Key Concepts
- Bilingual Writing: It refers to the practice and challenges faced by writers, especially first - generation immigrants or diasporic individuals, when creating literary works in a non - native language.
- Language and Identity: This concept explores how language shapes, divides, or integrates an individual's multiple cultural identities and self - perception.
- Motherhood and Creation: It focuses on how the profound personal identity of becoming a mother uniquely influences female writers' creative perspectives, topic selections, and emotional involvement.
- Literary Gatekeepers: These are the power structures or individuals in the publishing and literary circles who decide which works, voices, and topics can gain attention and resources.
- Diasporic Experience: It describes the cultural adaptation, identity struggles, and search for a sense of belonging that individuals or groups experience when leaving their homeland and living in a different cultural environment.
Abstract
In this episode of the Out of Step podcast, a well - known writer, Yan Ge, was interviewed. The interview delved deeply into her journey of living overseas, especially her transition from writing in Chinese to English. Yan Ge shared how language shapes different "selves" of hers. She feels more free and rational in her English self, while her Chinese self is more closely connected with traditions and emotions. She openly discussed the challenges and unique creative "frictions" brought about by bilingual writing, believing that this struggle is the driving force behind her current creative work. The interview also touched on the profound and inseparable impact of motherhood on her writing, which is distinct from other personal identities such as being a daughter or a wife. Additionally, based on her connections with the British and Irish literary circles, Yan Ge keenly observed and criticized the cultural centrism (especially American centrism) and the phenomenon of "literary gatekeepers" in the English - language literary field. She revealed the stereotypes and market pressures faced by minority and non - central region writers. Finally, she offered valuable advice to diasporic Chinese writers aspiring to write in English, emphasizing the importance of clarifying the target audience and internalizing the rhythm of the language through extensive reading.
Insights
The content of this interview has significant practical and application value. Firstly, it provides a vivid case for understanding the fluidity and complexity of individual identities in the context of contemporary globalization and anti - globalization, especially how language conversion reshapes personal perception and the way of connecting with the world. Secondly, Yan Ge's experience reveals the opportunities and structural dilemmas faced by non - native writers when entering the international literary arena, which is of great reference value for individuals aspiring to cross - cultural creation. Her observations on how "literary gatekeepers" and market mechanisms implicitly shape "minority writing" offer a unique perspective for us to critically examine the power imbalance in current international cultural exchanges. Thirdly, the frank discussion in the interview about the relationship between motherhood and female creation challenges the traditional view of completely separating motherhood from individual creation, emphasizing its indelible and profound influence, which is inspiring for understanding the creative ecosystem of female artists. Finally, Yan Ge's experience also reflects the common struggles and explorations of the broader diasporic Chinese community in terms of identity recognition, cultural integration, and emotional belonging. Her mindset of "running away is shameful but useful" and her strategy of finding different selves in different languages provide a valuable sample for understanding the survival wisdom of this community.
Views
01 "Language Shapes Multiple Selves"
Yan Ge believes that different languages can activate or shape different "personalities" or "selves" of an individual. In an English - speaking environment, she feels more relaxed and rational. She can even "act wildly" without having to apologize too much, which contrasts with the sense of restraint associated with the traditional East Asian female identity she feels in a Chinese - speaking context. This identity difference brought about by language profoundly affects her life experiences and interpersonal interactions.
I think that when I express myself in English... it is a rational language, and it expresses more of my speculative, academic, or intellectual thinking... It seems that this kind of thinking has been developed in the English language.
02 "Creation Requires 'Friction and Struggle'"
Yan Ge admitted that the "pain and struggle" she feels in Chinese writing has decreased, which has in turn reduced her interest in writing in Chinese. On the contrary, English, as a second language, with its inherent difficulties and limitations, including the "pain" of being unable to fully capture the authentic colloquial language, provides the necessary "friction" and challenges, which have become an important driving force for her writing at this stage.
I think the reason why I currently don't really want to write in Chinese... is that I don't feel much pain and struggle in Chinese writing... And I think it is precisely this feeling that has weakened my interest in it. So, I think in the final analysis, it is a process of seeking pain and entanglement.
03 "The Particularity of Motherhood"
Different from other personal identities (such as wife, daughter, and friend), Yan Ge found that the identity of "mother" is the only one that cannot be completely "shut out" when writing. This identity is closely "stuck" to her creative self. Even when she uses details from her son's life for fictional creation, she will feel unprecedented guilt and a "heart - wrenching" physical discomfort.
Only my identity as a mother is closely... physically stuck to me, and I can't cut it off... This is a feeling I've never had before.
