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Leftover in China: The Women Shaping the World’s Next Superpower by Roseann Lake

In a new book on China’s Leftover Women, author Roseann Lakes highlights the strength and merit of China’s unmarried women.

Manya Koetse

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With Leftover in China – The Women Shaping the World’s Next Superpower, author Roseann Lake brings a deeply insightful and captivating account of China’s so-called ‘leftover women’ – the unmarried females who are shaping the future of the PRC. A must-read book for this Spring Festival holiday.

As the count-down for China’s most important event of the year, the Spring Festival, has started, countless unmarried daughters and sons anticipate the reunion with their parents and relatives with some horror. “Why are you still single?” is amongst the top-dreaded questions they are facing during the New Year’s dinners at the family dining table.

More so than the bachelor sons, it’s China’s unmarried daughters in their late twenties and early thirties who came to be at the center of a media storm over the past decade. The so-called ‘leftover women’ (剩女 shèngnǚ) have become a source of critique, banter, worry, fascination, and inspiration for the media, both in- and outside China.

The term shèngnǚ became a catchphrase ever since the Chinese Ministry of Education listed it as one of the newest additions to Chinese vocabulary in 2007. The shengnü label is mainly applied to unmarried (urban) women in their late twenties or early thirties who are generally well-educated and goal-oriented, but who came to be associated with ‘leftover food’ because of their single status and long-standing beliefs about the right age to marry.

One 2015 survey by Chinese dating site Zhenai, that was held amongst 1452 single men and women, shows that 50% of Chinese men think that women who are still single at the age of 25 are ‘leftovers.’

 

SILVER LININGS

“I’m pro-active about finding a partner, but not to the extent that it gets in the way of other ambitions.”

 

After the success of much-acclaimed books such as Factory Girls (Leslie T. Chang 2008) and Leftover Women: The Resurgence of Gender Inequality in China (Leta Hong Fincher 2014), Leftover in China: The Women Shaping the World’s Next Superpower  (2018) by Roseann Lake, Cuba correspondent for The Economist, brings fresh insights into the role and position of young women in a rapidly-changing society.

At the root of the ‘leftover women’ phenomenon and the media frenzy around it lies China’s One-Child Policy (1979-2015), the country’s imbalanced sex ratio, and traditional perceptions on wives and mothers being the building blocks of Chinese families and the nation at large.

Leftover in China is Roseann’s Lake first (non-fiction) book.

Lake describes how the onset of China’s One-Child Policy and a traditional preference for sons, together with the available ultrasound technology in the late 1980s, led to an enormous rise of abortions on female fetuses. The gender imbalance it brought about is most severe in China’s rural areas; in places such as Tianmen, Hubei, the gender ratio is a shocking 176 males to 100 females. It leaves villages full of men who are unable to find a bride and start a family. Guānggùn (光棍), they’re also called, literally the “bare branches” of their hometowns.

While the ‘bare branches’ reside in China’s more rural areas, the ‘leftover women’ live in China’s more urban areas. The ‘bare branches’ and ‘leftover women’ both have difficulties in finding a partner, albeit for radically different reasons. For the rural men, there simply are not enough marriage candidates, whereas for the urban women, there are not enough suitable marriage candidates. A major difference between the countryside and the urban environment is that China’s cities have seen a much better-balanced gender ratio, with parents pampering and pressuring their only child – whether it was a boy or girl.

Although Lake does explain the “gruesome cloud” of China’s One-Child Policy and female foeticide and the demographic problems it has triggered, she especially focuses on the “silver lining,” which is that the sociopolitical circumstances have also ‘forced’ parents to value their daughters more than ever before. Over the past decades, millions of Chinese daughters have been given the opportunities and liberties their mothers and grandmothers never had. Their increased educational and professional prospects have made marriage somewhat less of a priority for them.

While China’s unmarried, urban woman are often stigmatized by Chinese state media for being too ‘spoilt’, ‘picky’, or ‘promiscuous’ to marry, Roseann Lake casts an entirely different light on China’s urban bachelorettes as being determined, independent, and self-assured. “I’m pro-active about finding a partner,” one of the ‘leftover women’ in Lake’s book says: “But not to the extent that it gets in the way of other ambitions.”

 

CHANGING TIMES, CHANGING LOVE

“Leftover women are resisting ultimatums to wed because they want to marry for love, and not just for the sake of being married.”

