Transcript Postwar Taiwan Fiction

Introduction to Postwar Taiwan Fiction
Unit 15
Beyond the Heterosexual Framework:
Stories by Wu Jiwen and Chen Xue
Lecturer:
Richard Rong-bin Chen,
PhD of Comparative Literature.
Unless noted, the course materials are licensed under Creative Commons
Attribution-NonCommercial-ShareAlike 3.0 Taiwan (CC BY-NC-SA 3.0) 1
The Concept of “Queer Fiction”
• The Denial of “Phallogocentrism”
[phallus  logocentrism], a term
coined by Jacques Derrida, a French
Post-Structuralist philosopher.
• Against heterosexuality, focusing on
exploring other sexual possibilities.
• Marginality and Positionality.
2
• From David Halperin’s Saint Foucault:
Towards a Gay Hagiography (1997,
published Oxford UP)
• “Queer is by definition whatever is at odds
with the normal, the legitimate, the
dominant. There is nothing in particular to
which it necessarily refers. It is an identity
without an essence. 'Queer' then,
demarcates not a positivity but a
positionality vis-à-vis the normative.”
(p.62)
Source: David M. Halperin. (1995).
Saint Foucault : towards a gay hagiography
New York : Oxford University Press
3
Wu Jiwen (1955~)
• A native of Nantou County, he graduated
from Chinese Department, Soochow
University, and later on got his master’s
degree in philosophy from the University
of Hiroshima.
• He used to work as an editor for several
newspapers and publication houses, and
he’s also a translator, whose works are
mostly the translation of works written by
Japanese writers.
4
• The short story is self-contained, though it
actually was excerpted from Wu’s 1998
novel, Galaxies in Ecstacies [天河撩亂],
which deals with the issues of transgender
and the complex histories of two
generations of a family from the early
1950s through the 1990s.
5
Seikei’s Gender Confusion
A female’s soul trapped in a male’s body
Before he started school, Seikei drifted quite
carefree between genders, but once at school
the objective reality that boys differed from
girls caused him no end of trouble. He was
naturally drawn to play with the girls, which
provoked malicious taunts from the boys. But
there was a positive side to it, too: Often a boy
a few years older than he would take it upon
himself to play his protector. (p.223)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
6
What dismayed him most, though , was
that thing that he had but the other girls
lacked. He’d always found it intolerably ugly:
He loathed it, yet was powerless to get rid of it.
He remembered that his most frequent dream
was one in which he discovered he’d been a girl
all along, and that the extra part had just been
put there by someone playing a cruel joke. He
had only to put on a skirt or shout ”girl! ” and it
would disappear without a trace. (p.223)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
7
Seikei’s Experience during High School
• His sexual adventures with Hong, one of
those who made trips to his bed at night.
• Seikei and Yang.
They thought of Seikei as a short-term
substitute, seeing him as female. That was all
in accord with his own gender identification;
by rights it ought to make him happy. On the
contrary, though, it only compounded his
misery. (p.226)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
8
Seikei’s Need Was More Emotional
than Sensual or Sexual
But he grew more and more convinced
that the woman inside him was his real
self. Bearing the burden of a fraudulent
body for such a long time made his life
endlessly painful, and having no one to
talk to only redoubled the pains. (p.228)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
9
He was still attracted to men, but wasn’t
overly affected by sexual desires. He
yearned only for an intimacy that would
bring him a sense of security; for
someone to understand him and care
kindly for him, and to share his secret. In
those three years, his yearning was never
satisfied. (p.228)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
10
The Second Section: a quotation from
Sven Hedin’s The Wandering Lake (1937)
The vain idea was cherished that men’s
bands could conquer one of nature’s caprices,
and compel the Konche-daria to return to its
old bed and, as before, water the fields
around Tikenlik,Yangi-kol, konche and Ullugkol, and in the summer, when the river was at
its lowest, 500 about polar stakes were driven
into the bed of the river, forming two lines
across the stream. (p.230)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
11
The stakes in each line stood closely packed, but
there was an interval between the lines, and the 400
workmen filled the gap as best they could with earth,
reeds roots, bought and debris. They through that if
the project was completed the river would meet this
imposing barrier and be compelled to turn away to
the right and seek an outlet through the four passage
which had been dug in the high bank- in short,
return obediently to its bed of hundreds of thousands
of years, and cease flowing into the old river bed
that had been dry for two thousand years. (p.230)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
12
But all was in vain. The water trickled
between the stakes and washed away the
filling; and when the high water came in
autumn, the whole dam was swept away
and the massive stakes burled on one side
like so many match-sticks. (p.230)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
13
Fifth Section
• “Sister-boy” or “Mr. Lady”—the
transgender culture in Japan.
