East-West Question – Ma Boyong- Why do historical novels touch the heartstrings of contemporary readers-

On October 14th, in Shanghai, we had the opportunity to sit down with renowned writer Ma Boyong to explore the rising popularity of Chinese historical novels among contemporary readers. Titles like “The Longest Day in Chang’an,” “Under the Microscope: The Ming Dynasty,” and “Fifteen Days in Two Capitals” are captivating international audiences, revealing a new lens through which foreigners can understand China. What makes these historical narratives resonate so strongly with modern readers? Could cultural differences act as a barrier to understanding?

**Interviewer:** Your works range from “Lychees from Chang’an” to your latest piece, “The South Foodies,” where you leverage the theme of food to explore significant historical events. Do you believe culinary topics play a more crucial role in Chinese literature compared to Western literature?

**Ma Boyong:** Food is a universal theme and one of humanity’s greatest common denominators. Regardless of language, history, or culture, people share a fundamental appreciation for food. It serves as a “world language,” and stories revolving around food can foster a deep sense of connection and empathy among readers.

In “The South Foodies,” set in the Western Han Dynasty’s Nanyue Kingdom, I narrate the journey of a character named Tang Meng and his culinary experiences. Historical records indicate that when Tang Meng first arrived in Nanyue, he encountered a sauce called “Goujiang,” which originated from the Sichuan region and traveled via the Yelang Kingdom to Nanyue. This backdrop highlights how culinary experiences can alter territorial dynamics, as Tang Meng advised Emperor Wu of Han to take military action against Nanyue, leading to the establishment of the Jianwei Prefecture in Southwest China.

This narrative sparked my creativity; historical texts are often brief and lacking in depth, so literature provides an avenue to explore the nuances. Each food item has its significance and narrative potential, inviting an open-minded approach to diverse culinary experiences. Through literature, we can better present the various lifestyles, cultural traditions, and value systems of agricultural, maritime, and nomadic communities.

**Interviewer:** The “China Literature Readers Club” in Thailand recently hosted a discussion on “Under the Microscope: The Ming Dynasty.” Given that your works focus on ancient Chinese people and events, what accounts for the appeal of historical novels to contemporary audiences?

**Ma Boyong:** Recently, there’s been a surge of interest in Chinese novels from overseas readers, with my works translated into several languages like English, Russian, Spanish, Portuguese, Thai, Vietnamese, and Japanese. Interestingly, I never targeted an international audience; my writing is rooted in China’s traditional culture and historical narratives.

Overseas attention arises from the growing radiance and influence of Chinese culture globally. For instance, Southeast Asia has long been captivated by Chinese television dramas, such as “Desire,” and now embraces various forms of Chinese media including anime and romantic dramas. This trend reflects China’s enhanced cultural status and outreach.

Through my engagement with readers from various backgrounds, I increasingly realize that our shared human experiences often overshadow our differences. People from different cultures cherish similar values: family connections, friendships, self-expression… While international readers may not be well-versed in Chinese history, they readily resonate with the universal human themes within these stories.

Notably, French philosopher Voltaire adapted “The Orphan of Zhao” into “The Chinese Orphan,” which captivated the French audience, despite their unfamiliarity with Chinese history. Such examples abound; Dutch author Huanzhou Garo incorporated the legendary detective Di Renjie into Western detective literature, and Japanese novelist Masakazu Yamaguchi crafted a series of historical novels based on the Spring and Autumn period… Though foreign authors may grasp varying depths of Chinese history, they all successfully extract relatable cultural elements that resonate with local audiences.

The allure of historical novels lies not only in their ability to mirror contemporary society but also in how they connect past and present. Readers are drawn to explore their personal experiences within historical contexts.

**Interviewer:** Critics have noted that your work explores what’s referred to as “historical possibility novels.” What are the defining features of this genre, and how does the depth of Chinese culture inspire fresh ideas and perspectives for writers?

**Ma Boyong:** The hallmark of “historical possibility novels” is discovering common ground between past and present; contemporary readers often seek connections between historical narratives and their own lives.