 

Lake’s strong connection to Chinese culture and society jumps off the pages of Leftover in China, in which she playfully and compellingly offers a window into the female experience in modern China, explaining fascinating concepts that are unique to modern-day society. One such example is the ‘phantom third stories’ phenomenon; two-story houses with an unfinished ‘fake’ third story, built by unmarried men and their family to make the house appear more grandiose in the hopes of attracting a wife.

The interest in China started when Lake took a sabbatical from her job with the French government in New York, and went to Beijing. “I was only supposed to stay for three months,” she tells What’s on Weibo: “But shortly into my stay I bought a hot orange electric – Chinese – ‘Vespa’, and that changed everything.”

Journalist Roseann Lake.

As Lake was riding her scooter, which she lovingly nicknamed ‘Fanta’, she took in the city and all of its aspects, including its love and romantic relationships. On what first caught her attention within this field, she explains that it started one afternoon as she was riding her scooter in Beijing and spotted a very angry Chinese woman on the side of the road, screaming profanities at a man who appeared to be her romantic partner. The altercation turned violent, and it was not the first time Lake had witnessed such a scene between couples in public.

“I felt that something seemed afoul with the state of romantic relationships in China,” she says – which was a start of her interest and research into romance, love, and the role of Chinese women in this. “For thousands of years, marriage has largely been a mercenary, transactional agreement in China, made with the best interests of the key stakeholders – the parents – in mind.”

Romantic love as a reason for marriage in China, Lake says, is a relatively new concept. She tells What’s on Weibo: “Down the line, this better helped me understand the situation of leftover women – many of which, as I discovered, were resisting ultimatums to wed because they wanted to marry for love, and not just for the sake of being married.”

The topic of China’s changing marriage values and the generation gap in perceptions on love and marriage between parents and their daughters recurringly comes back in Lake’s book, for which she followed the lives of various ‘leftover women’ over a period of several years. Through the stories of women such as Christy, the CEO of a successful Beijing PR firm, or June, a “return turtle” who came back to the mainland after graduating from Yale, readers can get a grasp of the pressures and problems many single women are facing in China today.

An important lesson to draw from this book is that the phenomenon of China’s ‘leftover women’ cannot be explained through a unidimensional lens. Lake highlights China’s historical, societal, cultural, and economic dimensions in her approach of why this large group of unmarried women, despite all of their personal, academic and professional achievements, are still being labeled through their single status.

 

THE TOAST OF THE NATION

“There is irony and absurdity in the fact that these women are referred to as “leftover” but are really such an important part of China’s future.”

 

In 2016, an ad campaign by skincare brand SK-II titled ‘She Finally Goes to the Marriage Corner’ (她最后去了相亲角) gained huge popularity on Chinese social media. The short video showed how women, pressured to get married by their families and society, pluck up the courage to speak out and get their message heard.

The video received much praise, with many women protesting against the derogatory ‘leftover women’ label. CCTV recently also posted a feature article on social media in which various women plead for the elimination of the “leftover woman” or shèngnǚ label.

The campaign by SKII in 2016 ignited a movement that protested the ‘leftover’ label.

Why, then, would Lake still refer to the ‘leftover’ label on the cover of her book? About the book’s title, Lake says: “There was a different title that I preferred, but my publisher disagreed with it, so we compromised on ‘Leftover in China.’ It has grown on me. I’m told that for non-fiction books, the subtitle is just as important as the title itself, and I think “The Women Shaping the World’s Next Superpower” is apt. It underscores the irony and absurdity of the fact that these women are referred to as “leftover” but are really such an important part of China’s future.”

Throughout the course of writing this book, Lake spoke to many experts on the importance of China’s young (unmarried) women in shaping Chinese economics. One of them is Dr. Kaiping Peng, the founding chair of the Department of Psychology at Tsinghua University, who is quoted as saying: “The Chinese economic miracle has two secrets. The first are migrant workers, and the second are young, educated women.”

All the love, time, and money that Chinese parents and grandparents have invested in their only (grand)daughter has now paid off – not just for them, but for the economy at large. These well-educated and hard-working women play a powerful role in running China’s economic engine.

 

THE FUTURE OF CHINA’S LEFTOVER WOMEN

“Few people know that the most imbalanced year for sex ratio at birth in China was actually 2005.”

 

When talking about the future of China’s ‘leftover women,’ Lake suspects that they will continue to get married later in life or not at all – on trend with what is also happening in countries such as Japan or South Korea. “This would be much to the dismay of the Chinese government” Lake says, “- which desperately wants babies, but hasn’t done much to incentivize or make it easier for women to have them.”

