Taiwanese Literature

 Taiwanese literature, a rich and diverse

body of work, has evolved through distinct
Introduction historical periods, reflecting the island's
to Taiwanese complex cultural and political history. This
Literature literature can be categorized based on
linguistic, thematic, and historical lines,
providing a window into the soul of Taiwan.
 1.Classical Literature (before 1895)
Categories of Chinese Classical Influence: Literature during
Taiwanese this period was heavily influenced by Chinese
classical forms, including poetry, essays, and
Literature historical texts. Confucian ideals and classical
Chinese were the dominant themes and
language.
 (1) Bilingual Works: During the Japanese
colonization, literature was written in both
2. Japanese Japanese and Classical Chinese. Taiwanese
Colonial writers grappled with identity and colonial
Period (1895- oppression.
1945) (2) Modernist Influence: Japanese influence
introduced modernist and realist styles,
leading to a departure from classical forms.
 •Lai He賴和: Known as the "father of
Taiwanese new literature," wrote many
poems and essays.
Japanese •Yang Kui楊逵: The Newspaper Boy - a
Colonial novel that critiques colonial exploitation.
Period (1895- •Wu Zhuoliu吳濁流: Orphan of Asia, The
1945) Fig Tree, Taiwanese Forsythia - these
novels depict the struggles of Taiwanese
identity under Japanese rule.
 (1) Nativist Literature: Following World War II
and the retreat of the Kuomintang (KMT) to
Taiwan, literature often emphasized
Taiwanese identity and local landscapes,
3. Post-War contrasting with the previously dominant
Chinese nationalism.
Period (1945- (2) Political Suppression: Martial law (1949-
1987) 1987) curtailed free expression, but writers
still found ways to critique society subtly.
(3) Bilingualism: Works were produced in
both Mandarin and Taiwanese (Hokkien),
reflecting the island’s linguistic diversity.
 Anti-Communist and Nostalgic Literature (1945-1960)
Wang Wenxing王文興: Family Catastrophe - a novel reflecting on the
complex social changes in post-war Taiwan.
Modernism and Realist Local Literature (1960-1980)
(1) Bai Xianyong白先勇: Taipei People, The Eternal Snow Beauty, The
Garden Party - collections of short stories that capture the lives of
mainlanders in Taiwan.
(2) Chen Yingzhen陳映真: My Kid Brother Kangxiong - a novel exploring the
lives of the working class.
(3) Huang Chunming黃春明: The Taste of Apples - a collection of short
stories reflecting on rural life and urbanization in Taiwan.
(4) Wang Zhenhe王禎和: Rose, Rose, I Love You - a satirical novel about
Taiwanese society.
 (1) Literary Explosion: The lifting of martial law
in 1987 sparked a literary renaissance. Writers
explored previously taboo subjects such as
political repression, ethnic identity, and social
4. Post-Martial change.
(2) Diverse Voices: Literature began to reflect the
Law Period voices of indigenous peoples, women, and other
(1987-present) marginalized groups, enriching the tapestry of
Taiwanese literature.
(3) Globalization: Contemporary writers engage
with global themes and styles, blending local and
international influences.
• Li Ang李昂: The Butcher's Wife - a novel exploring
the oppression of women in traditional Taiwanese
society.
• Xiang Yang向陽: Known for his poetry in the
Taiwanese language, emphasizing local identity.
• Qiu Miaojin邱妙津: Notes of a Crocodile - a
seminal LGBTQ+ novel.
• Wu Danru吳淡如: New Interpretation of the Red
Chamber Dream - a modern reinterpretation of the
classic Chinese novel.
• Luo Yijun駱以軍: Moonlight at the Door - a novel
blending magical realism with Taiwan's history.
 1.Early Foundations
Taiwanese literature began with oral
Development traditions and folk tales. The earliest
of Taiwanese written forms were heavily influenced
Literature by Chinese classical literature,
emphasizing moral and philosophical
themes.
 (1) The Japanese colonial period marked
a significant shift. Writers like Lai He and
Wu Zhuoliu navigated dual identities,
producing works that highlighted the
2. Colonial tension between colonial rule and
Encounter Taiwanese identity.
(2) The introduction of modernist
literature and new genres like the novel
and short story diversified literary forms.
 After the KMT took control of Taiwan,
literature often promoted Chinese
3. Post-War cultural nationalism. Writers like Zhong
Lihe 鍾理和explored themes of
Nationalism displacement and identity, reflecting the
complex relationship between Taiwan
and China.
 1.The 1970s saw the rise of nativist
literature, which celebrated Taiwanese
culture and critiqued political
4. Resistance authority. Writers like Huang Chun-
and Nativism ming 黃春明 and Wang Wen-hsing 王
文興 depicted rural life and local
customs, often as a form of resistance
against political oppression.
 1.The end of martial law allowed for
greater freedom of expression.
Literature from this period is marked
by its diversity and exploration of
5. previously censored topics. Writers
Democratizati like Li Ang 李昂and Chu T’ien-wen朱
on and 天文 delve into gender, sexuality, and
Pluralism urban life.
2.Contemporary literature reflects a
global perspective, with authors like
Wu Ming-Yi吳明益 and Qiu Miaojin邱
妙津 gaining international recognition.
 “Notes of a Desolate Man 荒人手記” by
Chu T’ien-wen朱天文, translated by
Howard Goldblatt and Sylvia Li-chun Lin
Well-known This novel explores the life of a gay man
English in contemporary Taipei, delving into
themes of identity, love, and loss. The
Translations of translation by Howard Goldblatt, a
Taiwanese prominent translator of Chinese literature,
Literature and Sylvia Li-chun Lin beautifully conveys
the lyrical and introspective nature of Chu
T’ien-wen's prose.
 "I have become a disinterested
Notes of a observer of life, as if I were watching
Desolate Man 荒 the world from the other side of a
人手記” by Chu window. I see people rushing around,
T’ien-wen朱天
文, translated by
I see their joys and sorrows, but I
Howard remain untouched. It’s a self-imposed
Goldblatt and exile, a way to protect myself from
Sylvia Li-chun Lin the overwhelming chaos of
existence."
"I often wander through the streets at
night, finding solace in the anonymity of
the city. The alleys are filled with the
echoes of the past, ghostly whispers that
tell stories of love and loss, dreams and
despair. I pass by the old cinema where
we used to go, its facade now crumbling
and covered in graffiti. The memories
flood back, uninvited and relentless,
pulling me into a whirlpool of nostalgia
and regret."
"In my solitary existence, I have learned to
find beauty in the mundane. The flickering
light of a streetlamp, the rustling leaves
of a banyan tree, the rhythmic sound of
raindrops on the windowpane. These
small, fleeting moments offer a respite
from the endless monotony of my days.
They are reminders that even in the
bleakest of times, there is still something
worth holding onto, something that keeps
the despair at bay."
"Yet, despite my efforts to remain
detached, there are moments when the
weight of loneliness becomes unbearable.
The silence of my apartment, the
emptiness of my bed, the absence of
human touch – they all conspire to remind
me of what I have lost. I am haunted by
the ghost of what could have been, by the
choices I made and the paths I did not
take. It is a heavy burden, one that I carry
with me every day, hidden beneath the
mask of indifference."
"As I sit by the window, watching the
world go by, I am struck by the realization
that life goes on, indifferent to my
suffering. People laugh, cry, fall in love,
and break apart, all oblivious to the silent
witness in their midst. It is a humbling
thought, a reminder of my own
insignificance in the grand scheme of
things. And yet, in this realization, there is
a strange sense of peace, a quiet
acceptance of my place in the world."
 This eco-fiction novel combines magical
realism with environmental themes, telling
“The Man with the story of a boy from a mythical island
the Compound and a woman grieving the loss of her
Eyes”複眼人 family in a tsunami. Darryl Sterk’s
by Wu Ming-yi translation brings out the vivid imagery
and the deep environmental consciousness
吳明益, of Wu Ming-yi's work.
translated by
Darryl Sterk
“The Man with "On the island where Atile'i lived, the sea
the Compound was both a giver and a taker of life. It
Eyes”複眼人 provided fish and seaweed but also
brought storms that could sweep away
by Wu Ming-yi everything in their path. Atile'i had always
吳明益, respected the sea, but he never fully
translated by understood its power until the day the
Darryl Sterk ocean decided to reclaim his world."
 Another masterpiece by Wu Ming-yi, this
“The Stolen novel intertwines personal and historical
Bicycle” 單車 narratives revolving around a man’s quest
失竊記 by Wu to find his father’s stolen bicycle. The
Ming-yi 吳明 translation was shortlisted for the Man
益, translated Booker International Prize, highlighting its
by Darryl Sterk literary merit.

