Introduction: Postmodernism in “The North China Lover”
Postmodernism in The North China Lover, a novel by Marguerite Duras, is evident through its deconstruction of traditional narrative structures and its exploration of fragmented identities in a rapidly changing world. She once said during an interview with Salman Rushdie, “I swear it. I swear all of it. I have never lied in a book. Or in my life” (Rushdie and Garton Ash). In the comments, Salman Rushdie and Timothy Garton Ash write that “she was ostracized for her reckless teenage affair with an older Chinese millionaire,” which explains why her novel seems autobiographical. Upon closer examination, this love affair in Vietnam bears a strong resemblance to a love affair of the creator, Duras. It is even more clearly autobiographical, as it serves not only as a cultural document but also as a social and economic critique, transcending all literary boundaries in the modern world. Despite being the voice of a bold feminist attitude toward patriarchal dominance, this fictional biography bears traces of her earlier fictions, which are also biographical in nature.
Techniques of Postmodernism in “The North China Lover”
In “The North China Lover,” Duras employs several innovative techniques, including the use of an easy-to-understand third-person voice to narrate the entire story. She seamlessly integrates various fictional techniques into a single work, often referred to as weaving personal fiction into history. Writing about this aspect of her fiction, Naoki Sakai argues that it is remarkable how Duras “dealt with the work of the unconscious in her own historical memory, in which the affiliation of fascism and colonialism was unambiguously given in clear fictional terms” (179). This creative approach is a prime example of the qualities of postmodern fiction. Moreover, Duras demonstrates not only intertextuality, self-reflectivity, and subjectivism but also transgression beyond accepted norms in this novel.
Intertextuality and Postmodernism in “The North China Lover”
Intertextuality refers to creating a relationship between one text and another written in a similar manner earlier, forming an “interwoven fabric of literary history” (Sharma and Chaudhary 24). It involves referencing another work or even a fairytale. Sharma and Chaudhary argue that pastiche, or the use of pasted elements together to create a piece of work, is also a feature of postmodern literature (195). Throughout her fictional works, Duras intertwines several texts into one, incorporating numerous memories of her childhood into her narratives. The story appears simple, focusing on a girl, her mother, and her brothers living in a French colony in relative poverty after their father leaves them. Despite this adversity, Duras managed to study in France and graduate from a university in Paris, mirroring the protagonist’s fondness for storytelling: “She is telling the story of her life,” while “The Chinese (old man) listens from far off, distractedly” (Duras 88). This reflects her own romance with the Chinese millionaire, who is unable to fully engage with her stories due to her youth. Moreover, the protagonist’s departure from Vietnam for France parallels Duras’s own experiences. As Duras witnessed historical events firsthand, her fictions are autobiographical in the sense that they depict what she observed as a child, perhaps reflecting a subjective attempt by the writer to portray herself in her own fiction. However, intertextuality in Duras’s work extends beyond these elements.
Another intertextual parallel in Duras’s work is between her own family dynamics and those depicted in her novel, as well as the motifs and themes present throughout the narrative. Throughout her life, she sought love from adults despite strict family norms and traditions, a theme reflected in The North China Lover. The images of patriarchal dominance prevalent in the novel are mirrored through the characters of Pierre and his brother, akin to her own father and brother. Oppression and dominance are qualities she sought to reflect from her own experiences. The motifs also highlight connections between The Lover and The North China Lover. Charles Forsdick and David Murphy note in their book, Francophone Postcolonial Studies: A Critical Introduction, that the motif of the river is common in both novels. They suggest that the texts are linked thematically, embodying flux, desires, and transgression, with the symbolic associations of the Mekong River best understood through intertextual association with The Lover. Despite The North China Lover being written seven years later, Forsdick and Murphy argue that the story remains largely the same, albeit reworked slightly. However, Aleksandra Tryniecka proposes another hypothesis, suggesting that Duras aimed to present an alternative to traditional generic models by incorporating multiple texts within the same narrative to enhance reader engagement. While other writers have explored themes of childhood and love in their fiction, Duras seeks to demonstrate that these themes can be approached differently. The protagonist in The North China Lover faces social confusion upon migrating from Vietnam to France and exhibits rebellion in a traditional setting. However, this rebellion only exacerbates the protagonist’s loneliness, a reflection of the author’s own experiences.