04 "Be Vigilant Against the Power Center and Gaze in the Literary Field"
Yan Ge criticized the centrism in the English - language literary circle, especially in the United States. She observed that under the so - called "diverse" picture, minority writers (including Irish writers) and those from non - central regions are often "gazed at" by "literary gatekeepers" and market mechanisms. They are invisibly required to play specific roles and write about topics that conform to stereotypes to meet the expectations of the mainstream market.
These decisions are made by gatekeepers... Its whiteness - centrism or American centrism is very strong... In fact, all these people are still in a very rigid white - centered... state and are required to play their respective roles.
In - depth Analysis
Navigating the Linguistic Boundaries: Writer Yan Ge's Dual Worlds and Creative Exploration
In today's era of increasing globalization and frequent cultural collisions, individual identity recognition and sense of belonging have become more complex than ever. Yan Ge, a well - known writer who was initially famous for her Chinese - language works and later switched to English writing and gained international recognition, provided a profound and honest example during a recent appearance on the podcast Out of Step. Her story shows the inner struggles, identity reconstructions, and creative transitions of individuals moving between different languages, cultures, and life domains.
Language: A Double - Edged Sword in Shaping the Self
At the beginning of the interview, Yan Ge shared her daily life in Norwich, UK - a seemingly calm and even "reclusive" state, where she drinks coffee with friends, picks up and drops off her children, participates in community activities, and maintains a high - intensity reading and writing rhythm. However, beneath this daily routine lies a profound reflection on language and identity. Yan Ge admitted that she has two distinct "selves": the English "Yan" and the Chinese "Yan Ge".
In the English - speaking world, she feels unprecedented relaxation and comfort, even "like a fish in water". She believes that English is a more rational language. She first got in - depth contact with it by reading English theoretical books and found that this language can better carry her speculative and intellectual side. In English communication, she feels that gender roles are weakened, and interpersonal interactions tend to be equal dialogues between two independent individuals. "It seems that suddenly there is no more... that kind of submissive feeling." This "magical equality" and the "unrestrained" feeling in expression allow her to construct a relatively free "English personality" that is not overly restricted by traditional cultural norms. This "English me" has now become the dominant personality in her life.
However, in contrast, the "Chinese me" is closely connected with her homeland, the past, her family, and the complex emotions that come with them. Whenever the "Chinese me" is awakened, such as during the Chinese New Year or when she recalls her hometown of Chengdu and her parents and relatives, she will fall into a state of pain and confusion of "not fitting in", accompanied by a strong sense of guilt. She describes this state as "not being completely integrated with this land", and even a deliberately suppressed and "unhealthy" state. A friend comforted her with the Japanese drama Running Away is Shameful but Useful, which made her realize that this seemingly comfortable "English life" may be based on a certain degree of escape from the "Chinese self".
This identity split caused by language is not unique to Yan Ge. It deeply reflects the common dilemma faced by many first - generation immigrants or diasporic individuals in the context of globalization: how to reconstruct the self in a foreign land? How to deal with the emotional ties with the native - language culture? Yan Ge's experience reveals that language is not only a communication tool but also a powerful force that shapes an individual's cognitive framework, emotional patterns, and even social roles.
Creation: Searching for New Horizons in "Friction and Struggle"
Yan Ge's writing career is a journey of constantly crossing boundaries. She was initially well - known for works such as Our Family and Sad Stories from Pingle Town, which depicted the local customs of her hometown. Later, she resolutely switched to English writing and published works like The Chilli Bean Paste Clan (the English version of Our Family) and the short - story collection Dear Chrysanthemums, and made a name for herself in the international literary arena. This transformation was not achieved overnight.
She mentioned that there was a period when, although her life was completely immersed in an English - speaking environment, she still stubbornly believed that "the language of literature can only be Chinese". However, as her "English personality" grew stronger, more and more of her thoughts, feelings, and experiences in life occurred in the English context. Eventually, "it had to seep into your writing."
Interestingly, Yan Ge attributes part of her motivation for switching to English writing to a need for "pain and struggle". She feels that she has become increasingly proficient in the techniques and expressions of Chinese writing, and the "friction" at the beginning of her creative process has greatly diminished, which has made her lose some of her creative passion. English, as a second language, naturally brings limitations and challenges - for example, she mentioned that she can never capture and write authentic dialectal conversations as accurately as a native speaker. This "continuous pain and struggle" has become the exciting point and driving force for her current creation. "I think in the final analysis, it is a process of seeking pain and entanglement," she summarized.
This seemingly contradictory creative psychology actually highlights a core aspect of artistic creation: challenges and a sense of strangeness are often the sources of creativity. For Yan Ge, English writing is not just about changing a language tool; it is about entering a new field full of unknowns, where she needs to continuously learn and overcome obstacles, thus reigniting her creative passion.