Social media platforms such as Weibo and WeChat also play an important role in the lives of these women: “When I was living in China and writing the first drafts of this book, there were a few groups on Weixin [WeChat] where women would chat, share articles, and plan gatherings. They’ve dramatically multiplied! More content is shared, more ideas are exchanged, and the ease of these platforms means that Chinese women abroad can easily remain a part of the conversation.”

Lake is more worried about the so-called guānggùn, China’s ‘bare branches’: “We all may imagine that the worst years for gendercide were in the 80s and 90s, when population controls were stricter in China, but I think few people know that the most imbalanced year for sex ratio at birth in China was actually 2005. That means that boys who are now 13 years old will likely have a harder time finding a wife than any generations of men before them.”

This Spring Festival, Lake is anticipating the launch of her book (release February 13, 2018), which has already been listed as one of the must-read books for 2018 by the South China Morning Post.

For China’s many bachelorettes, they’ll just have to face the nagging questions at the New Year’s dining table, but they need not worry too much about being called ‘leftover women.’ Through books such as these, the term loses its derogatory tone – it is becoming a badge of honor instead.

 
Leftover in China: The Women Shaping the World’s Next Superpower by Roseann Lake is now available for pre-sale:
Get on Amazon: Leftover in China: The Women Shaping the World’s Next Superpower
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By Manya Koetse

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

2 Comments

2 Comments

  1. Avatar

    Oi-lin

    February 20, 2018 at 1:24 pm

    Curious that this white author’s book does not reference Leta Hong Fischer’s pioneering work.

    • Avatar

      Sigrid

      May 7, 2018 at 7:04 am

      Because Leta Hong Fingers book is irrelevant to the topics dealt with in Lake’s book.

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China Books & Literature

From “Voice of the People” to “Traitor of China”: The Rise and Fall of Fang Fang’s Wuhan Diary

How a Weibo journal got caught up in pandemic politics: the Wuhan Diary controversy explained.

Manya Koetse

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Fang Fang’s critical online account of the COVID-19 outbreak in Wuhan was widely celebrated before it was strongly condemned. This is a look into one of the biggest controversies in China’s online media spheres this spring, and a breakdown of how this acclaimed Chinese novelist went from an ally in times of lockdown, to a traitor during pandemic politics.

 
This is the “WE…WEI…WHAT?” column by Manya Koetse, original publication in German by Goethe Institut China (forthcoming), see Goethe.de: WE…WEI…WHAT? Manya Koetse erklärt das chinesische Internet.
 

As China is gradually getting back to business after the COVID-19 crisis, the coronavirus crisis is still dominating social media discussions. But the way the virus comes up in online debates has changed over the past few weeks, as the global health crisis has become increasingly politicized. Rather than a show of global solidarity, the pandemic has spawned a lot of finger-pointing in online media and on social networking sites across the world.

Who is to blame for the spread of the virus? Who is doing more, which leader is doing better, where is the crisis mismanaged? What is fake news, what is truth? Who writes or says what for which reason?

Somewhere within these corona media wars and political games, there’s the controversy regarding Wuhan Diary, which recently became a heated topic of debate on Weibo and beyond. 

 

FANG FANG AND WUHAN DIARY

“Fang was saying the things so many people wanted to say, and was asking the questions so many wanted answers to”

 

Wuhan Diary (武汉日记[1]) is written by the 65-year-old acclaimed Chinese author Wang Fang, better known as Fang Fang (方方).[2] It is an online account of the 2020 Hubei lockdown, originally published on WeChat and Weibo.

Throughout the lockdown period in January, February, and March, Fang Fang wrote about life in quarantine in province capital Wuhan, the heart of the epicenter, documenting everything from the weather to the latest news and the personal stories and tragedies behind the emerging crisis.

Fang’s 60-post diary was published on her Weibo account (@方方), which had some 3,8 million followers at the time, from late January shortly after the lockdown began, until late March when the end of the lockdown was announced.

Shortly after starting her online account, Fang’s daily journal gained wide traction. Amid the panic and uncertainty of the early days of the lockdown, social media flooded with rumors, fake news, and misinformation. Chinese web users were looking for alternative reliable sources to find out what was really happening in Wuhan.

