Tushy Jia Lissa Entanglements Part 2 1911 ((top))

Jia (simplified: 佳) is presented as a Confucian scholar turned revolutionary, embodying the internal conflict between classical erudition and modern radicalism. Throughout Part II , his internal monologue oscillates between reverence for ancient poetry and a visceral disgust for the “stiffness” of traditional moral codes—an affect that the author likens to a “rigid spine” that must be “flexed.” His transformation culminates in a scene where he participates in a public “shaking‑the‑buttocks” dance—a literal bodily expression of his ideological emancipation.

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In re‑examining Part II , we uncover a text that not only completes the thematic arc begun in its predecessor but also offers a prescient commentary on the ways in which bodies—particularly those parts of the body deemed private or marginal—become . The novella thus invites contemporary readers to consider how humor, hybridity, and the very “rear” of history can propel societies forward, reminding us that the most profound revolutions often begin with a shift in the way we sit , move , and see ourselves and each other.

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