Author and Postmodernism in “The North China Lover”
In this context, it is plausible that the life of the author and the text become interchangeable, blurring the distinction between the two to a significant extent. C. K. Sample argues that in The North China Lover, Duras deliberately plays with her identity as both an author and a female figure, blurring the lines between her life and that of her characters. Sample suggests that “Throughout the text, Duras manipulates intertextuality to blur the lines—the lines between autobiography, fiction, among author, character, and narrator” (280), indicating her intentional approach. Duras is explicit about what she has not done in her previous novel, The Lover (280). Moreover, the hybridization of the story and the setting is a crucial aspect to consider. While it is expected that a biographical novel would share the same setting as its author’s life, Duras employs concise and direct sentences to signify shifts in setting within the story, such as “From Annam. From the islands…” (Duras 99). This technique sharply introduces a new setting without the need for a lengthy transition, reminiscent of cinematic techniques. Exploring further parallels between the real-life character and the character created by Duras, namely the child, adds depth to the analysis.
Pastiche and Postmodernism in “The North China Lover”
It is reasonable to assert that the created character resembles more of a pastiche than a fully developed character. Duras clearly articulates in the narrative what she may never have expressed in conversations or interviews. She introduces the child by describing her as “alone in the picture,” observing the unknown nakedness of the man’s body with poetic language reminiscent of the cut-and-paste technique of Photoshop (creating photos through photoshop) (Duras 69). This image reflects Duras’s own desires, including the realization that loving a person more than twice her age will lead to Chinese isolation, which she believes will make her wiser (Duras 59). This desire is expressed in interwoven terms, indicating a preference for Chinese isolation over French amalgamation in the social fabric. Furthermore, Duras employs a filmic or cinematic description technique, replacing one picture with another and sequencing them rapidly, creating a unique narrative style that is both abrupt and poetic, with a fast pace but sluggish movement.
In its intertextual setting, a crucial aspect is the subject of “self-absence” (Todd 11), which serves as more than just a reason for the book itself. Ruby Todd argues that this novel is a revisitation of Duras’s previous work, The Lover, acting as a catalyst for the narrative and possessing the same intensity and myth. Todd suggests that both books are “mere fragments of the limitless ones simultaneously present within the author’s imagination and memory,” imbuing a sense of myth and “multivalency,” or the weaving of multiple texts into one (8). While Duras may have refused to comment on whether the Chinese lover in The North China Lover is the same as in The Lover, Todd contends that the storyline is identical, expressing similar desires, experiences, wild emotions, and dissatisfaction (8). In essence, both texts are interwoven into one, showcasing the postmodern feature of intertextuality.
Metafiction and Postmodernism in “The North China Lover”
It is also appropriate to categorize The North China Lover as a “historiographic metafiction” (Hutcheon 3), as it incorporates both history and fiction. In this context, a writer faces dual responsibilities: one tethering them to their native land and the other to their adopted one. Duras adeptly constructs her story against a broader historical backdrop, setting the novel in French colonial Indochina or Vietnam, where she spent much of her childhood. Her birth into a French family in a colonial setting, her education journey from Paris back home, and her romantic involvement with an older Chinese millionaire unfold against this rich historical canvas.
Speaking on historiographic metafiction, Linda Hutcheon contends that while it is accurate to recognize the intertwining of history and art to produce fiction, the challenges it presents are significant and may not be easily navigated by the average reader. Hutcheon argues that this convergence of historical context and fictional narrative is “limitless,” presenting challenges in terms of closure and singular, centralized meanings. Duras successfully navigates these challenges by seamlessly integrating history into her autobiographical love story. Having lived in the elite neighborhood of Lycee de Saigon in Vietnam before departing for France, Duras mirrors the journey of her protagonist, who leaves Vietnam for France during the same historical period, experiencing similar events and historical developments.