Fang’s online journal provided people with information regarding the new coronavirus, but it also captured the emotions and struggles of the people in Wuhan. She soon became a go-to first-hand account of what was going on in the city; she was the voice of a quarantined city in distress. At a time when people were craving unfiltered information and distrusting official media, her words became an anchor for many in a sea of confusing news flows.

The fact that Fang is a respected author contributed to the popularity of her online writings. With her compassionate representations of everyday life in Wuhan, she has since long been an important author for the regional literature. Her writings have drawn attention ever since the 1980s, when she won an award for the best National Novella (Landscape 风景, 1987). She has remained a relevant author throughout the years, even receiving the prestigious Lu Xun Literary Prize in 2010.

In documenting life in Wuhan during the ongoing COVID-19 outbreak, Fang touched upon many sensitive issues. Besides writing about problems such as overcrowded hospitals and mask shortages, she also directly questioned how authorities were handling the crisis and warned other writers for propaganda manipulation.

With the death of ‘whistleblower’ doctor Li Wenliang on the night of February 6, Chinese social media saw an outpouring of anger at Chinese authorities and state media. The public’s anger showed itself at other moments too, both online and offline.

While many of Fang’s publications on social media were censored and her Weibo account was temporarily blocked, the online Wuhan Diary only gained more attention, with the daily entries (or screenshots) spreading across WeChat like wildfire. “Dear internet censors, you should let Wuhan people speak,”[3] Fang wrote in February.

By demanding more transparency and accountability from Chinese (local) leadership, Fang was saying the things so many people wanted to say and was asking the questions so many wanted answers to.

 

CHANGING US-VERSUS-THEM DYNAMICS

“Whose side is she on, anyway?”

 

It did not take long for Fang’s online journal to gain international attention. In mid-February, news articles covering the ‘forbidden diary’ from Wuhan also appeared in foreign media.

Although Fang’s online writings received some backlash before – her critics mainly disliked how much of her diary entries were not fact-based but “merely hearsay” -, it wasn’t until April when public opinion really shifted against Wuhan Diary after it became known that an international edition of her diary was on presale through Amazon.

First, there was the announcement of the English version with the title “Wuhan Diary: Dispatches from the Original Epicenter” (later changed to “Wuhan Diary: Dispatches from a Quarantined City”, translation by Michael Berry) published by Harper Collins; then, a German edition translated by Michael Kahn-Ackermann and issued by Hoffman Camp Press.

The criticism that Fang Fang has since been facing on Chinese social media is unprecedented. Rather than a Wuhan ally, many of her online readers now think of her as a “traitor” to China[4], saying she is airing China’s dirty laundry to make a profit, and that she only writes about negativity and darkness to play to the tune of those countries slamming China. The author has seen an online stream of death threats and violent comments.

Fang Fang arguably would not have received as much backlash if China had not come to face such international scrutiny in light of the global spread of COVID-19. At the time of the early coronavirus outbreak and Fang’s first diary entry, the corona crisis was still a national one, and to some extent even a regional one. Many saw Fang, a Wuhan native and acclaimed author, as a spokesperson for the people in times of fear, uncertainty, and collective suffering.

But as China increasingly came under international pressure over how it handled the epidemic in its early phases, anti-foreign and nationalistic sentiments grew by the day. With China being blamed for causing the pandemic – American President Trump even suggesting it did so deliberately – waves of angry nationalism flooded Chinese social media, and Wuhan Diary was caught in the changing us-versus-them dynamics of China’s COVID-19 crisis.

In the eyes of many Chinese web users, a translated version of Fang’s critical account of the Wuhan outbreak would only provide opponents of China with more ammunition. The upcoming translation’s description on Amazon by itself was a source of outrage for many, allegedly putting too much emphasis on China’s mishandling of the early outbreak. The fact that the original title of the book emphasized that COVID-19 started in Wuhan[5] was also something many netizens found offensive.  ‘Whose side is she on anyway?’, they wondered.

“Western countries are attacking the motherland, and Fang Fang is knowingly giving them the bullets in advance,” one Weibo commenter from Beijing wrote.

 

AN ONGOING ISSUE

Your Wuhan Diary will only worsen Western misconceptions about China!”

 

The Wuhan Diary controversy seems to be an ongoing one. By early May, it was reported that at least two Chinese academics were reprimanded for speaking out in support of Fang Fang. Online discussions continue. By now, the Weibo hashtag “Fang Fang Diary” (#方方日记#) has received over 670 million views, with other scattered hashtags also drawing in thousands of responses.