 "Every bicycle has a story, my father used
“The Stolen to say. He believed that bicycles carried
Bicycle” 單車 the imprints of their owners, their
journeys, their triumphs, and their failures.
失竊記 by Wu
When our family's bicycle was stolen, it
Ming-yi 吳明 felt like a part of our history was taken
益, translated away. I embarked on a quest to retrieve
by Darryl Sterk not just a bike, but the fragments of our
collective memory."
From Chapter 1: "The Boy's First Bicycle"
"The first bicycle my father bought me was a
black Lucky Star. I remember its frame was
sturdy, and its saddle smelled of fresh leather. I
learned to ride it under my father's guidance,
wobbling and balancing until I could pedal
smoothly. That bicycle became a symbol of
freedom and adventure for me. I spent
countless hours riding through our
neighborhood, feeling the wind in my hair and
the world expanding before me. The Lucky Star
was my constant companion, a silent witness to
my childhood dreams and escapades."
 From Chapter 3: "The Bicycle Thief"
 "The day the bicycle was stolen remains
etched in my memory. I had left it chained
outside the library on a hot summer
afternoon. When I returned, the chain lay
broken, and the bicycle was gone. It felt as
though a part of my history had been taken
from me. My father and I searched the
neighborhood, asking everyone we met if
they had seen anything, but it was as if the
bicycle had vanished into thin air. That night,
lying in bed, I couldn't help but wonder
about the person who had taken it. Did they
need it more than I did? What kind of
journey had they begun on my bicycle?"
 From Chapter 5: "The Bicycle's Journey"
 "As I grew older, my fascination with bicycles only
deepened. I learned about the various parts, how
to repair them, and the history of different
models. Each bicycle had its own story, a unique
journey that had left its mark on it. I began to see
bicycles as more than just machines; they were
carriers of memories, each scratch and dent a
testament to the adventures they had been a part
of. My father's stories of the war, where bicycles
were used to transport goods and messages,
further fueled my passion. For him, bicycles were
symbols of hope and resilience, a way to navigate
through difficult times."
 From Chapter 10: "Memories of War"
 "My father often spoke of bicycles during the
Japanese occupation. Bicycles were lifelines then,
used to transport goods, messages, and even
wounded soldiers. He told me about a man who had
ridden his bicycle across the island to deliver a crucial
message, saving countless lives in the process. These
stories made me realize the significant role bicycles
played in our history. They were not just vehicles;
they were symbols of perseverance and survival,
carrying the weight of personal and collective
histories on their frames."
 From Chapter 15: "The Search"
 "Determined to find the stolen bicycle, I began my
search as a way to reconnect with my father. Each lead,
each clue took me deeper into Taipei's labyrinthine
streets and alleys, where past and present coexisted in a
delicate balance. I met people whose lives had been
touched by bicycles in ways I could never have imagined.
There was a former soldier who had cycled through
battles, a mail carrier who had pedaled through every
storm, and an artist who transformed old bicycle parts
into sculptures. Their stories intertwined with mine,
creating a rich tapestry of memories that spanned
generations. With each encounter, I felt closer to
understanding my father and the man he had been."
 From Chapter 20: "The Bicycle Graveyard"
 "The bicycle graveyard was a haunting sight, a vast
expanse of rusting frames and tangled wheels, where
bicycles went to die. I wandered through the maze of
abandoned machines, feeling a profound sense of
melancholy. Each bicycle had a story, a history of
journeys taken and paths crossed. I imagined the
hands that had once gripped their handlebars, the
feet that had pedaled their pedals, the hearts that
had raced with the thrill of the ride. Standing among
the ruins, I realized that finding my father's bicycle
was about more than just recovering a lost
possession. It was about reclaiming a piece of our
shared past, a link to the boy I had been and the man
my father had been."
 
