with this style, leaving the reader wondering what exactly the Chinese thought of these people. Emperor of China: Self-Portrait of Kang-Hsi is perhaps one of Spences most defining works. Spence brought together the emperors own words and work in the form of documents and journals to create a picture of Kang-hsi. The book is arranged chronologically, beginning with Kang-hsi as a young man and ending with his death and the legacy of his many children

12 13

Ibid., 292. Ibid., xiv.

and, most importantly and uniquely for a history book, is spoken from Kang-hsis perspective, using I and me rather than he. This allows for the book to be read more like a novel, with Kang-hsi reflecting upon different aspects of the China that he had rule of. Spences book gives insight to Kang-hsis personality as not only a reflective and intelligent man, but a firm and tough ruler with a strong sense of justice as he had high ranking officials who engaged in terrorism executed for their crimes.14 He also expressed anger at his troops when they massacred rebels and peasants, stating that his goal is to help and save people rather than killing or punishing them.15 Still, he remained a very human figure and quite relatable, especially when he cared for the Empress Dowager as she fell into a coma and then sadly died. He was stricken with grief and denial, having all kinds of foods ready for the empress should she wake and reminiscing of her and sending her presents.16 He was also seen as a guide for his many children, but he discouraged the spoiling of them for they would grow up dim witted or sickly.17 As an old man, Kang-hsi presented a valedictory and stated; Ive revealed my entrails and shown my guts, theres nothing left within me to reveal.18 Said valedictory is one of the most powerful parts of the book as it contains the reflections that Kang-hsi has on his life and his choices as well as his acceptance of them and of himself. One of the most unique and strongest books in Spences repertoire, Emperor of China takes the tested waters of the narrative shown in To Change China and goes absolutely wild with them. In an approach not seen in many other works, Spence uses first-person narrating style to tell the story of Emperor Kang-hsi. The only downside to this is that Kang-hsis writing most
14

Emperor of China: Self-Portrait of Kang-Hsi, (New York: Vintage Books, 1974), 30.

15 16

Ibid., 32. Ibid., 105. 17 Ibid., 124. 18 Ibid., 151.

often appears in official documents and other public works and therefore only gives us a view of his public life rather than his private life. This, however, is a typical problem that historians run across as often times diaries are not kept, unreadable, or otherwise are inaccessible, leaving them with the image of the individual as perceived by the public. Spence truly embraces the human element in this piece and Kang-hsi, rather than shown as just another ruler of China, is shown as a man who was compassionate, stern, and proud, with a strong sense of justice. This is likely because this is how the Emperor wished to be seen in public documents, as well as how he wished to be remembered. Regardless of the issues that develop from an attempted autobiography from the standpoint of a ruler, Emperor of China remains a fascinating read. Spences next work, 1978s The Death of Woman Wang also reads like a novel, rather than being a life story or the story of different experiences, it reads like a murder mystery. It takes place in a small, poor area of China during the seventeenth century. Spence states in the preface that he wants to keep the book rural feeling in spite of the difficulties that would come with doing so.19 A short, but interesting read, The Death of Woman Wang deals with the violent murder of an adulterous woman by her husband in a rural community struck by hardship and family feuds. A man named Huang later investigates the murder and deals with the issues of rural life, secrecy, and lies as he tries to find the truth behind the events. Spences nearly poetic writing style really shines through in this book, especially as he describes the tragic demise and eventual state of woman Wang in the snow: The body of woman Wang lay out in the snow all night. When she was found she looked almost alive: for the intense cold had preserved, in her dead cheeks, a living hue.20 This book clearly takes place in reality, but Spence treats the dead

19

The Death of Woman Wang, (New York: Penguin Books, 1978)., xii. Ibid., 132.

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woman like a specter, and later, a very vengeful specter. The last paragraph of the book equates her as turning from a defenseless woman unable to help herself as she died silently into a justiceseeking hungry ghost whom Huang orders to be buried with respect after he has passed down a humiliating sentence to her murderous husband.21 The reason why he uses this language and ghostly metaphor is because of the rural beliefs and superstitions of the time to set the mood, for Woman Wang did become a ghost to these people, and make the story seem like a morality tale that the village would tell for years to come. Spence crosses the boundaries between reality and fiction in The Death of Woman Wang, an effective tool considering that it took place in early rural China, when reality was heavily inspired by fiction and people strongly believed in the supernatural. However, some critics and historians would take issue with using fictional sources to enhance their narrative because at their core they are stories with no basis in reality. The biggest problem with the book is that the first part reads very much like a standard history, with the rural area that the action takes place described in terms of events and daily life before thrusting itself wholeheartedly into a retelling of the life and death of an adulteress. Perhaps if the text focused more on the ideology behind Woman Wang such as the cultural implications of her act and any other sources that depict such acts, as well as acts of murder and how they were punished over time. In this sense, it would make the book less about a rural town where these events happened, and more about the events themselves. Spence is at his best when he embraces his narrative elements and draws the reader into the historical events, and so this book would have been even better had he done so from start to finish.

21

Ibid., 139.

