Alison M. Groppe 『Sinophone Malaysian Literature: Not Made in China』 Amherst: Cambria Press, 2013, x+325p.

Sinophone Malaysian Literature: Not Made in China Alison M. Groppe Amherst: Cambria Press, 2013, x+325p.Studies of the Chinese overseas have devoted substantial attention to Southeast Asia owing to deep historical connections forged by the overwhelming majority of Chinese migrants to the region. While historical and ethnographic approaches are common modes of inquiries, analyses of literary writings are seldom featured in the relevant scholarship (Liu 2006). From the perspective of modern Chinese literary studies in the English language academe, however, it is Southeast Asia that is an unfamiliar parameter of research. With recent calls by scholars to pay greater attention to "expressive documents" about Chinese migration in order to probe the Chineseness of displaced memories and desires, or to advocate a strategic focus on creative writings for exploring ambivalent Chinese sentiments in different world regions, the two fields have been set up for a productive dialogue and are currently experiencing exciting transformations (Wang 2007; Shih 2013).Participating in the ongoing paradigm shift toward a global conception of Chinese literature and culture, Alison M. Groppe's well-researched Sinophone Malaysian Literature: Not Made in China offers an excellent overview not only of salient works from a fascinating corpus that has thus far eluded English-language scholarship, but also of the lineage of approaches critical for grasping the larger ramifications arising from its anomalous status as "sectional literature" in Malaysia, where only literary works written in the national language of Malay are recognized as "national literature" (pp. 2, 282). The book leverages Malaysia for its unique insights about the adaptive experiences of China-origin people who account for a minority yet politically significant community residing outside the mainland Chinese state, Hong Kong, Macau, and Taiwan. Broadly speaking, Groppe explores the question of what it means "to be of Chinese descent and to be Chinesespeaking outside of China" (p. 25) primarily through examining modes of literary representations Malaysian-born writers employ to negotiate and express their layered ethnic and national identities in postcolonial Malaysia. In its focus on Malaysia as a vibrant location beyond China's geopolitical borders that has nurtured an active contingent of innovative writers, the monograph joins E. K. Tan's Rethinking Chineseness: Translational Sinophone Identities in the Nanyang Literary World (also published by Cambria Press in 2013) in ushering Southeast Asia into the horizon of modern Chinese literary studies (p. 283).Chapter 1 maps the critical concepts that undergird Groppe's ensuing interpretation of the complicated and multifarious relationships across the locales of China, Taiwan, and Malaysia that a compelling repertoire of Chinese-language narratives contemplates. Of crucial utility to Groppe is the notion of the Sinophone as "a network of places of cultural production" which, in her discourse, follows the coinage and explication by Shu-mei Shih (2013) who foregrounds its non-China and Sinitic traits. Groppe points out how Mandarin functions as the medium of Chinese education and mass media for most of the twentieth century in Malaysia, where it co-exists with other Sinitic topolects including Hokkien, Cantonese, Teochew, Hakka, and Hainanese that arrived in tandem with Chinese migrants from China's southern provinces. At the same time that Sinophone Malaysian literature (hereafter SML) gives prominence to both the geographical origin of the writers and the linguistic medium of their works (pp. 5, 9-15), the book also draws upon the ideas of other interlocutors, such as Salman Rushdie, James Clifford, and Chow Tse-Tsung, to suggest an eclectic identification process evinced by migrant writers. Inspired also by Stuart Hall's processual perspective on identity, Groppe ultimately stakes her overarching claim that Sinophone Malaysian fiction should be valued for its ability to represent a distinctive "process of becoming rather than being" in the authorial subjects' self-reflexive search for suitable Chinese cultural identities (p. …