“Taipei People This collection of short stories portrays
台北人” by Pai the lives of mainland Chinese immigrants
Hsien-yung 白 in Taiwan, reflecting on themes of
先勇, nostalgia, displacement, and cultural
translated by identity. The bilingual translation provides
the author and a faithful rendition of Pai Hsien-yung’s
Patia Yasin poignant storytelling.
“Taipei People "The city of Taipei is a mosaic of stories,
台北人” by Pai each tile representing a fragment of life
Hsien-yung 白 from those who fled the mainland. These
immigrants carried their pasts with them,
先勇, like ghosts haunting their new existence.
translated by Their dreams, fears, and memories linger
the author and in the alleys and markets, creating a rich
Patia Yasin tapestry of collective nostalgia."
 
“The A groundbreaking work of queer
Membranes 膜” speculative fiction set in a dystopian
by Chi Ta-wei future, this novel explores themes of
紀大偉, gender, identity, and technology. Ari
translated by Larissa Heinrich’s translation captures the
Ari Larissa novel’s innovative narrative structure and
Heinrich thought-provoking themes.
 "In a future where the Earth's surface is
“The uninhabitable, Momo lives underwater,
Membranes 膜” isolated in her own bubble. Her skin,
by Chi Ta-wei covered in a special membrane, is both
紀大偉, her protection and her prison. Through
translated by the layers of synthetic material, she
Ari Larissa questions what it means to be human and
Heinrich where the boundaries of her identity truly
lie."
  Taiwanese literature is a dynamic and evolving
field that mirrors the island’s complex history
and multicultural society. From classical Chinese
influences to modernist innovations and post-
martial law pluralism, it offers rich insights into
Conclusion Taiwan’s identity and global connections. For
university students, studying Taiwanese
literature not only enhances understanding of
Taiwan’s cultural heritage but also provides
broader perspectives on colonialism,
nationalism, and globalization.