The Question of Hu, published in 1988, is yet another historical tale that takes a novelistic form, following the journey of an individual named John Hu, a Chinese Catholic who traveled to France and ended up spending a lengthy time in a madhouse. Spence begins by describing Hu as an unimpressive figure that Chinese biography likely wouldnt have recorded.22 He follows this up in the actual book with a description of Hu after his time in the asylum as a bedraggled man with the "face of an exhumed corpse.23 The book is organized by dates like a journal written by an observer. Considering that it was researched based on personal records and letters, this is a way to relate the product to the source material.24 One of the most important points of this piece is the cultural disconnect between Hu and Fouquet, his host. It lead to Hu being locked up in an asylum, denied pay, and being treated like an animal. The way Spence presents the struggle for Hu to live in France juxtaposed with Fouquets refusal to try to accept and understand him makes the reader sympathize deeply with Hu, who originally had great dreams of travelling to Rome and was proud of his converted status and was reduced to the status of a beast. The tale ends with Hu returning home and recounting his tale to children who are anxious to hear what the West is like.25 The Question of Hu is not only a tale of failed relations between the East and West, but also a study of how westerners viewed the Chinese that it managed to save by conversion, still as lesser people. The Question of Hu is another highly narrative work of Spence, this time using a thirdperson viewpoint, rather than telling the events as Hu would have experienced them. Perhaps this would have been a stronger approach as it would have been interesting to see either Hus inner torment over being considered mad or the ideas of Fouquet as he struggles to understand Hu and
22 23

The Question of Hu, (New York: Vintage Books, 1988)., xvii. Ibid., 3. 24 Ibid., xix. 25 Ibid., 134.

incorporate him into his own culture and world. This work is very specific and unique, and, like in The Death of Woman Wang, it may have been interesting to see the experiences of other Chinese who travelled to the West and see if they received the same treatment as Hu. Not only would this help ground the novel in a thematic reality, but it would also make it seem more believable by showing that Hu wasnt the only one to deal with this. Overall, however, the tale is gripping and unique, but also historically informed. It is a story not just about one mans negative experience in France, but also of failed connections and of misinterpretations on behalf of both the French and the Chinese. Along with his studies of individuals, experiences, and events, Spence published one major textbook: The Search for Modern China, which he dedicates to his students. Arranged chronologically from the late Ming dynasty to the end of the 1990s and the start of the new millennium, it appears as a typical textbook, but Spences narrative style shines through in some ways. For example, in the first chapter, Spence seems to take delight in describing the culture of the late Ming dynasty as well as the different experiences between the rich and poor with great attention to detail. The fall of the Ming to the Manchu is described poetically and symbolically with the emperor hanging himself from a tree in shame.26 The text also, unlike many history books, focuses on specific figures both in the Ming army and among the rebels that helped the Manchu takeover, creating snippets of biography. An example is his small piece on Li Zicheng whom he credits as bringing down the Ming dynasty because he led a propaganda campaign against them along with commanding a large army of rebel troops.27 Many textbooks do not include stories about individuals during these time periods unless they are elites or rulers, making Spences book unique. The other chapters also include mini biographies along with the
26 27

The Search for Modern China, (New York: W.W. Norton and Co., 1990)., 25. Ibid.

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vivid description he is famous for. Still, considering that this is a textbook, Spences narrative style is only in places and he must make the story of modern China understandable and easy to follow for students and the general public. This textbook is just that, a textbook. Generally, textbooks are extremely formulaic, chronological, and have to contain as much information as possible. This leaves Spence little room to explore his characteristic narrative style, although, a textbook told exclusively in the form of several small narratives might capture the attention of students in a superior manner to a bland chronological textbook. Perhaps the book would be stronger if it was organized thematically, or focused on the life of one figure during the events of each specific chapter and studied the world around them to add context. Still, for a textbook, it provides an interesting and clear read for students, accompanied by many pictures, graphs, and charts to guide their learning. It is very useful for the general public, students, and those who are just beginning to study Chinese history, which is its intended purpose. A very unique entry in Spences bibliography is Chinese Roundabout: Essays in History and Culture. Thematically organized, the book consists of essays concerning different events and aspects in Chinese history, but also aspects of culture such as food and medicine. His essays dealing with one particular person are written in a similar style as Emperor of China: SelfPortrait of Kang-hsi and The Question of Hu, such as The Paris Years of Arcadio Huang who dreamed of bringing China and France together and is an example of successful individual integration into Western society, whereas Hu did not do well in France.28 Huang is described and given the same believable human characteristics as the other people Spence has written about,

28

Chinese Roundabout: Essays in History and Culture, (New York: W.W. Norton and Co., 1992).,12.

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and in a segment where he expresses grief over the death of his infant daughter, he shows his true character as not only a religiously devout man, but a man who is trying to cope with struggle after struggle presented to him in his new life.29 Like The Death of Woman Wang and the segment about the Ming emperors suicide, Huangs tragic story ends in a poetic manner with this statement: The flicker of light, for this particular dream of a new era between China and the West, was out.30 His cultural essays are also detailed and fascinating, as exemplified by his essay simply entitled Food. Although the essay is unusually analytical and scientific for Spence, it is not without its narrative elements such as his look at The Scholars, a novel in which people are presented as being what they ate, such as a rude, greedy man being displayed as a pig who leaves a mess all over a monks hut after eating a huge meal.31 Food is often used to describe the qualities that are good in a person or item as well, such as a woman having milky white skin that was similar to the shade and texture of a lychee fruit, or dressing in a shade similar to a fresh strawberry.32 Spences quaint description of street vendors during festivals echoes his common narrative style and treats his subjects, as well as their cuisine, with respect. A varied book with varied essays, Chinese Roundabout shows different sides of Spence, while showcasing his narrative style as well. Chinese Roundabout is another very unique work by Spence as it is organized by theme and most of Spences works are chronological. The only thing that could be improved in this work is to draw the different sections of the work together into one book rather than them being fragmented essays. It would make the reading much smoother and allow for easier transitions rather than complete subject changes that are sometimes ran into. The section about Spences
29 30

Ibid., 22. Ibid., 24. 31 Ibid., 178. 32 Ibid., 186.