Thus, the challenge posed to the reader by this metafictional narrative is effectively addressed when both the author and the character are understood through the same lens. Concerning the historical setting, the novel vividly portrays the violent upheavals and patriarchal dominance of the era, reflecting the prevalent oppression of feminine perspectives in both public and private spheres.
Narrative and Postmodernism in “The North China Lover”
The narrative of the entire novel is self-reflective and subjective, evoking a sense of reminiscence akin to the author recalling her own past. This autobiographical account is characterized by a simplicity of language that invites reflection. Todd characterizes this narrative style as reflective rather than linear, identifying it as a hallmark of postmodern literary fiction. He suggests that this narrative approach bypasses linearity, instead embracing a fragmented, stop-start structure reflective of the narrator’s process of remembering. Scenes unfold not in chronological order but as a reflection of the narrator’s memory retrieval. For instance, when the child muses, “Doing nothing is a profession. It’s very hard,” it reflects the author’s own contemplation on idleness (130).
Indeed, the narrative itself serves as a self-reflective retrospective, mirroring the author’s dissatisfaction with conventional autobiographical structures as explored in her previous work, The Lover. Duras goes beyond traditional autobiography, embracing a narrative approach that prioritizes personal truth over verifiable reality. Ladimer observes that Duras’s rejection of conventional structures allows for a more introspective and self-reflective exploration of her past. This technique often manifests in the form of flashbacks, contributing to the narrative’s rudimentary or fragmentary nature.
While The North China Lover presents itself as a compelling narrative, it is characterized by temporal distortion, including fragmentation and a nonlinear narrative structure. As Sharma and Chaudhary suggest, this nonlinear approach, typical of postmodern fiction, often serves to convey irony, although Duras’s intentions in this regard remain ambiguous in the novel (196). The narrative’s fragmentation appears to be intricately linked to self-reflection, as evidenced by moments where the protagonist transitions abruptly between topics, such as discussing Chinese diamonds before returning to dialogue with her former lover, followed by moments of silence.
Taylor’s analysis underscores the visual and fragmented nature of Duras’s storytelling, drawing parallels with her previous work, The Lover, which he describes as poetic, cinematic, and fragmented (Taylor). This fragmentation, akin to cinematic techniques, serves to heighten the narrative’s visual impact. Despite being fragments of the same story, these disjointed elements contribute to a narrative that unfolds nonsequentially, deviating from the structure of a conventional novel. The intermittent silences interspersed throughout the fragmentation serve to deepen the sense of self-reflection, allowing moments of contemplation.
Kemper’s observations further emphasize the challenging nature of adapting Duras’s fragmented narrative for the stage. His acknowledgment of director Stillman’s efforts to translate the sensory and fragmented essence of the novel to the theatrical realm underscores the significance of fragmentation as a defining feature of Duras’s narrative technique (Kemper).
Fragmentation and Postmodernism in “The North China Lover”
In a postmodern interpretation, Felix Guattari sheds light on the use of fragmentation in literature, suggesting that it signifies the fragmentation of the self-image, a consequence of the devaluation of life’s meaning (12). Viewed through this lens, The North China Lover emerges as a reflection of Duras’s own struggles, perhaps stemming from a sense of dissatisfaction within her strict familial environment. Guattari’s assertion that the representation of the self becomes confused and contradictory resonates with the fragmented narrative style employed by Duras (12). It’s conceivable that Duras found it challenging to convey her story through a linear narrative, opting instead for a fragmented, self-reflective approach.