For example, “Lychees from Chang’an” draws from the famous line, “A rider swiftly brings lychees, unheard of by the rest.” However, instead of focusing on Emperor Xuanzong and Yang Guifei, I chose a lesser-known character, a minor official transporting fresh lychees to Chang’an. Many ordinary people in ancient times faced life challenges remarkably similar to those we encounter today, fostering an empathetic connection across time. My goal is to retrieve these often-ignored stories of everyday individuals, as understanding their lives helps us comprehend the true forces behind historical shifts.

Chinese culture represents a vast treasury for storytelling. To effectively utilize it, we must deeply understand traditional culture while also reflecting on contemporary values and issues. Only then can we unearth valuable narratives that resonate with modern readers, presenting old tales in new ways that foster connection.

**Interviewer:** The Italian historian Benedetto Croce stated, “All history is contemporary history.” How do you balance the historical authenticity of your works with a contemporary relevance? Additionally, how do you navigate the principle of “major events must be factual, while small details can be looser” to weave imaginative narratives within historical frameworks?

**Ma Boyong:** History can be categorized into “documented history” and “true history.” The former deals with objective facts, and the latter encompasses histories that resonate with modern experiences, making them tangible and relatable.

Croce believed that history should be anchored in contemporary realities for discussion and reinterpretation. In literature, we might rephrase his idea as “Every historical novel is also a contemporary narrative.” Although my writings refer to historical anecdotes, they reflect my insights regarding the present, creating a natural resonance with readers from my time. A glance at literary history reveals that enduring classics possess the power to cross temporal boundaries and touch readers’ hearts.

In “The Longest Day in Chang’an,” the narrative centers on the theme of “protecting Chang’an.” The protagonist, Zhang Xiaojing, guards the city and its citizens, transcending the social norms of his feudal society. Readers may instinctively relate him to modern guardians, such as police officers or healthcare workers, those who protect daily life. This personal connection fosters empathy, allowing readers to engage deeply with Zhang Xiaojing’s character.

The principle of “major events must be factual, while small details can be looser” can be likened to a “sandwich” theory of historical novel writing. At the top layer, we must respect significant historical events that are immutable. For example, we can’t depict Qin Shi Huang as failing to unify China, as that contradicts established history.

The bottom layer is concerned with historical nuances—details about local customs, laws, and day-to-day life should be meticulously researched. For instance, corn was not accessible to the Chinese until after the Ming Dynasty, and such details need to be accurate to maintain authenticity.

The middle layer embodies “historical possibilities,” events that could logically have occurred under historical circumstances but are not definitively recorded. My aim is to fill the gaps in documented history with plausible stories, constructing a coherent and imaginative narrative thread that respects historical integrity.

**Interviewer:** In your view, do diverse cultural backgrounds pose a barrier to readership? How can readers unfamiliar with Chinese history access and appreciate these historical novels?

**Ma Boyong:** Cultural differences do not inherently create barriers to reading. When American films, Japanese anime, and European literature entered the Chinese market, local audiences did not find them alienating. Therefore, there’s no need to lower the threshold for international readers or accommodate their potential misunderstanding of Chinese cultural elements; as long as the core and presentation of the content are strong, any barrier dissipates, and readers will naturally engage with Chinese culture.

Moreover, we shouldn’t limit ourselves to solely expressing traditional culture. China is also characterized by modernization and contemporary elements—high-speed rail, aerospace, web novels, and the new cultural tide are vital components of modern Chinese culture, providing fresh avenues for engagement with international audiences.

Take, for instance, my novel “Fifteen Days in Two Capitals,” which incorporates numerous specific terms from the Ming Dynasty, such as the Jinyiwei and the Dong, Xi factories. This has not deterred Japanese readers; their feedback often centers on the story rather than any challenging terminology. Many express newfound interest in Chinese history and seek out additional resources to understand it better. If the story is engaging enough, international readers will inevitably be drawn to learn more about Chinese culture.

When presenting Chinese narratives to international audiences, it’s crucial to identify emotional resonances that connect with modern sentiments. Chinese culture is remarkably complex, and we must avoid oversimplifying narratives. We shouldn’t perceive global readers as naive; instead, we should express our culture accurately and rigorously.