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teachers would make a unique work all on its own as it doesnt seem to fit with the rest of the books themes and would be interesting enough to take up its own work. The other pieces could be compiled into a chronological history. Missing from all parts except for a few selections such as the previously mentioned The Paris Years of Arcadio Huang is Spences narrative touch, and, although his segments about food and medicine are informative, they may have benefited from this. Overall, although fragmented, Chinese Roundabout is interesting to read. Gods Chinese Son: The Taiping Heavenly Kingdom of Hong Xiuquan, the next book in Spences bibliography, being written in 1996, takes the reader back to his roots as a narrative historian. He begins by stating that Christian beliefs trickled into Taiping society from the West, but the Xiuquan and his followers unique interpretation was different from the Western one, and helped birth the unique community.33 But, as Spence states, his goal is not to examine the Taiping movement, but Hong Xiuquan as a person and to try to get inside his head and understand why he was so effective.34 Although an unusual, violent and eccentric man, Hong still seems just as human as Spences other historical figures as he attempted to share his vision with his family first. He spiraled into sadness and eventually madness when they rejected him, and seemed to genuinely care for his wife and many children at first. Even when he goes on to pursue his mission, the text always recalls to them and shows that they are always somewhere in his mind.35 It is also somewhat inspiring to watch him act openly in defiance against the Manchu by deliberately growing the hair on the front of his head much longer than the rest of his hair to

33

Gods Chinese Son: The Taiping Heavenly Kingdom of Hong Xiuquan , (New York: W.W. Norton and Co., 1996)., xxiv.
34 35

Ibid., xxvi. Ibid., 50.

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protest the demands of the shaving of it.36 If anything, Spence makes it clear that Hong was an inspiring man with a strong personality and a penchant for delivering his message. One of the strongest parts of the book is the joining of Europeans into the Taiping rebellion, with each of them having a specific job, such as an Irish weapon master, and an American recruiter.37 It is effective at showing the influence that the Heavenly Kingdom had on not only the Eastern world but the Western world as well. Hong, like all of Spences other figures that die at the end of their respective tails receives a poetic and artistically written exit with his body wrapped in yellow silk and buried in the bare dirt.38 The conclusion of the book and of the lives of Hong and his family is both beautiful and tragic: But if God, the Heavenly Father, is saddened at Hongs passing, He gives no sign. Hongs Elder Brother, Jesus, too, is mute. And even his Heavenly Mother, who cried out with such anguish at his birth, and fought to keep her infant from the seven-headed dragons jaws, stays silent in her realm.39 Spences gift of storytelling really shines through in this book, as does his narrative style of writing as the book reads like a tragedy of an eccentric and unique leader rather than a historical analysis and dissection of Hong Xiuquan and his actions. Perhaps the book may have benefitted from even more narrative as, although Spence recalls Xiuquans actions, it may have been interesting to see what others thought of his actions such as his followers, the people that he attacked, Westerners, and other people. It also would have been interesting to see some Manchu reactions to Xiuquan. Also to enhance the story would be further information about China in the aftermath of the Taiping Rebellion, which would help round out the story. Although not as poetic as ending on the death of Xiuquans family, it would help tie up any loose ends.

36 37

Ibid., 109. Ibid., 238. 38 Ibid., 325. 39 Ibid., 332.

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The Chans Great Continent: China in Western Minds, published in 1998, recalls the ideas that Spence put forth in his first publication of Western interaction with China as well as Western perception of the country and its people. Like To Change China, each chapter in The Chans Great Continent is listed chronologically and details the experiences of different Western people experiencing and trying to understand China. Spence states that the reason why he decides to focus on individuals and their sightings of China is because not all experiences are universal and generalizations are usually off the mark.40 He begins with Marco Polo and his account, but oddly enough, rather than using the first person when referring to Polo or even the third, he approaches his story very much like a historian, analyzing his work and placing himself in the shoes of an explorer.41 Truly, this book is an oddball amongst Spences works, not being narrative history in any of its twelve chapters. However, rather than being entirely omniscient like many historians, Spence constantly refers to our journey, and our exploration in the chapters, making it seem like he is taking the readers on a historical trip through a world of archives and sources, and making it still have some form of story to it. This work is one of the weaker of Spences because it completely eschews his narrative style in favor of a more traditional Western style. This makes the book seem dry and uninteresting for someone who is used to Spences captivating tales and dramatic storytelling. Rather than making his book seem more like a trip through the archives of a library, Spence could tell the story of Marco Polo and other Western observers and explorers of China from either first person or third person. This would be particularly interesting when dealing with orientalization as Spence could present the viewpoint of a Western aristocrat captivated by Chinese art and material goods, and then the viewpoint of a Chinese individual reacting to this
40 41

The Chans Great Continent: China in Western Minds, (New York: W.W. Norton and Co., 1998), xviii. Ibid., 1.

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corruption of their culture. This would create a unique dialog for those sections of the book. In stepping away from his own style, Spence becomes like every other Western author; an outsider looking in. The latest of Spences publications turns back to the biography with the unique and insightful Mao Zedong, published in 1999. Many historians have studied Mao since his rise to power, but few have treated him like a human as Spence does, rather choosing to see him as a monster identified by his political actions. One of the first things Spence points out is that Mao was an ordinary man being unexceptional aside from his relentless energy.42 He begins his tale of this everyday man turned extraordinary with his childhood, describing him as an avid reader who grew up on a farm and whose love of literature sparked him to his studies.43 His love for books is brought up multiple times in the book as a major force driving him. Most striking of this work is how ordinary Mao seems, especially in his meeting of his professors daughter with whom he fell in love, describing his experience falling for her in the winter as he watched the white plum blossoms flower.44 The segment is sweet and romantic, a side of Mao that many other historians do not bring out in their work. After his professor died, he wished to provide and care for the mans wife and daughter even as he grieved over the death of his own mother.45 Another aspect of Mao that is often not seen in other books is his love for his children, and in a particularly tear-jerking statement, he eulogized his son who died in North Korea saying, There are no parents in the world who do not treasure their children.46 Perhaps the most powerful chapter of the book is the final chapter, Embers, which describes Mao as an old man and ends
42

Mao Zedong, (New York: Penguin Books, 1999), xi.

43 44

Ibid., 6. Ibid., 34. 45 Ibid., 39. 46 Ibid., 117.