• The Blue Boys from France.
• The name card of a surgeon in
Casablanca, Morocco.
14
• Moving toward a transgender identity
• When “she” was almost thirty years old,
Seikei moved from Kansai (Osaka and
Kobe) to Kanto (Tokyo and Yokohama),
and started transgender medication while
working in a high-class club named Snow
White in Tokyo’s Kabuki-cho.
15
Post-colonialism in the End
of the Fourth Section
Seikei’s relationship with Murou Inkiji
Inkichi had taken special notice of Seikei from
the beginning because he knew he was Taiwanese.
They were about the same age, and Inkichi felt as if
he’d happened upon a playmate from his past. He
talked and laughed eagerly with Seikei, even taking
pains to sprinkle his conversation with the few
phrases of Minnan that remained in his memory.
(p.236)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
16
With meticulous care, Seikei described for him
the picture of a childhood foreign even to himself.
He let Inkichi fall enraptured into the fictive
nostalgia, as if by doing so he could relieve the
insupportable pressure of his public life, as well
as his strange weariness. Inkichi did not fully
understand the mystery of Seikei’s body, but his
mystery and uniqueness made him regard Seikei
as a god. Yet this god was not distant like most
gods; rather, Seikei showed him the
compassionate love of a mother Inkichi fell in
love with this maternal deity. (p.236-237)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
17
The Fifth Section: Another quotation
from The Wandering Lake
Our expedition was now broken up into seven
different sections. Yew, Kung and Effe were on
their way to Tun-hwang; Jomcha, Erasbin and a
couple of boys were at camp no. 70; Dr. Hummel
was at work on the upper Kum-daria; Bergman
round the riverside lakes south of camp no. 70;
Garagin and three boatmen were at camp no. 80;
Chen was walking to Lou-lan, Sadik, Rozi and
Babeddin accompanied Chen at their own
request, and Iwas at camp no.86. (p.237)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
18
Each of the independent expedition groups
must rely on their own capabilities to rejoin the
group. . . .
I didn’t know when all of us could gather
together again, all safe and free from harm.
I flung this question out to myself, to the God
of the heavens who looks eternally down upon
us, and to the earth over which we passed
(p.237-238)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
19
The Sixth Section
• During the third year in Snow White, Seikei
became a complete transgender.
• Seikei went to Morocco with Murou Inkiji.
• They spent wonderful days in Paris, Marseille,
and Provence.
• Toward the end of this section, a key sentence
goes like this: “Then Seikei set out on the
unknown road to Morocco. It was a journey
on which no one could accompany him”
(p. 239)
Source: Wu Jiwen. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
20
The Eighth and Ninth Section
• The transgender operation completed,
and Seikei became her family’s secret
and taboo.
• Sven Hedin’s arrival at Lou-lan.
21
Chen Xue [陳雪] (1970~)
http://www.cw.com.tw/article/a
rticle.action?id=5028871
22
• A native of Taichung City, she is a graduate of
Department of Chinese Literature, National
Central University.
• She has been one of the most famous lesbian
writers in Taiwan since the 1990s, and her works
often feature candid and straightforward
descriptions and statement of lesbian sexuality.
• Her works deal mostly with the themes of
lesbian desire, bisexuality, and incest.
23
Candid Description
When A’Su tasted my private part, my tears
fall, and amid the salty wetness of tears I
reached an orgasm like I’d never had before.
