Hostname: page-component-848d4c4894-m9kch Total loading time: 0 Render date: 2024-05-11T11:44:16.726Z Has data issue: false hasContentIssue false

Utsana Phloengtham's The Story of Jan Dara as a Buddhist modernist novel

Published online by Cambridge University Press:  03 April 2023

Abstract

Utsana Phloengtham's The Story of Jan Dara is one of the most widely known stories in Thailand. It is remembered as ‘erotic fiction’ as well as an ‘immortal classic’. It has also been praised as a Buddhist treatise. Yet, despite being replete with Buddhist terminology and references, it has never been analysed in English as a work of Buddhist fiction. This article argues that Jan Dara is one of the very few examples of Thai Buddhist modernist literature, and a highly original and highly layered one at that. The novel employs a diverse number of techniques and concerns derived from modernist authors such as D.H. Lawrence to explore sexual life in an aristocratic mansion of the 1930s. Understood with reference to the literary modernist tropes it employs and the debates in Buddhist cosmology and morality at the time of writing, it can be shown to be a scathing indictment of old-fashioned moralistic ‘hypocrites’ who practice decadent lives ‘while mouthing the Buddhist precepts’.

Type
Research Article
Copyright
Copyright © The National University of Singapore, 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

The author would like to thank Mark Bookman, Justin McDaniel, Joe Littler and Thomas Bruce.

References

1 Tunlajit, Khomnai, ‘Reun jarung klin tham nai heun khao haeng kamaa’ [The enticing smell of virtue within the stench of sexual craving], Thanon nangsue [Book Road] 4, 9 (1987): 8892Google Scholar.

2 Phloengtham, Utsana, The story of Jan Daraa, trans. Jiangphatthanarkit, Phongdeit, ed. Barang, Marcel (Bangkok: Thai Modern Classics, 1995), p. 375Google Scholar. The first quote about Rong Wongsawan is from Marcel Barang and the second from an excellent article on this history of eroticism in Thai literature: Harrison, Rachel, ‘The disruption of female desire and the Thai literary tradition of eroticism, religion and aesthetics’, Tenggara 41 (2000): 88125Google Scholar.

3 Harrison, Rachel, ‘Sex in a hot climate: Moral degeneracy and erotic excess in The Story of Jan Daraa’, in National healths: Gender, sexuality and health in a cross-cultural context, ed. Worton, Michael and Tagoe, Wilson (London: UCL Press, 2004), p. 129Google Scholar.

4 There is, for instance, a debate over in what ways Khru Liam's early novels No Vendetta (1915) and Nang Neramit (1916) are, despite being satires and faux-translations of European literary works, very much Thai novels. While Thak Chaloemtiarana points to the ‘simultaneous corruption’ and ‘allure’ of modernity and Western practices in the novel as ‘quintessentially Thai’, others have pointed towards Thak's ‘anxiety’ in stressing the fact that, despite these novels being translations or parodies of European works, they are original and Thai. See Chaloemtiarana, Thak, Read till it shatters: Nationalism and identity in modern Thai literature (Canberra: ANU Press, 2018), p. 41CrossRefGoogle Scholar; and Chittiphalangsri, Phrae, ‘The emerging literariness: Translation, dynamic canonicity and the problematic verisimilitude in early Thai prose fictions’, in Translation and global Asia: Relocating networks of cultural production, ed. Sze-pui, Uganda Kwan and Lawrence Wang-chi Wong (Hong Kong: Chinese University of Hong Kong Press, 2014), pp. 134Google Scholar.

