{"id":231242,"date":"2022-08-23T10:47:43","date_gmt":"2022-08-23T14:47:43","guid":{"rendered":"https:\/\/supchina.com\/?p=231242"},"modified":"2022-09-09T11:13:35","modified_gmt":"2022-09-09T15:13:35","slug":"why-do-china-books-all-look-the-same","status":"publish","type":"post","link":"https:\/\/thechinaproject.com\/2022\/08\/23\/why-do-china-books-all-look-the-same\/","title":{"rendered":"Why do China books all look the same?"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-231259 aligncenter\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/book-1.png\" alt=\"\" width=\"50\" height=\"50\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/book-1.png 512w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/book-1-500x500.png 500w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/book-1-150x150.png 150w\" sizes=\"(max-width: 50px) 100vw, 50px\" \/><\/p>\n<p>It\u2019s not hard to spot the China section at your local bookstore: shelves stacked with red books have a tendency to catch the eye of even the most myopic browsers from across the room.<\/p>\n<p>Former Australian Prime Minister Kevin Rudd\u2019s <em>The Avoidable War<\/em>.<\/p>\n<p>Noted China scholar David Shambaugh\u2019s <em>China\u2019s Future<\/em>.<\/p>\n<p>Business journalist (and <a href=\"https:\/\/thechinaproject.com\/author\/dexterroberts\/\">The China Project contributor<\/a>) Dexter Roberts\u2019s <em>The Myth of Chinese Capitalism<\/em>.<\/p>\n<p>Just to name a few\u2026<\/p>\n<p><a href=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-231246\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-1.jpg\" alt=\"\" width=\"640\" height=\"729\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-1.jpg 640w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-1-439x500.jpg 439w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>While red jackets have become a mainstay of China books, they appear to be most frequently accompanied by large yellow stars and block writing \u2014 part of a visual aesthetic that journalist Selina Lee and researcher Ramona Li have recently dubbed \u201cauthorientalism\u201d due to its repeated association with Chinese state power and suppression.<\/p>\n<p>But look again at the selection of books above. One could easily be forgiven for failing to realize that these books explore topics as diverse as Christianity (Liao Yiwu\u2019s <em>God Red<\/em>), the Sino-Japanese and Chinese civil wars (Hans van de Ven\u2019s <em>China at War<\/em>), the influence of classical Greek philosophy on Chinese nationalism (Shadi Bartsch\u2019s <em>Plato Goes to China<\/em>), and the rise of tech companies like Xiaomi and Alibaba (Edward Tse\u2019s <em>China\u2019s Disruptors<\/em>).<\/p>\n<p>Is it fair that these titles are given the same aesthetic presentation as Stein Ringen&#8217;s\u00a0<em>The Perfect Dictatorship<\/em> and Roger Faligot&#8217;s\u00a0<em>Chinese Spies<\/em>?<br \/>\n<div class=\"mailchimp-shortcode\"><div class=\"mailchimp-shortcode--inner\"><h2 class=\"h2\">China news, weekly.<\/h2><p>Sign up for The China Project&#8217;s weekly newsletter, our free roundup of the most important China stories.<\/p>\n<form method=\"post\" id=\"mc-embedded-subscribe-form\" name=\"mc-embedded-subscribe-form\" class=\"validate js-landing-page-form js-subscribe-form\" target=\"_blank\" novalidate>\n        <div class=\"newsletter-hero__email-wrap\">\n            <label for=\"spch-email\" class=\"screen-reader-text\">Enter your email address<\/label>\n            <input class=\"multinews__input multinews__input--email\" id=\"spch-email\" aria-describedby=\"spch-fineprint\" type=\"email\" placeholder=\"Enter your email address\" name=\"email\" required><!-- inline-block fix-->\n            <button class=\"multinews__submit btn prime js-subscribe-form-submit\" id=\"js-multinews-submit\">\n                <t>Subscribe<\/t>\n            <\/button>\n            <div id=\"spch-fineprint\" class=\"multinews__fineprint\">\n\t\t\t\t<p>By subscribing you agree to our <a href=\"\/privacy-policy\/\" target=\"_blank\">privacy policy<\/a>.<\/p>\n\t\t\t<\/div>\n        <\/div><!-- .newsletter-hero__email-wrap -->\n        <div style=\"position: absolute; left: -5000px;\" aria-hidden=\"true\"><input type=\"text\" name=\"\" tabindex=\"-1\" value=\"\"><\/div>\n        <input type=\"hidden\" name=\"newsletter\" value=\"chinaweekly\">\n        <input type=\"hidden\" name=\"tcpr_subscribe_form_nonce\" value=\"07aa6ca7cb\">\n    <\/form><\/div><\/div><\/p>\n<p>Another frequently seen cover motif is the illustrated dragon.<\/p>\n<p>The jackets of businessman Desmond Shum\u2019s <em>Red Roulette<\/em>\u00a0and Michael Wood\u2019s <em>The Story of China<\/em>\u00a0both feature elaborate dragons, yellow titles, and red backgrounds. The former is a ghost-written memoir chronicling corruption among China\u2019s contemporary elites, while the latter is a grand narrative traversing thousands of years of Chinese history.