Expanding on this perspective, Guattari emphasizes the importance of moving towards co-management in the production of subjectivity (12). Here, subjectivity aligns closely with self-reflection, suggesting that the author’s primary motivation lies in her own life experiences. Duras’s insistence on writing about herself, as she often expressed in interviews, underscores her belief that her own life provided the most compelling material for her narratives.
In this context, it is significant to recognize Duras’s bold attempt to challenge social norms and familial traditions by engaging in a relationship with a significantly older man and subsequently documenting her love affair through various stories. Her actions align with the principles of postfeminism, as described by Judith Butler in Gender Trouble: Feminism and the Subversion of Identity. Butler posits that women’s gender identity emerges in defiance of patriarchal norms and societal expectations (31). Duras’s outspokenness and defiance, despite existing within a rigid family structure and normative society, underscore her willingness to transgress these boundaries through her fiction.
Drawing on Butler’s interpretation of Lacanian theory, which emphasizes the formation of identity through societal norms and traditions, it becomes evident that Duras’s protagonist, the child, grapples with the constraints imposed by her familial and cultural context. Her dialogue with her mother reflects the internalization of societal norms, as evidenced by her mother’s hypothetical reaction to her relationship with the Chinese man (Duras 137). Despite this, the child boldly challenges these norms, symbolically breaking free from the constraints of the symbolic order.
Moreover, the child’s defiance of societal expectations extends to her willingness to flout legal restrictions, as indicated by her willingness to marry the old Chinese man despite legal prohibitions (Duras 138). This bold assertion of her sexual autonomy and agency underscores her empowerment in navigating societal constraints. In essence, Duras’s portrayal of the child’s defiance serves as a testament to the empowerment of her gender identity and the assertion of her autonomy in the face of societal expectations and legal restrictions.
Femininity and Postmodernism in “The North China Lover”
In the Lacanian framework, Duras’s portrayal of transgression extends beyond mere feminism, delving into the realm of symbolic order. As noted by Forsdick and Murphy, the very title of the novel signifies a crossing of moral and ethnic boundaries, which are fundamental elements of the Lacanian symbolic order (259). The scandalous nature of the affair between the protagonist and her Chinese lover is compounded by their differences in age, class, and ethnicity, challenging societal norms and expectations (259). This transgression disrupts the established social hierarchy and ethnic divisions, reflecting the protagonist’s defiance of the symbolic order. Ladimer further elucidates this transgressive act, highlighting its occurrence within the context of a forbidden and perilous environment, symbolized by the metaphorical “dangerous jungle” and the protagonist’s interactions with Vietnamese children (116). The dynamic of interracial relations adds another layer of complexity to the protagonist’s defiance of societal norms, particularly in the face of a rigid social order represented by the concept of the “mother.” In essence, Duras’s exploration of transgression in The North China Lover transcends traditional feminist narratives, embodying a postmodern sensibility that challenges not only gender norms but also the broader symbolic order governing societal conventions and ethnic boundaries.
Fiction and Postmodernism in “The North China Lover”
In short, The North China Lover transcends traditional notions of fiction by embracing the features of postmodernism. With its intertextual richness and autobiographical elements seamlessly woven into the narrative, the novel blurs the lines between reality and fiction. It serves as both a sequel to the author’s earlier work, The Lover, and a prime example of Linda Hutcheon’s historiographic metafiction, blending history and fiction in a unique manner. The temporal distortion inherent in the narrative, coupled with its fragmented structure and pastiche-like quality, contributes to a sense of fluidity and complexity. Duras’s self-reflective mode of storytelling adds another layer of depth, blurring the boundaries between author and character. This defiance of traditional narrative conventions is underscored by the protagonist’s strong feministic character and her bold rejection of societal norms and patriarchal dominance. “The North China Lover” stands as a testament to Duras’s postmodern sensibility, encapsulating the multifaceted nature of contemporary literature. Its exploration of intertextuality, metafiction, and postfeminist themes renders it a quintessential example of postmodern fiction, offering a rich tapestry of narrative possibilities ripe for adaptation into other forms of media.