On Fang Fang’s Weibo page, now followed by more than 4,6 million web users, the author has responded to the recent controversy and allegations in multiple lengthy posts, claiming that most of her attackers, who blame her for only writing negative things, did not even read her diary. She argues that her written account is one of a trapped Wuhan resident in the middle of a catastrophe and that it should not be taken out of its this context.

Fang Fang is not the first Chinese writer to face online backlash for how ‘China’ is represented to the outside world. Besides the fact that Chinese literature is virtually inseparable from politics, there is an enormous number of Chinese web users ready to be outraged about China being misconstrued, ridiculed, humiliated, or otherwise suffering foreign insult.

This kind of angry nationalism often surfaces on the Chinese internet, and it has done so since the early days of social media in China. According to Ying Jiang, the author of Cyber-Nationalism in China, the roots of this “angry nationalism” expressed by today’s Chinese netizens can be traced back to China’s modern history, and more specifically to the “Century of Humiliation” (mid-1800s until after WWII) during which China faced many hardships brought about by foreign powers.

This history has been an important component of Chinese education campaigns for decades, and along with the economic prospering of China, the country has seen the rise of a more patriotic populace that is nationalistic in a way that is also increasingly anti-foreign.

Especially during noteworthy times such as the coronavirus outbreak – an opportunity for China to establish more international leadership -, negative media representations of the country, its government, and how it handled the COVID-19 crisis are sensitive and prone to controversy. A telling example is that three journalists of The Wall Street Journal were expelled from China in February over the paper’s refusal to apologize for a published opinion article titled “China Is the Real Sick Man of Asia.”

The online anger over Fang’s translated work will not die out any time soon. On Weibo, discussions continue. “Fang Fang, your Wuhan Diary, that’s merely hearsay and overly subjective, will only worsen Western misconceptions about China, and will only make more Western people discriminate against Chinese! You’ll go down in history as a disgrace!”, one Weibo user writes in early May.

Although many will not agree on how Wuhan Diary will be remembered, all the commotion and criticism has only increased the public’s awareness about the book’s existence; it will surely go down in the history of the COVID-19 impact in China, and the online media wars that came with it.

The English translation of Wuhan Diary is expected to be released via Amazon on May 19 (link), the English audiobook on May 28 (link) the German translation is expected June 9. On the China Digital Times website, Josh Rudolph has also translated parts of Fang’s work.

 

By Manya Koetse
Follow @whatsonweibo

For more COVID-19 related articles, please click here.

 

[1] Also known in Chinese as: 武汉封城日记.

[2] Fang Fang is the pen name of Wang Fang.

[3] Zhao, Kiki. 2020. “Opinion: The Coronavirus Story is Too Big for China to Spin.” The New York Times, Feb 14 https://www.nytimes.com/2020/02/14/opinion/china-coronavirus-social-media.html [5.2.2020].

[4] Mainly using Chinese terms汉奸 and 卖国贼, both meaning “traitor” or more specifically “traitor to China.”

[5] Also see the original German title of the translation: “Wuhan Diary – Das Verbotenen Tagebuch aus der Stadt, in der die Corona-Krise began” [The Forbidden Diary from the City where the Coronacrisis Began].

Sources and further reading

Adlakha, Hemant. 2020.”Fang Fang: The ‘Conscience of Wuhan’ Amid Coronavirus Quarantine.” The Diplomat , March 23 https://thediplomat.com/2020/03/fang-fang-the-conscience-of-wuhan-amid-coronavirus-quarantine/[5.3.2010].

Fumian, Marco. 2020. “To Serve the People or the Party: Fang Fang’s Wuhan Diary and Chinese Writers at the Time of Coronavirus.” MCLC Resource Center Publication (April 2020) https://u.osu.edu/mclc/online-series/marco-fumian/?fbclid=IwAR32HvM6WO0JHIhFFIY85bd-qyOzGEfXrZpp6S0SxbiTQrGCjwe_n-jL63Y [5.1.2020].

Leung, Laifong. 2016. Contemporary Chinese Fiction Writers: Biography, Bibliography, and Critical Assessment. New York & London: Routledge.

Rudolph, Jodh. 2020. “Translation: Backlash To Wuhan Diary “Reveals A Serious Problem Society Must Correct.” China Digital Times, April 21 https://chinadigitaltimes.net/2020/04/translation-backlash-to-wuhan-diary-reveals-a-serious-problem-society-must-correct/ [5.2.2020].