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with his death. The way Spence describes his slowly withering state is as powerful and symbolic as the chapter title of slowly blackening embers eventually snuffing out their own flame. He ends the book with a quote from the last meeting he had before he died: What will happen to the next generation if it all fails? There may be a foul wind and a rain of blood. How will you cope? Heaven only knows!47 Like with any other death that Spence explores, Spence closes Maos life and the book with a poetic paragraph and a powerful statement, an honor that few would give him. A powerful work, Mao Zedong is very unique in terms of a biography on such a reviled figure. Although many Western historians tend to see Mao from the outside or judge him on his actions, Spence made the bold choice to delve into his life wholeheartedly, making Mao seem more like a person as opposed to an otherworldly figure. The downside of this is glossing over the terrors that Mao brought upon not only his own people, but upon others as well. Although the book ends with Maos death, some details on the aftermath would have helped round out the picture, especially dealing with the remainder of Maos family and how they would cope with his passing and how their lives would be impacted. Overall, though, the strength of this work lies in its analysis of Mao as a person rather than as a leader or a monster. Context After analyzing Spences work, it would be beneficial to consider him with respect to other Chinese historians. Paul Cohens book Discovering History in China: American Historical Writing on the Recent Chinese Past enables this contextualization. It is a study of the trends that Western writers have followed in approaching Chinese history and culture over time. Cohen

47

Ibid., 178.

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points out that the supreme problem for Americans studying Chinese history is a tendency to skew the history in such a way that China is constructed through a Western lens rather than its own unique lens.48 This is especially strong in the trend before and leading up to World War II, in which China was only understood in how it related to the West or was impacted by the West in events such as the Opium War.49 During the 1960s, this type of approach was attacked for it had a positive outlook on Western expansion and attempts at modernization and a negative outlook toward the Eastern resistance toward these attempts.50 The historical thread that follows Chinese response to the Wests influence is problematic as well because the Chinese people are put into a passive position, rendered unable to change their own path in history without Western input.51 Modernization theory also began to be disputed because although the Chinese were given more agencies over their own country using this theory, it assumed that the West was modern and China was backward or traditional.52 It would take time before China was realized as having a dynamic history of its own long before the West arrived. Another theory that developed during the nineteenth and twentieth century is the imperialism theory that branches off of the modernization theory in stating that Chinas modernization, capitalism, and independence was stifled by the imperialism practiced by those in power.53 Although these theories have gradually moved toward a less Westernized perspective of China with each iteration, Cohen suggests that a Chinese history centered in China is the ideal that historians are working toward.54

48

Cohen, Paul, Discovering History in China: American Historical Writing on the Recent Chinese Past , (New York: Columbia University Press, 1984), 1. 49 Ibid. 50 Ibid., 3. 51 Ibid., 9. 52 Ibid., 57. 53 Ibid., 97. 54 Ibid., 149.

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After considering Cohens Discovering History in China, Spence fits most specifically in the camp of a modern Chinese historian in that he attempts to present a vision of China through the lens of itself. This is particularly tricky considering that Spence himself is a Europeanturned-American scholar, which Cohen warns is the type of person likely to have a westerncentric vantage point of Chinese history. However, many of Spences works, particularly The Death of Woman Wang, view the events that are transpiring from a Chinese lens. It seems as if the only moment that Spence slips out of this China by the Chinese vantage point is in his textbook, The Search for Modern China, which uses a lot of modernization rhetoric and can be seen by some readers as stating that China is still struggling to find its modernized or Westernized self. When it comes to his studies of Western interaction with China, Spence does not dismiss China as merely reactionary, nor does he portray many of the Western individuals that visit China in a positive light. Spence even presents an inversion of the Western man judging China model with The Question of Hu, in which Hu is forced into the foreign world of France and attempts to make sense of it, all while facing judgment from his hosts. Spence also avoids the ethnocentric distortion that Cohen cautions about, only deliberately invoking it when discussing events from the vantage point of the often close-minded Western observers in works such as To Change China. Spences approach seems to be less Western because he considers the Chinese as independent actors in their own history. Overall, he is very modern in terms of how he covers his material, but his status as a narrative historian also ties him to the roots of history itself as a form of storytelling. This makes Spence respectful of the roots of traditional Chinese history that he developed such a strong respect for and incorporated into his work.

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Spence as a whole is most certainly a narrative historian at his core, but a unique one. Most of his works do not read as history books but rather as novels, particularly his biographies and The Death of Woman Wang. Even when he writes from an angle of a traditional historian rather than a storyteller he manages to incorporate some narrative elements. He has a very unique writing style and has a penchant for using powerful symbolism and giving his subjects that pass on in his narratives respectable exits more akin to a tragic passing in a novel. His handling of figures of questionable action such as Hu, Hong and especially Mao is something unseen in most history books as he tries to make these people seem human in spite of their deeds. Spence also manages to bring the mighty Emperor Kang-hsi to a human level. Many historians treat their subjects as just that, subjects, meant to be dissected and analyzed and reduced to a list of actions and traits. By adding the human element, Spence makes these people more relatable and interesting for the reader, encouraging them to keep reading and pursue more of Chinese history. Interviews and Reviews: Reactions to Others More light can be shed on Spence and his personality, as well as his unique identity as a historian, by looking at interviews others conducted with him. Spences true passion for his historical storytelling really shines in the interview entitled The Art of History: A Conversation with Jonathan Spence, in which Hanchao Lu questions Spence on his methodologies. Spence, above all believes in the strong relation between history and literature, linking them together with pieces such as The Death of Woman Wang.55 However, Spence denies being passionate about his unique historical writing, and rather views it as more authentic, linking his form of

55

Lu, Hanchao The Art of History: A Conversation with Jonathan Spence, The Chinese Historical Review, Vol. 11, No.2, 2004.