Works Cited: Postmodernism in “The North China Lover”
- Butler, Judith. Gender Trouble: Feminism and Subversion of Identity. Routledge, 2003.
- Duras, Marguerite. The North China Lover. New Press, 1992.
- Forsdick, Charles, and David Murphy. Francophone Postcolonial Studies: A Critical Introduction, Routledge, 2003.
- Guattari, Felix. Chaosmosis; An Ethico-Aesthetic Paradigm. Indiana University Press, 1995.
- Hutcheon, Linda. “Historiographic Metafiction: Parody and The Intertextuality of History.” TSPACE, https://tspace.library.utoronto.ca/bitstream/1807/10252/1/TSpace0167.pdf. Accessed 22 Nov. 2016.
- Kempber, Ben. “Cheap Goods in a Gorgeous Gown.” Chicago Theatre and Concert Reviews, 7 Oct. 2013, http://www.chicagotheatrereview.com/2013/10/07/. Accessed 22 Nov. 2023.
- Ladimer, Bethany. “Wartime Writings, or the Imaginary Lover of Marguerite Duras.” Studies in 20th & 21st Century Literature, vol. 33, no. 1, 1 Jan. 2009, pp. 103-117. http://dx.doi.org/10.4148/2334-4415.1694
- Naoki, Sakai. “The West—A Dialogic Prescription or Proscription?” Social Identities, vol. 11, no. 3, May 2005, pp. 177-195. http://www.tandfonline.com/doi/abs/10.1080/13504630500256910?journalCode=csid20
- Rushdie, Salman, and Timothy Garton Ash. “Marguerite Duras’s The Lover: But, but, but … did it really happen?” Stanford University, 4 May 2014. http://bookhaven.stanford.edu/2014/05/marguerite-durass-the-lover-but-but-but-did-it-really-happen/
- Sample III, C. K. “Life And Text As Spectacle: Sacrificial Repetitions In Duras’s The North China Lover.” Literature Film Quarterly, vol. 32, no. 4, 2004, pp. 279-287. Academic Search Complete, http://connection.ebscohost.com/c/articles/15525910/life-text-as-spectacle-sacrificial-repetitions-durass-north-china-lover.
- Sharma, Ramen, and Dr. Preety Chaudhary. “Common Themes and Techniques of Postmodern Literature of Shakespeare.” International Journal of Education Planning & Administration, vol. 1, no. 2, 2011, pp. 188-198. https://www.ripublication.com/ijepa/ijepav1n2_11.pdf.
- Taylor, John. “Fuse Book Review: From France with ‘L’Amour’—A Neglected Volume by Marguerite Duras.” The Art Fuse, 9 Jul. 2013, http://artsfuse.org/86023/fuse-book-review-from-france-with-lamour-a-neglected-volume-by-marguerite-duras/. Accessed 22 Nov. 2016.
- Todd, Ruby. “Writing Absence: A Case Study of Duras’s The North China Lover.” Deakin University, http://www.aawp.dreamhosters.com/wp-content/uploads/2015/03/Todd2013.pdf Accessed 22 Nov. 2016.
- Tryneicka, Aleksandra. “The Bildungsroman Revisited: J. D. Salinger’s ‘The Catcher in The Rye’ and M. Duras, ‘The Lover’ and ‘The North China Lover’: An Intertextual Study of the Genre.” International Journal of Arts and Sciences, vol. 8, no. 7, 2015. http://www.universitypublications.net/ijas/0807/html/V5G104.xml
Relevant Questions about Postmodernism in “The North China Lover”
- How does Postmodernism in “The North China Lover” manifest through its narrative style and structure?
- In what ways does the novel challenge conventional notions of identity and reality, reflecting Postmodernism in “The North China Lover”?
- How does Duras employ intertextuality and metafiction in “The North China Lover” to engage with Postmodernism in “The North China Lover