5 There have been a number of insightful studies on the role of Buddhism and modernity in Thailand, some of which draw specifically on literature. Arnika Fuhrmann's recent publication Teardrops in time studies how the highly respected poet Angkarn Kallayanapong (1926–2012) adapts Buddhist temporal frameworks to create scale for critique, particularly of the vicissitudes of Thai cultural modernity. Tamara Loos in Subject Siam studies debates around legal definitions at the turn of the 19th century in Thailand and suggests that Buddhism and state power were conflated, and that Buddhism was frequently strategically employed politically in order to negotiate Siam's transition towards its own particular, non-secular modernity. Arjun Subrahmanyan's excellent dissertation ‘Reinventing Siam’ looks away from elite Thai historiography and focuses on how intellectuals and writers in Thailand around the time of the 1932 Revolution challenged elitism and worked to fashion a new modern social consciousness and identity, frequently with recourse to Buddhist terms and concepts. See: Fuhrmann, Arnika, Teardrops of time: Buddhist aesthetics in the poetry of Angkarn Kallayanapong (New York: SUNY Press, 2020)Google Scholar; Loos, Tamara, Subject Siam: Family, law and colonial modernity in Thailand (Ithaca: Cornell University Press, 2018)Google Scholar; Arjun Subrahmanyan, ‘Reinventing Siam: Ideas and culture in Thailand, 1920–1944’ (PhD diss., University of California, Berkeley, 2013).

6 El-Desouky, Ayman, ‘Disturbing crossings: The unhomely, the unworldly, and the question of method in approaches to world literature’, in Disturbing conventions: Decentering Thai literary cultures, ed. Harrison, Rachel V. (Boulder, CO: Rowman & Littlefield, 2014), pp. 239–45Google Scholar.

7 Normand, Lawrence and Winch, Alison, eds, Encountering Buddhism in twentieth-century British and American literature (London: A&C Black, 2013), p. 14CrossRefGoogle Scholar. The quote is by Henry Clarke Warren.

8 Utsana Phloengtham was his pen name and, because this is the name under which he published his short stories and his only novel, I refer to him by this name in this article. He published his translations from the English, such as of John Steinbeck's novel Tortilla Flat (1935), under his given name.

9 Vannaporn Phongpheng, Wannasin thai ruamsamai yuk songkhramyen koraniseuksa wannakam kong Pramun Aunha-Thup [Contemporary Thai literary style during the Cold War: A case study of Pramun Aunha-Thup's literary works], Warasarn Manutsaat lae Sangkomsaat 11 (2001): 114.

10 Anderson, Benedict, In the mirror: Literature and politics in Siam in the American era (Bangkok: Duang Kamol, 1985), p. 19Google Scholar.

11 Kampanat Phlangkun, ed., Anuson ngan men wit sutthasathian [Cremation volume of Wit Sutthasathian] (Bangkok: Dansuttha, 1990), pp. 138–9.

12 A particularly helpful introduction to literary modernism is: Peter Childs, Modernism (London: Routledge, 2017). See further Astradur Eysteinsson, The concept of modernism (Ithaca, NY: Cornell University Press, 2018), and the quote here about realism is on p. 5. See also Malcolm Bradbury and James McFarlane, eds, Modernism: A guide to European literature, 1890–1930 (London: Penguin, 1978). The first article to talk of literary modernism and reading ‘spatially’ is Joseph Frank, ‘Spatial form in modern literature: An essay in two parts’, Sewanee Review 53, 2 (1945): 221–40.

13 Wayne Booth, The rhetoric of fiction (Chicago: University of Chicago Press, 1983), p. 175.

14 Harrison, ‘Sex in a hot climate’, p. 133.

15 Utsana Phloenghtam's story ‘She rode away on a horse’ is republished in Utsana Phloenghtam, Cho Prayong [A clusterful of algae] (Bangkok: Matichon, 2002).

16 Peter A. Jackson, Buddhadasa: Theravada Buddhism and modernist reform in Thailand (Chiang Mai: Silkworm, 2003), p. 108.

17 Peter A. Jackson, Buddhism, legitimation, and conflict (Singapore: ISEAS, 1989), p. 42.

18 Hiramatsu Hideki, ‘Thai literary trends: From Seni Saowaphong to Chart Kobjitti’, Kyoto Review of Southeast Asia 8 (2007), https://kyotoreview.org/issue-8-9/thai-literary-trends-from-seni-saowaphong-to-chart-kobjitti/.

19 Arjun Subrahmanyan, ‘Worldly compromise in Thai Buddhist modernism’, Journal of Southeast Asian Studies 50, 2 (2019): 179–201.

20 These quotes originally appeared in the Thai journal Buddhasasana in Nov. 1934, cited in Subrahmanyan, ‘Worldly compromise’, p. 190.