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writing to a long tradition of Chinese literature such as Sima Qians Shiji.56 He also admits to making moral judgments in some of his works, but leaves them mostly open for the reader to interpret, choosing not to make them blatant.57 When Lu refers to Spence as influential, Spence states that he would rather be impactful. Spence does not wish to give himself too much credit, showing his more modest side, and presents himself as a man who wants to interest people and leave an impact on readers at the very most rather than focusing on being an influence.58 As Spence says; My interest was in arousing interest.59 He disagrees with the statement that he has invented a new school of history by stating that he does not follow any particular school of interpretation.60 Spences main goal seems also to extend knowledge of Chinese history to the Western reader, which is severely lacking in this form of knowledge, and spark their interest by presenting the voices of the subjects he studies as clearly as he can without a common Westernized lens.61 Spence defends the use of fiction as a source because they can accentuate lacking sources and provide a picture of how writers viewed events that occurred around them, but cautions against fictional pieces written by the elite as they would be skewed to support their families and no one else.62 It is also in this interview that Spence ties his influence strongly to his teacher, Mary Wright, and her strong respect for traditional Chinese historians and their writing, an influence that shows up clearly in his own work.63 Notable through this entire interview is Spences respectful nature both toward his subject matter and Lu himself. It is clear that he
56 57

Ibid. Ibid. 58 Ibid. 59 Ibid. 60 Ibid. 61 Ibid. 62 Ibid. 63 Ibid.

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enjoys talking with him about the finer points of Chinese history and his methods for exploring it. It is also likely that the two consider each other equals in knowledge and, as such, are able to have a cordial conversation about Chinese history. Analytically, it can be assessed from this interview that Spence is daring for a Western historian. Many other Western historians would be reluctant to use sources that would be considered fictional, but Spence suggests that fiction and legend can provide insight into a culture, which is a sensible statement. Fiction is the voice of the people, and in some cases in which a culture or people did not understand the workings of the world, fiction became their way to understand it. Spence uses this approach in The Death of Woman Wang and Emperor of China, both of which focus on legend and story within history. Spence also seems to utilize the traditional Chinese historical approach that he seems to adore in the interview in works like these as well. As for his issue with moral judgments, this definitely shows up in his works. Emperor of China describes Kang-hsi as a moral person who has generally good virtues, whereas his generals and opponents are generally bad and Spence highlights their wrongdoings. The Death of Woman Wang takes this further as the adulteress Woman Wang is not seen as a negative figure in spite of her act, but her husband who murdered her and the villagers who covered up the murder are given a villainous touch. This interview really clears up some of the choices that Spence has made in his work and further solidifies his adoration of a more Chinese approach to history. In stark contrast to the above interview is Spences interview with Jim Leach for the National Endowment for the Humanities. Spence, like in the previous discussion, states that Mary Wright was his inspiration for switching to his interest in Chinese history in terms of why

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he even bothers to study Chinese history in the first place as opposed to European history.64 Leach tries to draw comparisons between Chinese dynasties and European feudal systems, and Spence quickly rebuts by stating that they are quite different from one another, though comparison studies may be done.65. Throughout the interview, Leachs questions seem to be less strung together than Lus, with the interview changing subjects very quickly, but seemingly always going back to the relation between the East and the West, moving from the Western view of China to the Open-Door Policy.66 After more discussion, Leachs questions turn to cultural interaction between China and the United States. Spence believed that indeed the United States borrowed quite a bit from China and vice versa.67 He also talks about some of his classroom methods in that he begins many courses on Modern China with the Quing Dynasty to present an image of a strong, powerful, admired China that the West fell in love with.68 One of the more interesting parts of the interview is when Leach asks Spence if there are any uniquely Chinese ideas that Westerners misunderstand, once again bringing him back to his seemingly favorite topic of East-West dynamics. Spence responded that, China has a rich tradition whether one has any interest in Modern China or not.69 He discusses the strides that the Chinese have made in attempting to restructure and recover their past and suggests that Western scholars not simply watch, but aid in the rebuilding effort.70 Spence concludes the interview with a very unique statement: Thank you for your shrewd questions.71 It seems as if he has a hard time dealing with individuals with strong inklings toward comparative studies or an interest in the East and
64

Interview for the National Endowment for the Humanities: http://www.neh.gov/about/awards/jeffersonlecture/jonathan-spence-interview.

65 66

Ibid. Ibid. 67 Ibid. 68 Ibid. 69 Ibid. 70 Ibid. 71 Ibid.

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West dynamics, in spite of writing on the subject himself in To Change China and The Chans Great Continent. Perhaps, as a scholar who feels, according to the previous interview, more akin to traditional Chinese historians, and their narrative approach, than modern Western analytical historians, with their analytical methods, the questions seem like jabs at him. Moreover, Spence tries to present Chinese history in the same vein as whoever he is writing from the perspective of, be it a Western explorer or a Chinese peasant. This article puts the metaphorical nail in the coffin of Western historical approaches for Spence. As Cohen states in Discovering History in China, many Western historians are drawn to comparative studies, trying to draw connections between Western and Eastern society for the purpose of making the foreign East seem more relatable. Spence, however, as a historian who wants to evoke a more traditional Chinese approach to history has no need for such studies, nor does he try to relate China to the West, for China is its own unique entity. He only takes the vantage point of a Western individual in works such as The Chans Great Continent and To Change China, but neither of these use comparative studies either, attempting to get into the heads of these Westerners rather than comparing them to their unique environment. Perhaps the most poignant part of this interview that helps clear up an understanding of Spence is his use of the word shrewd to describe the questions of the interviewer. It seems as if Spence is no stranger to people critiquing his work as being either unusual for a Western historian at best or fictitious inspired drivel at worst. He knows that his interviewer has less respect for and less understanding of China as its own unique entity and directly attacks this by claiming that he is shrewd for insinuating that Spence should follow a more traditional Western approach. On his position of history, Spence is unmoving.