<\/p>\n<p>Plays on dragons and the color red also make their way into titles themselves.<\/p>\n<p>Peter Schweizer\u2019s <em>Red-Handed<\/em>, Jung Chung\u2019s <em>Big Sister, Little Sister, Red Sister<\/em> (an apparent reference to the popular children\u2019s book <em>Big Sister, Little Sister<\/em>), Deborah Brautigam\u2019s <em>The Dragon\u2019s Gift<\/em>, Russell Spurr\u2019s <em>Enter the Dragon<\/em>, Ana Fuentes\u2019s <em>From the Dragon\u2019s Mouth<\/em>, and Craig Simons\u2019s <em>The Devouring Dragon<\/em>\u00a0are just a few examples.<\/p>\n<p><a href=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-231247\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2.jpg\" alt=\"\" width=\"896\" height=\"896\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2.jpg 896w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2-500x500.jpg 500w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2-150x150.jpg 150w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-2-768x768.jpg 768w\" sizes=\"(max-width: 896px) 100vw, 896px\" \/><\/a><\/p>\n<p>Stylized images of Chinese leaders reminiscent of Andy Warhol\u2019s depictions of M\u00e1o Z\u00e9d\u014dng \u6bdb\u6cfd\u4e1c have also become a popular front-cover motif. Black Warhol-esque renderings of X\u00ed J\u00ecnp\u00edng \u4e60\u8fd1\u5e73 appear on the covers of Kerry Brown\u2019s <em>Xi: A Study in Power<\/em>, <em>CEO China<\/em>, and <em>The World According to Xi<\/em>, as well as George Magnus\u2019s <em>Red Flags<\/em>. A series of pop art Mao Zedongs also appear on the jacket of Julia Lovell\u2019s 2019 <em>Maoism: A Global History<\/em>.<\/p>\n<p><a href=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-231248\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3-1200x459.jpg\" alt=\"\" width=\"1200\" height=\"459\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3-1200x459.jpg 1200w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3-500x191.jpg 500w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3-768x294.jpg 768w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3-1536x588.jpg 1536w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-3.jpg 1578w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><\/a><\/p>\n<p>Why, exactly, do so many books exploring different aspects of China have essentially the same cover designs?<\/p>\n<p>Jo Lusby, the former managing director of Penguin Books North Asia, explains that such design choices make a book easily identifiable as being on a particular topic.<\/p>\n<p>\u201cThe sad reality of publishing is that it&#8217;s an industry of pigeonholes,\u201d she says. \u201cAnd books have to sit in an easily defined sort of shorthand so that they can make it through the massive system from acquisition by an editor to successful sale into a bookshop and into somebody&#8217;s hands.<\/p>\n<p>\u201cThat&#8217;s why the shorthand evolves.\u201d<\/p>\n<p>Lusby explains that red, as a color, represents both communism and traditional Chinese culture, and sends a clear signal to potential readers from halfway across the room.<\/p>\n<p>Lusby also points out that with a lot of books about China, the topic and content of the book may have more resonance with the potential reader than the authors themselves, hence publishers\u2019 desires to make the subject matter easily identifiable.<\/p>\n<p>While such designs may initially help communicate the broad topic area to potential readers, it also means many books, despite having diverse content, end up looking indistinguishable.<\/p>\n<p>\u201cThe problem comes when the books start all looking the same,&#8221; she says, &#8220;and you can&#8217;t differentiate, when actually these books are very different and have very different subject matter, very different tone, and very different content. It&#8217;s not particularly helpful if you&#8217;re trying to get beyond stereotypes\u2026and trying to present very different views and very different perspectives on a very complex place, and all the [book] jackets fit into a couple of simple templates. You&#8217;re not expressing that diversity properly.\u201d<\/p>\n<p>Alec Ash, the Yunnan-based author of the 2016 nonfiction book <em>Wish Lanterns<\/em>, says that the trend is only getting worse as more books on China, particularly those opting to take a bird\u2019s-eye view of the country, are published. \u201cChina is being othered even more now, in different ways than it was 20 years ago when people still didn&#8217;t know much about it, because of current trends in politics,\u201d he says.<\/p>\n<p>Selina Lee and Ramona Li have <a href=\"https:\/\/foreignpolicy.com\/2022\/07\/31\/illustrations-china-stereotypes-xi-dragon\/\">pointed out<\/a> that the repeated use of visual tropes in publications about China are not only homogenizing but also misleading. They argue that the authorientalism aesthetic \u201cdistorts and flattens the reader\u2019s view of China and Chinese people\u201d by conflating the current government with Chinese culture and history more broadly. It also implies that authoritarian politics is somehow unique to China.