It was like a fevered nightmare, falling
unconscious in the mad hotness, screaming in
unconsciousness, and in the screaming,
gradually shattering apart. (p.169)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
24
The Core Idea of Lesbian Love/Sexuality
It seemed as she presumed to enter my body,
savagely striking against my core, that she
wanted to break all of my bones. Yes, it was
she. Even though she was a woman and had
no penis to become erect and ejaculate, she
entered right into my innermost part, getting
deeper than any male organ could. (p.169)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
25
“Searching for the Lost Wings
of the Angel” (1995)
• This story is taken from Chen’s first story
collection, The Book of Wrongful Women
[惡女書] (1995).
• After the book’s publication, it became
controversial for all the explicit sexual
content, in the end it was restricted and can
only be bought and read by readers above
18 years old.
26
• This story re-examine the mother-daughter
relationship and put it into a context of
lesbian desire.
• Moreover, the story has a subversive power
against the regular male-female relationship
model.
• It also presents Chen’s specific concept of
queer writing: writing as a personal
practice to forge sexual identities in the face
of oppressive heterosexual social culture and
pressure.
27
The Story as a Metafiction
• Meta-fiction: works of fiction about fiction writing
which bring to readers’ attention that the works
themselves are fictional, not real.
I felt vaguely aware of something, somewhere
awaiting me, waiting for me to approach it, and then I
would understand. I had been searching bitterly for so
many years, and my efforts had all been in vain, until
A’Su appeared; her appearance was the sign guiding
me. What was I searching for? What would I
understand? I didn’t know.(p.183)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
28
“What we need is a pair of wings. If we
found them, we could fly freely once more.”
A’Su said that at the beginning. Because of
it I had written a story called ”Searching
for the Lost Wings of the Angel.”Now the
story is nearing its end. A’Su, what about
our wings?(p.183)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
29
Cao-Cao and A’Su on Writing
• “Cao-Cao, you just have to keep on writing,
and on the paper you’ll see me, and you’ll see
yourself. Everything I’ve done has been to
show you this one thing. Write, never stop
writing, you have no other choice. It is your
fate. The moment I first saw you, I saw in your
face the fervor of a writer. That fervor brought
me into your life.”
• “ Write-A’Su, I know I have to write; but what
about the wings we’ve lost?” That night’s
conversation was our last. (p.183)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
30
A’Su Disappeared as Soon as
the Story Was Finished
The desk was covered in paper scrawled with
words. Its title was “Searching for the Lost
Wings of the Angel,” and on the last page were
written two words: The End.
The story was finished! “A’Su, look! The story
is finished,” I shouted out loud. But A’Su? Why
was I back at the old place, and why was A’Su
not here to be seen? She was clearly there in the
story, but where on earth had she gone?(p.184)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
31
The Double-identity of A’Su/the
Mother Has Been Anticipated Earlier
throughout the Narrative
A’Su embodied my innermost desire; she
was my dream. The world she represented
was the source of all the happiness and pain
in my life, the womb carrying me. Once
the umbilical cord was cut, I reviled it, but
after I died, it would be the tomb that
interred me.(p.171)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
32
(Cao-Cao’s first encounter with A’Su)
I felt her deep husky voice murmuring
pornographic obscenities into my ear.
Vaguely, I realized that my underpants were
soaked. What ignited my desire turned out
to be a woman.
She so resembled the part of my memory I
could not approach that under her gaze , I
felt I had returned to the womb, humid
and warm, and I could hear the sound of
blood pulsing in veins.(p. 174)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
33
I sucked A’Su’s nipple, missing my own
infancy, missing the ageless, equally
beautiful nipple of my mother’s body,
thinking of my love that had died so quickly
and so young. Without realizing it, I started to
cry.(p.176)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
34
Structure of the Story
• Two Timelines (also storylines):
• The Past: the mother-daughter relationship
• The reunion (12 years old)Losing
Virginity (17 years old)The Death of the
Father (11 years old)High School
Mother’s Suicide and Death right after
the university entrance examStarted
university and writing
35
• The Present: the lesbian lovers
• The day Cao-Cao met A’Su in FK’s bar
(third-year university student)the two
female protagonists fell in loveA’Su
disappeared
36
• 1st Section: “The first time I saw A’Su, I was
certain that she and I were the same sort”
(p. 168)
• 2nd Section: Description of lesbian sexuality.