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Spence also has quite a bit to say about other authors of Chinese history and has published several reviews of their works, ranging from approval to revilement. His most notable review is entitled Portrait of a Monster, a review of Jun Chang and Jon Hallidays Mao: The Unknown Story. This is Spences most scathing review of them all, but not unexpected considering his own, more realistic take on Mao. Spences review begins in a narrative style, describing the writing of Edgar Snow who wrote Red Star Over China which portrayed Mao in a fairly positive light.72 Spence then goes on to describe the authors approach toward Mao as a protracted assault on anything that would portray him as anything other than a monster. 73 One of the most powerful accusations in the review comes after Spence describes their, often biased, sources, And from this mountain they have constructed their Mao.74 Accusing historians of constructing something or flubbing facts is one of the most serious things a person can do, and the fact that he deems the Mao in Chang and Hallidays book as a strange invention rather than as a person is a powerful one indeed. Another aspect that Spence finds incredulous in the book is Maos latent bloodlust that overtook him as he gained power, culminating in a love of torture and slow killing, a feature not at all present in Spences own work, where Mao was simply a very intelligent politician in one light and an ordinary man in another.75 He also points out a bias in their research, including that most of their resources come from interviews and diaries compiled from Taiwan which was firmly opposed to the Chinese communists. 76 Spence continues

72

Portrait of a Monster, review of Chang, Jun and Halliday, Jon Mao: The Unknown Story, Knopf, 814pp , New York Review of Books, 2005. 73 Ibid. 74 Ibid. 75 Ibid. 76 Ibid.

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dissecting their work, finally ending on a statement that if Mao was as vile, as wretched, and as evil as the authors say, then there is no point at all in studying him and learning about him.77 This review is so important to study because it shows us not only how Spence responds to works that seem lackadaisical to him but also to dehumanizing pieces. Although Spence does make moral judgments as stated in a previous interview, he leaves it up to the reader to decide what his message is. A piece like Mao: The Unknown Story is chock full of moral judgments that are blatantly visible and nearly insulting to Spence it seems. One of the aspects of Spences works is to make the subject seem more like a human rather than a name with some actions behind it, and because Chang and Hallidays work dehumanizes Mao, he takes a very strong offense to it. He also seems angered by the idea that the authors used biased outside sources rather than inside sources that allow them to get a fairly unbiased picture of Mao like Spence did. His other reviews arent as scathing and do give credit to the authors of their respective works. In his review of China Bibliography: A Research Guide to Reference Works about China Past and Present, he sympathizes with the author by stating that it is no easy task for a person to organize sources about China in a sensible manner.78 He also generally praises the book, stating that it is a base from which scholars eager to pursue studies of China can leap from and utilize in their own work, although he feels that every historian will find something that they feel should have been included.79 In Spences review of Confucianism and Christianity: The First Encounter, he describes the qualms that he has with the book as quibbles, and mainly has trouble with date errors, while praising author John Youngs introduction of new themes to the

77 78

Ibid. Review of Zurndorfer, Harriet China Bibliography: A Research Guide to Reference Works about China Past and Present Brill, 1995, The China Quarterly, No. 148, 1996. 79 Ibid.

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discussion.80 He takes a similar approach in a review of A Documentary Chronicle of SinoWestern Relations, (1644-1820), praising Fus work and her efforts before offering some constructive criticism, starting that her work is a brave venture.81 He refers to Craig Clunass work, Superfluous Things: Material Culture and social Studies in Early Modern China, as subtle and absorbing and praises the authors scholarship, but states that his book was safe.82 Overall in his reviews, Spence seems respectful of other historians and their efforts provided they do not take stances that he strongly disagrees with or feels contrived and irrelevant. He seems to enjoy the work of others and writes with a strangely encouraging tone in his reviews, as if urging on the writer to write more. He understands the amount of work that historians put into their books and compilations and shows respect for their diligence. With the strong exception of Portrait of a Monster, Spence seems to respect his fellow historians and, although he himself practices a unique style of historical writing, he does not disapprove of those who present history in a different way. These reviews can provide further insight into Spence and his methodology, along with Spence as an individual. Although critical of works like Mao: The Unknown Story, he seems overall supportive of the community of Chinese historians. Spence does not wish to influence these historians, as he seems to enjoy their work, but rather he wants to inspire them to improve upon what they have. His only major critiques of these works occur when Western historians are safe and non-revolutionary. As a historian who pushes beyond the safe zone himself, he

80

Review of Young, John Confucianism and Christianity: The First Encounter Hong Kong University Press, 1983, The Journal of Asian Studies, Vol. 44, No. 1, 1984.
81

Review of Fu, Lo-Shu, A Documentary Chronicle of Sino-Western Relations, 1644-1820 University of Arizona Press, 1966, Journal of the American Oriental Society, Vol. 90, No. 4, 1970. 82 Review of Clunas, Craig Superfluous Things: Material Culture and Social Status in Early Modern China, 2004 , Design Issues, Vol. 11, No. 1, 1995.

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seems to respect other historians who do the same and encourages historians that play it safe to try new things. He also praises the writing styles of most of these authors along with how their work reads rather than on analytics, nitpicking at dates and names a few times but never taking much issue with analysis. To Spence, how a historical work reads is important, because, as previously stated, his goal is to inspire further reading. If another work inspires Spence and keeps his attention, it would be considered to be a good work in his opinion. The reviews, the interviews, and Spences work all tie together to form a clear picture of the man and his methodology. Reactions Turning from Spence himself, it is important to know what others felt about his work and himself. One of the major analyses of Spence and his work is Arif Dirliks Sisyphus in China, which is a review of Spences The Search for Modern China which raises some interesting points about the textbook. Dirlik first praises Spence as having superb gifts as a storyteller.83 He then moves on to strongly criticize Spences conceptualization of modernity and his apparent statement that China is backward and has a failed history because it has not reached this point of modernity.84 Therefore, the work is not groundbreaking or unique, though that is to be expected of a textbook.85 Dirlik does identify Spence as a humanist, claiming that his account is attempting to get to the human core of China while struggling with his Western identity.86 He firmly places Spence in a European camp because of his concept of modernity and finally cites that his main problem is the title, recommending a better title The Struggle for Modern China,
83

Dirlik, Arif Sisyphus in China, review of The Search for Modern China (New York: W.W. Norton and Co, 1990), Transition, No. 55, 1992.
84 85

Ibid. Ibid. 86 Ibid.