<\/p>\n<p>Ash agrees, noting that while China has always been exoticized, more recent cover designs have moved away from emphasizing China\u2019s perceived \u201cweirdness\u201d and poverty, and instead depict China as a threat. Such cover designs are dehumanizing and feed into an \u201cus versus them\u201d narrative that plays on readers\u2019 fears of China as an enemy Other, says Ash.<\/p>\n<h2 style=\"text-align: center;\"><em>\u201cThe problem comes when the books start all looking the same\u2026when actually these books are very different.&#8221;<\/em><\/h2>\n<p>But red jackets with yellow stars is not the only problematic China book trope.<\/p>\n<p>Novels set in China, and Asia more generally, have a tendency to feature Asian women with cropped faces on their covers, says Lusby.<\/p>\n<p>\u201cOn fiction, you get a lot of headless Asian women and a lovely neck and hair, but no face, no identity\u2026It&#8217;s the generic faceless woman trope.\u201d<\/p>\n<p><a href=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-scaled.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-231249\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-771x1200.jpg\" alt=\"\" width=\"771\" height=\"1200\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-771x1200.jpg 771w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-321x500.jpg 321w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-768x1196.jpg 768w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-987x1536.jpg 987w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-1315x2048.jpg 1315w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-4-scaled.jpg 1644w\" sizes=\"(max-width: 771px) 100vw, 771px\" \/><\/a><\/p>\n<p>Lusby says while such designs may have originally been intended to be complimentary, in reality they end up having the opposite effect. \u201cIt&#8217;s the Orientalist romanticized ideal of Asian women as a target of desire in the Western eye. It&#8217;s the Western male gaze,\u201d she says.<\/p>\n<p>\u201cI think it was intended as a compliment at the beginning. You know, look how gorgeous these exotic women are with the swoop of the body and the qipao or the kimono or whatever clothing they have them in. It started as a compliment, but they&#8217;re all anonymized\u2026They don&#8217;t stand for something individualized, or something with agency or something actualized. It&#8217;s not a feminist reading if you don&#8217;t ascribe a personality to somebody.\u201d<\/p>\n<p>Lusby notes that such stereotyping is hardly limited to books about China, and points to the example of books set in Africa that have <a href=\"https:\/\/www.theatlantic.com\/international\/archive\/2014\/05\/why-every-book-about-africa-has-the-same-cover\/362101\/\">almost identical burnt-orange covers<\/a>.<\/p>\n<p>Other publishing industry beliefs also influence design choices, Lusby says, such as the common refrain that \u201cgreen books don\u2019t sell.\u201d<\/p>\n<p>But at least one bestselling author on China has debunked this myth: Jung Chang. Her Mao Zedong biography, <em>Mao: The Unknown Story<\/em> (co-written with Jon Halliday), and <em>Wild Swans: Three Daughters of China<\/em>, which chronicles her own family history, have both been published with pale green covers (though later editions of both books have also been published with red jackets). <em>Mao: The Unknown Story<\/em> quickly became a <a href=\"https:\/\/www.theguardian.com\/uk\/2005\/dec\/04\/china.books\">bestseller following its 2005 release<\/a>, and <em>Wild Swans<\/em> has <a href=\"https:\/\/www.soas.ac.uk\/news\/newsitem133608.html\">sold over 12 million copies<\/a> since it was published in 1991.<\/p>\n<p>And there are other China titles that stand out for their distinctive cover designs.<\/p>\n<p>Lusby notes that \u00c0i W\u00e8iw\u00e8i\u2019s \u827e\u672a\u672a 2021 memoir, <em>1000 Years of Joys and Sorrows<\/em>, features an illustrated black jacket designed by Ai Weiwei himself.<\/p>\n<p>Another example is Peter Hessler\u2019s China trilogy, which chronicles the writer\u2019s 10 years in the country between 1996 and 2007.<\/p>\n<p><a href=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-scaled.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-231269\" src=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-1200x509.jpg\" alt=\"\" width=\"1200\" height=\"509\" srcset=\"https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-1200x509.jpg 1200w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-500x212.jpg 500w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-768x326.jpg 768w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-1536x652.jpg 1536w, https:\/\/thechinaproject.com\/wp-content\/uploads\/2022\/08\/Red-book-covers-5b-2048x869.jpg 2048w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><\/a><\/p>\n<p>How have these two authors escaped the red jacket trope?