China–France Book Trade and the Sibao Publishing System

Introduction

In the past, the Chinese government's approach to matters of culture and art did not differ significantly from its stance on various other internal affairs of the nation. While it exercised some control over the distribution of culture and art, it remained largely ineffective in controlling consumption. Literature has always been an important element of culture and art, and in recent times more and more contemporary authors are exploring modern literature across national boundaries. Geographical boundaries no longer act as limiting factors in this domain; rather, they have increasingly become a competitive frontier among contemporary authors. Chinese authors, who had long been underrepresented in global literary markets, are now catching up rapidly.

In addition to examining the nature and conduct of the book trade between China and France, this paper assesses the system of publishing in Sibao. In doing so, it highlights both the physical manufacture of books at Sibao and the structure of the Sibao publishing industry.

Books Traded Between China and France

The literary exchange between China and France operates in two directions: Chinese literary works published and distributed in France, and Western — including French — works translated and published in China. Each direction has its own distinct history, motivations, and character, and both have contributed to the broader project of cultural cosmopolitanism that has shaped modern Chinese intellectual life.

Chinese Literature Published in France

China's desire to see its literature presented to a global audience is significantly advanced through the publication of Chinese literary works in France. France provides a welcoming platform for this endeavor. The extent of progress made in showcasing Chinese literature on the global stage is evident from, among other indicators, Mo Yan's winning of the Nobel Prize for Literature. Writers of global repute have also paid tribute to Chinese authors in the past. Contemporary Chinese literature has seen markedly increased translation activity over the last two decades, and these translations have gone hand in hand with greater acceptance of Chinese literary works in France. These advances are not merely the result of greater reader interest in France; rather, they stem from a convergence of Chinese and French interests in mutually beneficial cultural exchange. Thanks to editorial policy changes — most particularly the follow-up policy — it has become possible to shorten the translation period considerably.

Some of the literary works published in France are largely controversial, dwelling on China's past policies, family life, and the communist way of life. A prominent example is Frog by Mo Yan, a novel that attempts to illuminate the workings of China's one-child policy. It examines the controversies surrounding that policy and the enforcement concerns it generated at both the state and familial levels. Published in China in 2009, the book appeared in France two years later. It brings to the fore the desperation experienced by families subject to this policy, including the forced abortions that resulted from its implementation.

Another set of texts published in France from China seeks to define Chinese history from a modernist viewpoint, clearly tracing the evolution of the country while alluding to a society in constant transformation. The China of today differs significantly from the China of earlier eras. Where the country once enforced largely coercive policies against the wishes of the general public — such as the demographic policy — contemporary China is presented in a more tolerant and accepting light. It is nonetheless important to note that writers like Mo Yan have at times criticized modern China, portraying Chinese authorities as a contradictory formation that shows insufficient regard for basic human rights, particularly with respect to the state's censorship of viewpoints deemed critical of its operations.

There are also literary works that address contemporary Chinese issues and societal concerns — notably Mo Yan's collection of short stories titled The Beauty Riding a Donkey on Chang'an Avenue. Some of the stories therein focus on the complexities of life and the weaknesses of human nature, as is particularly evident in "The Woman with Flowers" and "The Fight in the Popular Forest," which highlight the frailties of men and the timid nature of the adult world. Through fictional representation, most of the Chinese works published in France effectively uncover social deficiencies and moral decay. Although the imagery employed can be extreme — involving cruelty and violence — it succeeds in presenting the author's viewpoints and stimulating the reader's imagination.

Conclusion

The success of many Sibao publishing houses was founded on a number of unique and diverse factors. In all industries — from textiles to music to mining — there are both success stories and spectacular failures, and Sibao was no exception. Success or failure depended on a variety of elements: the strategies adopted, the partnerships maintained, organizational culture, and more. While some Sibao publishing and bookselling enterprises expanded and flourished over time, others struggled to remain consistently profitable. Success factors appear to have been largely associated with familial commitment to the business, patriarchal mentorship of successors, and controlled growth and expansion.

The management of Sibao publishing houses was largely distinctive, particularly with respect to the familial character of business operations. An interesting feature of the industry was its occupational diversity, with roles clearly allocated according to long-held family traditions and social custom. Understanding the organization and operation of the Sibao publishing enterprise therefore requires familiarity with the interplay between household and business, an appreciation of the unique management strategies employed at the time, and knowledge of the culture and way of life of Sibao's inhabitants.

Ultimately, the literary exchanges between China and France — both the publication of Chinese works in France and the translation of Western scientific and philosophical texts into Chinese — reflect a broader process of cultural convergence. As the world continues to evolve into a more interconnected global community, the role of literary translation and cross-cultural publishing in fostering mutual understanding remains as relevant as ever.

References

Brokaw, C. J. (2007). Commerce in culture: The Sibao book trade in the Qing and Republican periods. Harvard University Asia Center.