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which evokes the idea that China has reached modernity but it is still fighting with pressures from the West as well as itself.87 A lot of the problems in the book are minor for a textbook which is also a product of its time when interpretations of Chinese History often followed the same pattern.88 This critique is important as it seems as if Dirlik is familiar with the problems of Chinese history that Cohen had stated, especially with the issue of modernity versus tradition. The most positive aspect of this review praises Spences storytelling, a trait that Spence extracted from traditional Chinese historians and uses to inspire his readers. However, one thing that was previously shown through an exploration of Spences work and Cohens context is that Spence did not follow a concept of modernity and tradition, believing that China had its own agency and was capable of moving forward on its own. Dirlik seems to be targeting Spences title in this review as evidence of a backwards Eurocentric view of modernity, but upon reading the textbook, there is no sign of this sort of view. Although The Struggle for Modern China might have been a superior title, Spence uses his own title to make it less of a search for a Westernized China, and more of a search for Chinas place in an ever Westernized world. It was already advancing at its own pace, but considered backwards by the rest of the world. Finally, Dirliks statements about Spence trying to get to a human core are very true. As previously stated, the people in Spences works seem like believable humans rather than just names. This is likely done not only in accordance with Chinese tradition, but also to inspire readership. Bruce Mazlish examines one of the more novelistic of Spences work: The Question of Hu. In The Question of The Question of Hu, Mazlish wishes to experiment in two different

87 88

Ibid. Ibid.

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readings of the book; one that will consider it a history and the other that will place it in a fictional context.89 Like Dirlik, the first thing Mazlish does is praise Spences writing and states that it makes the book seem like the audience is viewing the events as they happen.90 He then points out a troubling aspect of Spences work in that the reader has no way to check the claims that it makes without reading the entire book and writing ones own interpretation.91 Mazlish states that Spence is using the craft of a novelist by leaving it up to the audience to decide if Hu truly was mad or not rather than drawing conclusions and analyzing like a historian would.92 He then goes on to analyze Spences book, comparing his work to that of Herodotus, who had a similar writing style of leaving questions up to the reader to answer while providing historical facts as basis for the readers decision.93 However, in the end, he places Spence squarely in the camp of fiction writer, stating that The Question of Hu is an engrossing story, but not, in my view, a true piece of historical narrative as it does not reflect a questioning historical mind.94 This critique is at best shallow in nature. Degrading The Question of Hu because of its lack of analytics and unique writing style is a poor decision on Mazlishs part. Unlike Dirliks review which seemed to make valid critiques of Spences work, Mazlish seems caught up in the idea that Spence uses a narrative style to tell the story of a Chinese man brought to France. He also seems to think that literary style is secondary to historical inquiry, whereas Spence seems to place both inquiry and narrative on the same pedestal of importance. Spences mind is questioning and he brings up many questions during The Question of Hu. Was Hu truly mad or
89

Malzish, Bruce The Question of The Question of Hu, review of The Question of Hu, (New York: Vintage Books, 1988), History and Theory, Vol. 31, No.2, 1992. 90 Ibid. 91 Ibid. 92 Ibid. 93 Ibid. 94 Ibid.

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was he reacting out of frustration and anger against the new world he was forced to adapt to? Was it ethical or unethical for him to be locked away in an asylum? Was it right for him to be taken away from his home and his family in the first place? Mazlish makes a point about Spences work that is valid, however, in stating that it is up to the reader to deduce the answers to these questions, encouraging the reader to develop an inquiry and urging them to read further, which is precisely Spences goal. However inaccurate this review might be, it shows that not everyone is swept up in Spences writing style and presentation of narrative and would prefer if he choose a more formulaic approach. Another especially lengthy but overwhelmingly positive review is provided by K.C. Hsiao, who discusses Spences most unique and interesting venture into the world of biography: Emperor of China: Self-Portrait of Kang-hsi. Hsiao states that Spences study of the emperor is nearly psychohistory as he seems to get inside the head of Kang-hsi, but performs no psychoanalysis.95 He congratulates Spence on his extensive work, involving a large amount of translation, and states that he himself has enjoyed reading it and that many others will do so as well.96 Still, he finds some things to nitpick at, including a few shaky translations, the question of the origin of Kang-hsis simple writing style, and some possible misprints.97 Hsiao seems to be very similar to Spence himself in his reviewing style, giving an overly positive review and dismissing his criticism as nitpicking, making his review most curious. It stands out in this manner amongst not only the positive reviews but also the negative reviews of western historians in that, despite devoting several pages to analysis and his own iteration of Spences work, he is very to the point when it comes to the actual review.
95

Hsiao, K.C. Biography or Autobiography: Spence on Kang-hsi, review of Emperor of China: Self Portrait of Kang-hsi, (New York: Vintage Books, 1974), Journal of Asian Studies, Vol. 34, No. 3, 1975. 96 Ibid. 97 Ibid.