Wu, Yuwen. 2020. “Chinese propagandists don’t want you to read this diary on the coronavirus lockdown in Wuhan.” The Independent, March 2 https://www.independent.co.uk/voices/coronavirus-wuhan-lockdown-fangfang-diary-china-dr-li-a9368961.html [3.2.2020].

Ying Jiang. 2012. Cyber-Nationalism in China: Challenging Western Media Portrayals of Internet Censorship in China. Adelaide: University of Adelaide Press.

Zhao, Kiki. 2020. “Opinion: The Coronavirus Story is Too Big for China to Spin.” The New York Times, Feb 14 https://www.nytimes.com/2020/02/14/opinion/china-coronavirus-social-media.html [5.2.2020].

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This text was written for Goethe-Institut China under a CC-BY-NC-ND-4.0-DE license (Creative Commons) as part of a monthly column in collaboration with What’s On Weibo.

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China Books & Literature

“Invincible Wuhan Man”: Coronavirus Patient Reading Political Book Goes Viral

No light reading in dark times for this “invincible Wuhan man.”

Bobby Fung

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As the number of coronavirus infections continues to grow in Wuhan, three newly-built cabin hospitals have started to receive patients.

This week, there was one man among the patients at Wuhan’s ‘Fang Cang’ shelter hospital (方舱医院) who attracted the attention of netizens as he was spotted in an online picture lying on the bed and reading a book.

It’s rare enough to see someone infected with the much-feared coronavirus still engrossed in a book. But was especially noteworthy to many Weibo users is the type of book the patient was reading.

The book, that was identified as Francis Fukuyama’s The Origins of Political Order, is not exactly known as ‘light reading.’

One of the Weibo posts that pointed the reading man out in the photo, which was shot by Changjiang Daily (长江日报), described him as “an invincible Wuhan-er” (打不垮的武汉人).

The post has received over 172,000 likes and 46,000 reposts at time of writing.

Fukuyama’s The Origins of Political Order (2011) is focused on modern state-building and the development of political institutions.

In this work, Fukuyama, a political economist, argues that in order for a government to be successful and stable, it needs the rule of law, a strong state, and accountability.

In the coronavirus outbreak, the unaccountability of China’s political system has often been mentioned as a reason for why the epidemic was not contained in its infancy, which triggered calls for the resignation of Wuhan officials.

In a rare move, Beijing described the epidemic as a major test for its governance system and capacity, and acknowledged that there were shortcomings in its handling.

That a patient, suffering from the coronavirus, was reading Fukuyama’s book, in particular, ignited online discussions – some Weibo users pointing out the irony of the situation.

One Weibo user (@讲故事的澜斯基) wrote: “He is basically looking for the actual root of why he was infected [with the new coronavirus].”

Another commenter wrote: “Reading is a great way to ward off spiritual viruses.”

There are also people who say that seeing this Wuhan patient gives them hope and strength. One netizen describes the picture as one that “gave me the most power and hope in recent days.”

Another issue making this topic all the more noteworthy is the background of the Chinese publisher of Fukuyama’s book, Imaginist (理想国). Its publications – mainly focused on the humanities, literature and arts – are often deemed “sensitive” by the Chinese authorities.

The influential publishing brand has a rocky recent past in mainland China, with some of its publications having been banned and removed from (online) bookstores. The former head of Guangxi Normal University Press, which Imaginist cooperates with, was sentenced to ten years in prison in 2018 (read more here).

According to Chengdu Business Newspaper (成都商报), the man in the spotlight is a 39-year-old postdoctorate studying science in the United States.

He stated that he just read the book out of interest and that he never anticipated going viral on the internet for it.

Although grateful for the attention he received, he reportedly said he hoped people could focus more on medical workers instead.

Along with this Wuhan patient going viral, Fukuyama’s book has also seen a dramatic rise in popularity. As one Chinese writer noted on Weibo, The Origins of Political Order has risen to the first position in the popular charts of Douban, a popular online review platform.

By now, the Wuhan patient has become more famous than he could ever have anticipated; even author Francis Fukuyama himself has retweeted the image of the man reading his book at the coronavirus hospital ward.

Read more about the coronavirus crisis here.

Want to read Fukuyama too? Check out his book here.

By Bobby Fung (@bobbyfungmr)
Follow @whatsonweibo

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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