(p. 168-9)
• 3rd Section: Cao-Cao’s memories of the
mother-daughter reunion. (p. 169-70)
• “I knew right then that my childhood had
ended” (p. 170).
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue.
(2003).
Angelwings :
contemporary queer
fiction from Taiwan
Honolulu : University
of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
37
• 4th Section: Further exploration of lesbian
sexuality. (p. 170-171)
• “Only after meeting A’Su I understand
what is ‘wicked’ and ‘sluttish.’ Those are
the very things I always desired, and my
mother wasn’t those things at all”
(p. 171).
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
38
• 5th Section: Cao-Cao on Writing: “ . . . I
write, trying with writing to excavate this
hidden self. I write, I write as if
masturbating. I write in a frenzy, and
after writing I tear the pieces up one by
one, as though ejaculating; and in
obliterating them I experience an orgasm
impossible in sex” (p.171).
• Cao-Cao gave her “first time” to a man ten
years older, but the man became impotent
afterwards. (p.172)
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
39
• 6th Section: FK the barkeeper; Cao-Cao’s
first encounter with A’Su. (p. 173-4)
• 7th Section: Cao-Cao found she had been
brought back to A’Su’s apartment after the
binge drinking the previous night.
(p. 174-175)
• 8th Section: Cao-Cao hated men because of
her mother; the death of Cao-Cao’s father,
and her mother’s vanishment afterwards.
(p. 175-76)
Source: Chen Xue. (2003).
Angelwings : contemporary
queer fiction from Taiwan
Honolulu : University of
Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
40
• 9th Section: Cao-Cao moved to A’Su’s
place, and we know that, like the
mother, A’su “made her living out of
men’s desire for her” (p. 176).
She gave her body to men, but her love
to Cao-Cao only. (p. 176-77)
• 10th Section: FK chatted with Cao-Cao
in the bar; the man felt “wounded” just
because he could not have A’Su’s love.
(p. 177-78)
Source: Chen Xue. (2003).
Angelwings : contemporary
queer fiction from Taiwan
Honolulu : University of
Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction
from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
41
• 11th Section: Cao-Cao said her love with the
mother had ended when she was only 12, and
she had started her game soon after her
entering high school. (178-79)
• 12th Section: description of lesbian love; “I
don’t understand love. I only know that in
the arms of men, my body was cold and
numb, and under A’Su’s caress I came back
to life, ignited with hot fire”; Cao-Cao said
she “wanted” A’su instead of “loving” her
(p. 180).
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction
from Taiwan
Honolulu : University of Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
42
• 13th Section: Cao-Cao stated how she could
not understand her mother until her encounter
with A’Su; she said, “She was so much like
my mother, so much that after each time we
made love, my dreams would be full of
things I’d cast away or forgotten” (p. 181);
in the process, she discovered her
misunderstanding of her mother.
• 14th Section: a visit to the father’s graveyard;
mother’s suicide and death. (p. 181)
Source: Chen Xue. (2003).
Angelwings :
contemporary queer
fiction from Taiwan
Honolulu : University of
Hawai'i Press
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
43
• 15th Section: in this section, through
Cao-Cao’s narration, A’Su sounds
more like a “dream” or a “guiding
sign,” less like a real person; A’Su kept
asking Cao-Cao to write.
• 16th Section: the story in the story was
finished, and A’Su disappeared.
• 17th Section: the mother’s name on the
tombstone was “Su Qing-yu” (p. 186).
Source: Chen Xue. (2003).
Angelwings : contemporary queer fiction from Taiwan
Honolulu : University of Hawai'i Press
44
Copyright Declaration
Page
Work
Licensing
Author/Source
3
“Queer is by definition
whatever is …
positionality vis-à-vis
the normative.”
David M. Halperin. (1995). Saint Foucault : towards a gay hagiography
(p.62) New York : Oxford University Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
6
Before he started school,
Seikei …to play his
protector.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.223) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
7
What dismayed him
most, though …and it
would disappear without
a trace.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.223) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
8
They thought of Seikei
as a …contrary, though,
it only compounded his
misery.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.226) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
9
But he grew more and
more …talk to only
redoubled the pains.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.228) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
10
He was still attracted to
men, but
wasn’t …yearning was
never satisfied.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.228) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Articles 52 & 65 of Taiwan Copyright Act.
