Tuesday, July 15, 2008

Jennifer Cody Epstein On Women Finding Their Way

I'm interviewing author Jennifer Cody Epstein regarding her book, The Painter from Shanghai, on Cult of Gracie tomorrow. Her fascinating and engaging novel is based on the life of Chinese prostitute- turned- post- Impressionist Pan Yuliang, who stunned China and much of the West in the 20's and 30's by defiantly painting herself in the nude, which went against pretty much every Confucian ethic of the time. We both thought you might like a little bit of info to whet your appetite, so Jennifer kindly agreed to a guest blog:

Growing up, reading obsessively from Woolf and Wolfe, H. James and James J., I’d always imagined patterning my own first book along the same lines. I saw it—quite modestly--as another lyrical, semi-biographical coming-of-age story; something that would draw from my own experiences as a glum, uptight teen in Wellesley, MA (the original home of prep) and somehow morph them into a luminous work of great wisdom and beauty. So how (you might wonder) does one get from that premise to my actual first novel, The Painter from Shanghai, which is based not on myself but on a woman who began life as a prostitute in pre-revolutionary China, broke away from the brothel to become an official’s concubine, and ultimately achieved both acclaim and notoriety for her overtly sensual paintings in a time of conservative backlash?

Well, it certainly wasn’t by design. At least, not at first.

The truth is, at first I actually did start out writing my own story; a not-so-lyrical tale of growing up in a suburb; of (privileged) existential angst; of family drama and expat shenanigans. I stopped for several reasons; the most prominent of which is that I simply didn’t find any of that particularly interesting or original. By contrast, when I first saw a Pan Yuliang painting (a Matisse-esque self-portrait showing her in a window, her face serene and yet somehow subtly challenging) I immediately recognized a woman who was both of those things. I’d also learned by that point that writing about someone else gives you much more freedom; largely because in autobiography, you—the subject—must try to be objective about the things that drive any good story: where the real tension lies. Where the climax should come. At what point you have reached your natural conclusion. Like most people, I suspect, I’m still trying to work that stuff out. But the process is likely far more interesting to my (very excellent) therapist than it would be to potential readers.

It’s true, of course, that taking on a story so (quite literally) foreign to my own was—at least initially—almost as daunting as publicly taking on myself. And yet, after doing some research and tracking down more Pan paintings, what had seemed a startling premise grew into a truly thrilling challenge. To be sure, most Chinese and art historians I spoke to agreed that there was very little factually known about Pan Yuliang’s life. And yet in some ways that was all the more liberating. For one thing, it led me to depend in large part on what had brought me to Pan Yuliang in the first place: her painting. The more I found of it the more they (and she) fascinated me; these gorgeous and defiantly Western compositions (often nude, often herself nude) that had so shocked her countrymen in the last century that Pan herself ended up in permanent exile, in Paris. The images—whether lush pears or lithely curved female bodies—spoke to me of an unrepentant fascination with beauty; with female strength; with sexuality; with the often-fuzzy lines that delineate culture, nationality, morality and artistic voice. If Pan Yuliang’s somber self-portraits (in only one I’ve seen is she actually, openly smiling) gave me a clue to her temperment and harsh past, her vibrant palette and fanciful blendings of post-Impressionism and guohua, of Eastern discipline and Western romance and perspective, gave me insight into her dreams, longings, her unique artistic eye—or at least, so I liked to think. At any rate, in many ways they were the strongest sources I had.

So in the end, I ended up working largely through those images; searching lines and hues and expressions for clues into the life that Pan Yuliang might have lived when she painted them. It was, as I imagined it, a life of beauty, pain and drama; of more than a hint of real darkness. Of a lush love of form and color. Oddly enough, though, as I pieced together this portrait I also--in the process—painted my own, after all. It wasn’t the Woolf -esque meditation on shattered homes and lost loves and painful lessons in the wake of adolescence. But it was a larger story, equally important to me and immeasurably more colorful; a story of an artist, finding her way. Creating her work out of unlikely and—initially—vastly alien materials. In Pan’s case, those materials were nude bodies and Western techniques and the boldly unrepentant tones of the Fauvists. In mine, they were foreign countries (China) and subjects (art; prostitution) and a shaky determination that—at very least—somehow--I would see this thing through to the last word.

And in the end, I suppose, we both succeeded. Despite an Asian art boom that is largely leaving out women, and a life that ended in poverty, illness and obscurity, Pan Yuliang is now experiencing a renaissance in China; the museum in Anhui Province (to which she left all her work when she died) recently has restored many of her paintings, and has dozens of them proudly on display.

As for me—well, Painter may not be a breakout bestseller. And I’m still just a girl who grew up in a rich suburb. But my book is being greeted warmly by the press and readers, which is gratifying. Equally importantly, it’s familiarizing more people in the West with an extraordinary woman and her work. Not least of all, it’s getting me on Cult of Gracie—something I’m fairly certain my own coming-of-age story would probably not have been able to accomplish.

J

About Jennifer: A Brooklyn-based writer, whose nonfiction and fiction work has appeared in numerous publications, spent ten years writing this, her first book. The work explores such issues as body as art, body as profit, Shanghai in the 20's and 30's, the true nature of sexual love.
Listen live to the show here, Wednesday, July 16, at 9 P.M. (central); and call in with your questions and comments at 1 (646) 200-3136.

UPDATE: Miss the show? Listen to the archived show here. (The same link lets you download it as a podcast too!)

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