<\/p>\n<p>In the case of Ai Weiwei, Lusby points out that the artist has the major name recognition that many others writing about China lack. \u201cPeople will be reading it not because he\u2019s Chinese and not because the book is about China. They\u2019ll be reading it because they\u2019re interested in art and they\u2019re interested in Ai Weiwei.\u201d<\/p>\n<p>Similarly, while Hessler\u2019s books are often considered the gold standard among China watchers, Lusby notes that they are often read as travelogues rather than China books.<\/p>\n<p>Hessler says that publishers were less convinced there was a wide readership for books on China when his first book, <em>River Town<\/em>, the original hardback of which features a yellow image of terraced hills along the Yangtze River, was picked up by a publisher in 1999. And Hessler himself wanted the cover to capture the importance of the particular countryside landscape he was writing about.<\/p>\n<p>However, things had changed by the time Hessler was preparing his 2006 book <em>Oracle Bones<\/em> for publication, and he asked that his books not have red jackets to avoid the red China book cliche.<\/p>\n<p>\u201cI also just don\u2019t much like the color red\u2026and I also didn\u2019t want the title to have \u2018red\u2019 in it,\u201d laughs Hessler.<\/p>\n<p>While red jackets have been the subject of a \u201clong, long running chuckle among China watchers,\u201d Ash says that writers often don\u2019t have the final say when it comes to their book\u2019s cover design or even the title. \u201cIn the end, it\u2019s their [publisher\u2019s] money and their call on what goes on the cover.\u201d<\/p>\n<p>But Lusby is more optimistic and offers some advice for writers hoping to publish a book on China.<\/p>\n<p>\u201cI would always tell them to go into the Bookworm [the now-shuttered iconic independent bookstore in Beijing] because that was the bookshop library that had the biggest selection of China titles available in China in English. I would tell them to go and stand in front of their China interest shelf and tell me what color they see, and then tell me what color they therefore think would stand out as a China book, and maybe go in that direction.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The color red, dragons, cropped Asian faces\u2026when it comes to presenting China, book publishers often rely on a set of familiar tropes \u2014 to the detriment of the authors and the genre.<\/p>\n","protected":false},"author":19773,"featured_media":231250,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","date_recorded":"","explicit":"","block":"","filesize_raw":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[12908],"tags":[14023],"column":[],"class":[],"coauthors":[16949],"acf":[],"la_post_categories":{"society-and-culture":"Society &amp; Culture"},"la_post_tags":{"book":"book"},"content_writeup":{"rendered":"<p>\nThe color red, dragons, cropped Asian faces\u2026when it comes to presenting China, book publishers often rely on a set of familiar tropes. How should we feel about that?\n<\/p>\n<p>\n\u201cThe sad reality of publishing is that it\u2019s an industry of pigeonholes,\u201d says Jo Lusby, the former managing director of Penguin Books North Asia.\n<\/p>\n<p>\n\u201cThe problem comes when the books start all looking the same and you can&#8217;t differentiate, when actually these books are very different.\u201d\n<\/p>\n<p>\nAlex Smith has more than a few examples <a href=\"https:\/\/thechinaproject.com\/2022\/08\/23\/why-do-china-books-all-look-the-same\/\">in this feature story on The China Project<\/a>.\n<\/p>\n<p>\n<em>\u2014Anthony Tao<\/em><\/p>\n"},"_links":{"self":[{"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/posts\/231242"}],"collection":[{"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/users\/19773"}],"replies":[{"embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/comments?post=231242"}],"version-history":[{"count":0,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/posts\/231242\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/media\/231250"}],"wp:attachment":[{"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/media?parent=231242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/categories?post=231242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/tags?post=231242"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/column?post=231242"},{"taxonomy":"class","embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/class?post=231242"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/thechinaproject.com\/wp-json\/wp\/v2\/coauthors?post=231242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}