Living in history can be unsettling. Words like fascism, global pandemic, and ecological disaster, which were once confined to books, have now become a part of our everyday language. The rapidity with which these words have taken hold in our lives is alarming, leaving many of us feeling dizzy and unsure of how to navigate this new reality. As Eileen Chang eloquently put it, our everyday lives seem to be “out of order, to a terrifying degree.”
In times like these, it can be comforting to indulge in the exceptionalism of our current instability. It seems that the pace of change in social, political, ecological, and technological spheres has never been so fast or destructive. But amidst the chaos of the future, we must still attend to the mundane tasks of our daily lives – like breakfast, vacuuming, and laundry. It is during these moments of uncertainty and tension that reading a writer like Chang brings solace and guidance.
Zhang Ailing, or Eileen Chang, gained recognition in her hometown of Shanghai for her elegant and astute tales of love and romance in the city. Her stories focused on the “trivial things that happen between men and women,” as she modestly described them. However, after the 1949 Revolution, Chang and her work fell into obscurity as they were no longer embraced by mainland China. It was only later, in Taiwan and Hong Kong, that her talent was rediscovered by readers.
When we reflect on the historical context in which Chang’s writing emerged, it humbles our own experiences of contemporary tumult. As she was coming of age, warlords were still vying for power over the Qing dynasty’s remains, China was engaged in a bitter war against the Japanese while simultaneously torn apart by civil war, and Mao’s Communist rebels were preparing for a complete overhaul of the country. Meanwhile, World War II was raging in the rest of the world. All of these historical events formed the backdrop of Chang’s narratives, shaping her observations and adding depth to her stories. Yet, amidst the overwhelming noise of history, Chang’s writing remains singularly focused on the lives of individuals, capturing the fleeting fragments of reality that history threatens to erase.
The new edition of Chang’s early essays, “Written on Water,” translated by Andrew F. Jones, offers a glimpse into her irreverent voice and her unwavering commitment to everyday life. These essays provide a blueprint for navigating the tumultuous terrain of history. In 1944, when “Written on Water” was first published, Shanghai was a vibrant city teeming with commerce, fashion, and political turmoil. The international concessions that were imposed on Shanghai after the Opium War had given the city a cosmopolitan flavor. Chang describes the people of Shanghai as savvy individuals who know how to thrive in chaos.
Chang’s own life was shaped by the instability of her time. She grew up in a household ruled by her opium-addicted father, who subjected her to cruel punishments. Her mother, influenced by European culture, often left Chang with her father for extended periods. Chang’s education in Hong Kong was abruptly cut short by the arrival of Japanese bombers during World War II. These experiences left a mark on her, but her essays focus less on her personal history and more on her way of perceiving the world.
Chang’s essays capture vivid observations and snapshots of life. Whether she writes about movies, money, or her friends’ sayings, her talent lies in her ability to distill the essence of everyday moments. For instance, in “On Carrots,” she recounts a memory her aunt shared about feeding carrots to a pet cricket. In just two paragraphs, Chang creates a stylish piece of writing that illuminates the beauty found in the ordinary. Similarly, in “Under an Umbrella,” she uses a rainy day as a metaphor for class divisions, highlighting the complexity of human interactions. Chang’s essays are not structured in a traditional narrative format. Instead, they offer glimpses into specific moments, capturing the essence of a scene before moving on.
“Written on Water” epitomizes the ephemeral nature of human existence, drawing inspiration from Chinese philosophy while also alluding to Keats. The title itself, 流言 (Liu Yan), beautifully encapsulates this transience, meaning both “flowing words” and “gossip.” Chang believed in the power of sharing ordinary stories, the secrets of everyday life that ought to be made public at least once a year. She believed that literature should celebrate the placid and find beauty in the noise and clatter of city streets. Chang’s preference for “irrelevant trivialities” challenges the notion that only monumental events shape history. Instead, she emphasizes the importance of daily life, which forms the basis of the human experience.
In Chang’s unwavering commitment to everyday existence, I find a feminine transgression against the male-dominated epochs of history. Women have long been relegated to sustaining the fabric of daily life, while men have held power and shaped empires. Chang celebrates the resilience and strength of ordinary individuals who find joy in simple pleasures, even amidst the chaos of war. Her essays resist the notion that heroic acts are the defining moments of history. Instead, she champions the unguarded and straightforward nature of love, which she believes is more revealing of our humanity.
When I immerse myself in Chang’s writing, I discover a path for navigating history with grace and resilience. Her essays remind me that even in the face of overwhelming uncertainty, there is solace to be found in the simplicities of everyday life. By embracing the fleeting moments and celebrating the quotidian, we can find stability, even in the midst of chaos. Chang’s writing serves as a manifesto for surviving history, reminding us to find beauty in the ephemeral nature of our existence.
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