21 Utsana Phloengtham, Rueang khong Chan Dara [The story of Jan Dara] (Bangkok: Matichon, 2013), pp. 412–6. This is the edition that I have referenced and all translations from the novel are my own. This edition also includes interviews with the author, which were originally published separately: Utsana Phloengtham, ‘Poet thep samphaat Utsana Phloengtham’ [A taped interview with Utsana Phloengtham], Thanon nangseu 3, 3 (1985): 28–34.

22 This is in fact a quote from one of Joyce's letters to his wife Nora, but could quite readily apply to his unwillingness to censor his literary works.

23 Phloengtham, Rueang khong Chan Dara, p. 414.

24 Kamrop Nawachon, Utsana Phloengtham lae Wilat Maniwat [Life on a road of books: Utsana Phloengtham and Wilat Maniwat] (Bangkok: Thanaban, 1988).

25 See Susan Fulop Kepner, A civilized woman: ML Boonlua Debyasuvarn and the Thai twentieth century (Chiang Mai: Silkworm, 2013), chap. 1, ‘In her father's house’.

26 M. Delly or Delly was the pseudonym of the French brothers Jeanne Marie Henriette Petitjean de la Rosiére (1875–1947) and Frédéric Henri Petitjean de la Rosiére (1870–1949).

27 Wibha Senanan, ‘The genesis and early development of the novel in Thailand’ (PhD diss., University of London, School of Oriental and African Studies, 1973), p. 240.

28 Translations of some extracts from the novel as well as a helpful summary can be found in: Susan Fulop Kepner, The lioness in bloom: Modern Thai fiction about women (Oakland: University of California Press, 1996), pp. 81–3.

29 Dokmai Sot, Phu Di [Persons of quality] (Bangkok: Silapa Bannaakaan,1973), p. 11.

30 Subrahmanyan, ‘Reinventing Siam’, p. 193.

31 Ibid., p. 77.

32 Kwandee Rakpongse, ‘A study of the novels of Mom Luang Buppha Nimmanheminda (pseud. Dokmaisot)’ (PhD diss., University of London, School of Oriental and African Studies, 1975), p. 274.

33 Phloengtham, The story of Jan Dara, trans. Jiangphatthanarkit, p. 381.

34 Tunlajit, ‘The enticing smell of virtue’, p. 90.

35 Albert Camus, The fall (London: Penguin, 2013). The quote itself is by Samuel Johnson.

36 Phloengtham, The story of Jan Dara, trans. Jiangphatthanarkit, p. 379.

37 Ibid., p. 129.

38 Italics my own.

39 Phloengtham, The story of Jan Dara, p. 377.

40 An interesting discussion of the Oedipal complex in Jan Dara as well as the political deployment of the complex by a Thai film director in his adaptations of the novel can be found in: Chaochuti, Thosaeng, ‘Oedipal desire in Chua fa din salai and Rueang khong Chan Dara: The politics of deferral, the deferral of politics’, SOJOURN: Journal of Social Issues in Southeast Asia 30, 3 (2015): 609–40CrossRefGoogle Scholar.

41 Judith Ryan, The vanishing subject: Early psychology and literary modernism (Chicago: University of Chicago Press, 1991), p. 11.

42 These quotes are from Dokmai Sot's Past karma [Kam Kao, 1932] and One in a hundred [Nung Nai Roi, 1934], respectively. See Kwandee Rakpongse, ‘A study of the novels of Mom Luang Buppha Nimmanheminda’, pp. 181, 250.

43 Kenner, Hugh, The Pound era (Oakland: University of California Press, 1973), p. 34Google Scholar.

44 Roberts, Peter, ‘Bridging literary and philosophical genres: Judgement, reflection and education in Camus’ The Fall’. Educational Philosophy and Theory 40, 7 (2008): 883CrossRefGoogle Scholar.

45 Tomomi Ito, ‘Discussions in the Buddhist public sphere in twentieth-century Thailand: Buddhadasa Bhikkhu and his world’ (PhD diss., Australian National University, 2001), pp. 130–40.

46 Chaloemtiarana, Thak, Thailand: The politics of despotic paternalism (Ithaca, NY: SEAP Publications, Cornell University, 2007), p. 111CrossRefGoogle Scholar.