45
Copyright Declaration
Licensing
Author/Source
Page
Work
11
The vain idea was
cherished …forming two
lines across the stream.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.230) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
12
The stakes in each line
stood closely
packed, …been dry for
two thousand years.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.230) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
13
But all was in vain. The
water trickled …side
like so many matchsticks.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.230) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
16
Inkichi had taken
special notice of …that
remained in his memory.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.236) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
17
With meticulous care,
Seikei described for him
the picture …love with
this maternal deity.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (pp.236-237) Honolulu : University of Hawai'i
Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
18
Our expedition was now
broken …request, and
Iwas at camp no.86.
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.237) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
46
Copyright Declaration
Licensing
Author/Source
Page
Work
19
Each of the independent
… earth over which
we passed
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (pp.237-238) Honolulu : University of Hawai'i
Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
20
“Then Seikei set out on
the … no one could
accompany him”
Wu Jiwen. (2003). Rose is the past tense of rise. Angelwings : contemporary
queer fiction from Taiwan. (p.239) Honolulu : University of Hawai'i Press.
It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
24
When A’Su tasted my
private part, …in the
screaming, gradually
shattering apart.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.169) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
25
It seemed as she
presumed …getting
deeper than any male
organ could.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.169) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
28
I felt vaguely aware of
something, …would I
understand? I didn’t
know
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.183) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
29
“What we need is a pair
of wings. …is nearing
its end. A’Su, what
about our wings?
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.183) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
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“ Write-A’Su, I know I
have to …conversation
was our last.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.183) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
31
The desk was covered in
paper scrawled with
w…story, but where on
earth had she gone?
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.184) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
32
A’Su embodied
my …died, it would be
the tomb that interred
me.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.171) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
33
I felt her deep husky
voice …sound of blood
pulsing in veins.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.174) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
34
I sucked A’Su’s nipple,
missing …realizing it, I
started to cry.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.176) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
37
The first time I saw
A’Su, I was certain that
she and I were the same
sort
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.168) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
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Description of lesbian
sexuality.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.168-169) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
37
Cao-Cao’s memories of
the mother-daughter
reunion.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.169-170) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
37
I knew right then that
my childhood had ended
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.170) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
38
Further exploration of
lesbian sexuality.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.170) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
38
Only after meeting
A’Su …and my mother
wasn’t those things at all
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.170-171) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
39
Cao-Cao on Writing:
“ . . . I write, trying with
writing …impossible in
sex”
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.171) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
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Cao-Cao gave her “first
time”…became
impotent afterwards.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.172) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
40
FK the barkeeper; CaoCao’s first encounter
with A’Su.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.173-174) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
40
Cao-Cao found she had
been …the binge
drinking the previous
night.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.174-175) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
40
Cao-Cao hated men
because …mother’s
vanishment afterwards.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.175-176) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
41
Cao-Cao moved to
A’Su’s …living out of
men’s desire for her
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.176) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
41
She gave her body to
men, but her love to
Cao-Cao only.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.176-177) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
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41
:FK chatted with CaoCao in the bar; the …
just because he could
not have A’Su’s love.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.177-178) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
42
Cao-Cao said her love
with the …after her
entering high school.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (pp.178-179) Honolulu :
University of Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
42
I don’t understand love.
I only …“wanted” A’su
instead of “loving” her
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.180) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
43
Cao-Cao stated how she
could not …of things I’d
cast away or forgotten”
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.181) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
43
a visit to the father’s
graveyard; mother’s
suicide and death.
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.181) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
44
the mother’s name on
the tombstone was “Su
Qing-yu
Chen Xue. (2003). Searching for the Lost Wings of the Angel. Angelwings :
contemporary queer fiction from Taiwan. (p.186) Honolulu : University of
Hawai'i Press. It is used subject to the fair use doctrine of:
•Article 52 & 65 of Taiwan Copyright Act.
51