ABSTRACT
A number of interpretive accounts regarding the trends of modern Taiwan literature are available. They tend to highlight a set of dialectics such as nativism/modernism, first/third world, or local/global cultural economy in response to uneven development and outsourcing processes (Chang 1993; Yip 2004); dwell on the displaced Chinese authors and their “post-loyalist” nostalgic memories of the homeland well lost (David Wang 2013: 93–116); examine the resistance to regionalism (Hillenbrand 2007); or zoom in on the political impact of the trans-Pacific Cold War and of the White Terror (Xiaojue Wang 2013). Over the years, scholars like Kuei-fen Chiu, Ying-che Huang, Liang-ya Liou, and several others have also proposed to describe the historical trajectory of modern Taiwan literature in terms of alternative, colonial, multiple, vernacular, or translated modernity. More recently, Shu-mei Shih has advocated, on the other hand, Sinophone discourse in view of Taipei as a cultural capital of such a publishing industry. 1
