The Narration Of ’Father And Home-Returning’ In The Works Of Huang Jin-Shu

The South East Asian Chinese literature has its uniqueness whereby it not only revolves in Asia, but repeatedly challenging and even surpassing the Eastern & Western cultural spectrum and becoming an area of multi-cultural mix. Moreover, it’s gradually transforming into a so-called ’Nanyang (SEA) discourse,’that is transformed by numerous countries (regions) and with local flavored cultural uniqueness.Amongst the most significant is the Malaysian Chinese Literature. Though due to the splitting of Malaysia and Singapore in the 60’s of last century by social, political and other objective historical factors resulting in the short period of low spirited hardship, the Malaysian Chinese Literature resurged especially during the mid-70’s whereby discussions were abundant with regards to the literature after an article entitled "The Malaysian Chinese Literature’s Perspective" was published in the supplementary section of a local Chinese newspaper’Nanyang Siang Pao’.The Malaysian Chinese Literature did sink to a low period, but with the gradual liberalization of social environment, sustained development of culture and economy, coupled with the spreading & popularizing of the Chinese Education plus the continued ascendance in numbers of students studying abroad especially in Mainland China & Chinese Taiwan, greatly accelerated it’s Chinese Literature procession.This article cited a piece of short story as mainstay where usage of ’Nanyang discourse’ was prominent- "Jiu jia de hao" from the book "Ke-Bei", the work of Chinese Taiwan graduated Malaysian author Huang Jin-shu. The emergence of his personal style, sentimental tradition from his work, probing into the’Chinese Modernism’and ’Contemporary China Characteristics’which he built in Malaysian Chinese Literature. Huang, with Malaysian Chinese as subject, extended into a unique perspective of Malaysian Chinese novelistic style, at the same time explored into the so-called ’Individualistic study’of those seemed inexistence spirit of’China, Chinese and Homeland.’"Ke-Bei" pointed out to us that Huang himself is indulged in being a ’Chinese Modernist’.’Chinese Modernism’could be interpreted as dire straits after the death of father of an Electra complex. From "The absence of father" more so describes ’Huang’s Chinese Modernism’ from his fantasy imagination, magical legendary in the deep misty rubber plantation.In one of his other works, "Nanyang People’s Republic Memorandum", Huang challenged the Nanyang Chinese political and educational inhibition, and his knocking into the subversion of the historical reality. Further with the challenge towards the unsaid, unwritten secrets and envisage towards the Malayan Communists. Especially so in the Malaysian "Dark Side of the Moon", as a Chinese Taiwan based-Malaysian deemed to be ’stateless’ and ’not accepted spirit of the country’, but always exclaim ’unreturnable-home’ and’a betrayed homeland’ kind of helpless and lament. Being a’discrete’ Chinese author, at such a vast Malaysian Chinese Literature world, Huang holds a subtle and important position. But in the end, the writer realized that ’Back home from far away is actually bidding farewell’.