Motherhood: An Indelible Mark on Creation
When discussing the influence of personal identity on writing, Yan Ge made a very important distinction: the uniqueness of motherhood. She admitted that when writing, she can relatively coldly "shut out" identities such as wife, daughter, and friend. She can be as calm as a "surgeon" when borrowing details from people around her for creation, without much consideration of whether she will "hurt" the original characters (such as her father and husband).
However, only the identity of "mother" is "closely... physically stuck to" her creative self and cannot be cut off. When she used details from her son's life in a new novel she is currently writing, she felt unprecedented guilt and physical discomfort. This experience shocked her and made her realize the profound mark of motherhood on her creative ethics and emotional involvement.
The novel she is currently writing features a protagonist who "escapes from the identity of a mother", a woman who abandons her child. She chose this "taboo topic" based on her observation of gender inequality in social narratives - men who abandon their families (such as Odysseus and Yu the Great) are often understood and even praised, while women who do the same face severe moral judgments. She hopes to explore this "gray and inexpressible" complex area of human nature through literature, challenge established concepts, and "portray the very subtle aspects of human nature." This creative choice itself reflects how motherhood inspires her to think about and write about more subversive themes that go against traditional maternal narratives.
The Literary World: A Power Game between the Center and the Periphery
In the second half of the interview, Yan Ge turned her attention to the English - language literary field she is in, especially the delicate relationship between the UK, Ireland, and the United States. She first affirmed the diversity of the English - language literary world. Writers from different cultural backgrounds use the same language for creation, bringing rich literary textures and traditions, which is "very exciting".
However, after delving deeper, she also keenly pointed out the deeply ingrained power structure and centrism in this field. The United States is undoubtedly the absolute center of this world, followed by the UK. As for Irish literature, although there has been a large number of talented writers in recent years and it has attracted much attention (for example, the proportion of Irish writers on the shortlist for the Booker Prize is quite high), in Yan Ge's view, this "popularity" actually confirms its "non - mainstream" status. Irish writers, like other minority writers, are often in a position of being gazed at and exoticized.
This gaze brings invisible pressure. Yan Ge observed that some Irish writers seem to be unconsciously catering to the stereotypes of Ireland held by Anglo - American readers - poverty, chaos, alcoholism, etc. "They are writing for foreigners, not for the Irish." This phenomenon is not an isolated case. She cited the observation of a Vietnamese - American writer friend, pointing out that almost all Vietnamese - American writers "must" write about their experiences as "boat people", regardless of their personal experiences. She also mentioned that Chinese - American writers were initially confined to writing family memoirs.
Behind these phenomena are the "literary gatekeepers" at work. The power mechanism composed of publishers, critics, and award judges determines which voices can be heard and which topics are popular. Although this screening mechanism seemingly promotes diversity (more minority faces appear), in essence, it may be a form of discipline that "requires people to play their respective roles". Yan Ge believes that this is both an ideological oppression and a manifestation of capitalist logic - "fundamentally, it's money", because the huge commercial interests of the American market drive this kind of choice.
This critical observation not only reveals the power dynamics within the English - language literary world but also provides a valuable insider's perspective for us to understand the common cultural hegemony and market - orientation issues in global cultural exchanges.
Inspiration for Diasporic Writers
At the end of the interview, Yan Ge offered advice to diasporic Chinese writers who are also trying to create in the English - speaking world. She emphasized two points:
- Clarify Your Audience (To whom I'm writing?): Are you writing for the white mainstream audience or for a community with a similar background to yours? The answer to this question will profoundly affect your writing stance, narrative strategy, and even the handling of details (for example, whether you need to explain the cultural background). There is no right or wrong answer, but you must be clear and conscious.
- Immersive Reading and Imitation: There is no shortcut to improving your "feel" and "intuition" in non - native language writing and finding your unique voice in that language. You can only achieve this by extensively reading excellent works and even doing transcription to feel the rhythm, cadence, and musicality of sentences and internalize them.
Conclusion: Continuously Exploring at the Boundaries
Yan Ge's sharing is a deep journey across the boundaries of language, culture, and personal identity. Her story shows the real situation of a contemporary intellectual in the context of globalization: benefiting from the opportunities of cross - cultural mobility while also bearing the pain of identity fragmentation; finding creative freedom and motivation in a new language while also clearly recognizing and criticizing the power imbalance in the environment she is in.
Her experience reminds us that identity is not a fixed label but a dynamic process constructed through continuous interaction, choice, and struggle. For the growing global Chinese/Chinese - speaking population, how to place and express the self in different cultural contexts and how to balance individual artistic pursuits with the expectations and pressures of the outside world will be a long - standing and continuously explored topic. Yan Ge's honesty and reflection undoubtedly provide valuable light and reference for this exploration.