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Hsiaos review shows, if anything, that Spence has garnered respect from Chinese historians for his works. This is important because Spence sought to emulate traditional Chinese narrative styles for his histories. To receive this amount of respect from a Chinese peer would likely make Spence very happy. However, Hsiao brings up some valid points about Spences master work on Kang-hsi. Translation is a major issue for historians, especially a Western historian studying a Non-Western work. The Chinese language is a complex one, and, although it is evident that Spence was fluent in it, languages evolve over time, and only one that was raised in a traditional Chinese environment could truly understand all the nuances of Kang-hsis writing and provide a clear and flawless translation. Hsiao, above all else, enjoyed the book, which was Spences goal in writing; to foster not only enjoyment of his material but further learning, further reading, and interest, which is shown through Hsiaos inquiry. It seems that Spence truly accomplished his goals with Emperor of China. Other reviews of Spences work seem to be more positive than these by Dirlik and Mazlish. Victoria Casss review of The Death of Woman Wang is fairly positive and she states that Spence has successfully blended fiction and history into a brilliant new form of writing.98 She enjoys his account of life in the small village as well as his recreation of physical realities but also imaginative realities, referring to his use of motif and legend to evoke the horror of the event and its effects on the community.99 Cass further praises his use of juxtaposition and mood whiplash in a historical narrative, with beautiful scenes of the countryside as the background to a brutal strangulation and the subjugation of women.100 Once again praising Spences narrative style, Cass is in the exact opposite camp as Mazlish as she feels that he blends traditional story
98

Cass, Victoria B. Review of The Death of Woman Wang, (New York: Penguin Books, 1978), The Journal of Asian Studies, Vol. 39, No.3, 1980. 99 Ibid. 100 Ibid.

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and historical inquiry in a flawless manner, which was Spences goal. The idea of imagined realities and physical realities is important when studying early rural China because, for them, reality could be unrealistic and myth could prove real. It is clear that Spence strongly considered this while writing and it was highly approved of by Cass. In an even more positive of To Change China, L. Carrington Goodrichs review begins with a simple, but powerful statement: Here is history most engagingly written.101 He then, like previous reviewers, goes on to praise the storytelling gift that Spence has. Goodrich continues praising Spence all throughout his review, only making one tiny complaint about an individual mentioned in the books skill in speaking Chinese.102 The most positive review of Spences work yet, this shows that Spence accomplished his goal of engaging his audience, which was his purpose for writing history to begin with. The positive reviews with small nitpicks continue with T.H. Barretts piece on Chinese Roundabout and Soren Clausens review of The Chans Great Continent. Clausen praises Spences writing and states that he treats his sources with respect, but also states that the piece is less scholarly than his previous works that focus on Sino-Western relations.103 T.H. Barretts review is one of the most positive of them all as his only criticism of Spence was that it took him far too long to compile his essays into a book form.104 He states that Spence is worth reading and praises him for striking back at an editor that toiled with his work too much.105 Clausen stating that The Chans Great Continent was less scholarly than something like To Change
101

Goodrich, L. Carrington Review of To Change China: Western Advisers in China, 1620-1960, (New York: Penguin Books, 1969), The China Quarterly, No. 41, 1970. 102 Ibid. 103 Clausen, Soren Review of The Chans Great Continent: China in Western Minds (New York: W.W. Norton and Co, 1998), The American Historical Review, Vol. 105, No.2, 2000. 104 Barrett, T.H. Review of Chinese Roundabout: Essays in History and Culture, (New York: W.W. Norton and Co, 1992), The China Quarterly, No. 137, 1994. 105 Ibid.

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China is certainly a unique statement because The Chans Great Continent follows a more formulaic approach as opposed to the uniquely written To Change China. It seems as if strongly analytical and formulaic historical approaches are not Spences strong point, but narrative is where he really shines if the critic makes a statement like this. T.H. Barretts review, however, shows that even Spences more analytical and traditional writing can be engaging, provided that his vision is not tampered with. Overall, the reactions to Spence are mostly positive with each reviewer having his or her own unique statements, but there are similarities in these reviews. The praise of his narrative and gift of storytelling is common throughout. There are some that approve of his use of fantasy and narrative techniques and others that strongly disapprove of this in favor of a more analytical approach. There is also praise for his treatment of historical sources and his wealth of knowledge. Most criticism, however, focuses on the question of whether or not his work is scholarly enough, something that plagues most narrative historians. Still, the sampling of reviews analyzed here seems mostly positive with, a couple of exceptions that seem to attack Spence and treat his work as a lower form of history. Analysis Spence, I feel, does have a very powerful gift of storytelling and the ability to enrapture the reader in tales that much of a modern audience would find dull or uninteresting. Oddly enough, even as a historically minded individual, the books that I found the most enjoyable were Emperor of China and The Death of Woman Wang because they were highly narrative in their nature and drew me in with their uniqueness. I have a love of fiction writing as I do of historical writing, and feel as if the two can be combined together, which Spence does brilliantly in Woman

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Wang, making her seem like a vengeful spirit. What I also found most befuddling was that I greatly enjoyed his biography of Mao Zedong in spite of an upbringing that more resembled Chang and Hallidays interpretation because Spence made a man that I, for the longest time, was convinced was a monster, seem human once again after years and years of dehumanization. An issue that I have found in most historical accounts is that many historical figures are defined by their actions and what others thought of them rather than as three dimensional humans that they no doubt were. However, there are some weaknesses I can find in Spences work, particularly when he attempts a less narrative form of history. The Chans Great Continent seemed very dry and dead as compared to its earlier counterpart of To Change China. Similarly, the textbook made me miss the Spence that I had become enchanted with in Woman Wang as, in spite of his attempt to incorporate narrative, it is still a textbook and extremely rudimentary in its descriptions. Jonathan D. Spence is for sure one of the most unique historians I have ever had the pleasure of studying and his work is certainly a breath of fresh air in a world of dry analytics. He has created his own style that is highly influenced by the traditional Chinese historical approach. His works are said to to bind the worlds of fiction writing and historical narrative together whereas some staunch critics find more fiction than reality. There is no doubt that Spence will appeal to some readers but not to others, which is the case with every historian. Spence stated that his goal was to spark interest rather than influence and encourage his readers to read further, and I feel that he has accomplished that goal by standing out amongst historians as truly unique.