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Li-Chun Hsiao attempts to rethink, under the rubric of globalization, several key notions in postcolonial theory and writings by revisiting what he conceives as “the primal scene of postcoloniality”—the Haitian Revolution. He unpacks and critiques the post-structuralist penchants and undercurrents of the postcolonial paradigm in First-World academia while not reinstating earlier Marxist stricture. Focusing on Edouard Glissant’s, C. L. R. James’s, and Derek Walcott’s representations of Toussaint L’Ouverture and the Haitian Revolution, the textual analyses approach the issues of colonial mimicry, postcolonial nationalism, and postcoloniality in light of recent reconsiderations of the universal and the particular in critical theories, and psychoanalytic conceptions of trauma, identity, and jouissance. Hsiao argues that postcolonial intellectuals’ characteristic celebration of the Particular, together with their nuanced denunciation of the postcolonial nation and the Revolution, doesn’t really do away with the category of the Universal, nor twist free of the problematic of the logics of difference/equivalence that sustains the “living on” of the nation-state, despite an ever expanding globality; rather, such a postcolonial phenomenon is symptomatic of a disavowed traumatic event that mirrors and prefigures the predicament of the postcolonial experience while invoking its simulacra and further struggles centuries later.
The Soldier-Writer, the Expatriate, and Cold War Modernism in Taiwan: Freedom in the Trenches argues that what appeared to be a "genesis" of new literature engendered by the modernist movement in postwar Taiwan was made possible only through the "splendid isolation" within the Cold War world order sustaining the bubble in which "Free China" lived on borrowed time. The book explores the trenches of freedom in whose confines the soldier-poets' were surrealistically acquiesced to roam free under the aegis of "pure literature" and the buffer zone created by the US presence in Taiwan—and the modernists' expatriate writing from America—that aided their moderated deviance from the official line. It critically examines the anti-establishment character and gesture in the movement phase in terms of its entanglements with the state apparatus and the US-aided literary establishment. Taiwan's modernists counterbalance their retrospectively perceived excess and nuanced forms of exit with a series of spiritual as well as actual returns, upon which earlier traditionalist undercurrents would surface. This modernism's mixed legacies, with its aesthetic avant-gardism marrying politically moderate or conservative penchants, date back to its bifurcated mode of existence and operation of separating the realm of the aesthetic from everything else in life during the Cold War.