Abstract

Abstract:Retro-writing has ethical implications. How a speaking subject applies a retro-perspective frames a piece of writing within certain cultural discourses. In contemporary Chinese poetry, cultural nostalgia and the attempted revival of ancient aesthetics is a complex issue, one that is largely the result of a general interest in cultural archeology, writers’ anxiety of influence, the desire to escape from various political pressures, and the claim of a need for a distinctive Chinese cultural identity. The subject in many contemporary Chinese poems, in many cases, is a male subject striving to retrieve the premodern holistic state of being, which is illusory. Han Bo’s two poems “Modern Sex Machine” and “Mass(ive) Killing Machine” are unique in that they examine the bludgeoning of modernity within postmodern parameters and attempt to map the dynamics of modern and contemporary subjecthood, which is in fact a transcorporeal experience of the subject as that which is, ultimately, subjectless. Such work, in creating a cross-corporeal subjectless subject, embraces alterity and renders possibilities for the reader to reject a prior unitary transcendental subject that is illusory, and thereby to discover the beings of themselves and their roles in the world—and to extend this work of reconfiguring subjecthood from literature into other aspects of social life.