(p. 15) Deng Xiaoping, China’s leader after 1978, had set a target of quadrupling the country’s per capita national income by 2000. China’s planners decided that they could achieve this goal only if, in addition to increasing the size of the pie, there were fewer people to share it.
So they determined, in their words, to “adjust women’s average fertility rate in advance.” The man who ran the program that treated women as if they were production functions was a rocket scientist, Song Jian, who had worked on ballistic missiles. Song went on to help manage the giant Three Gorges Dam on the Yangtze River. His was a world in which unintended consequences were not important.
Population control was not unusual in the 1980s. India also had a fertility-control program. The United Nations gave its first-ever population award to the Chinese minister for population planning in 1983 (along with Indira Gandhi). But China’s application of population control was particularly ruthless.
In 2012, Feng Jianmei, a factory worker pregnant with her second child, was taken to a clinic, forced to sign a document consenting to an abortion and injected with an abortifacient. She was in her seventh month. Pictures of her lying next to her perfectly formed seven-month dead fetus went viral. But hers was hardly an unusual case. In the 1990s, population targets became a major criterion for judging the performance of officials. It is no surprise that they carried out the one-child policy ruthlessly. Reading this account, one wonders why rape as a weapon of war is (rightly) seen as a war crime, whereas the forcible violation of women’s bodies in pursuit of government policy wins United Nations awards.
For the full review, see:
JOHN PARKER. “Little Emperors.” The New York Times Book Review (Sun., JAN. 10, 2016): 15.
(Note: the online version of the review has the date JAN. 8, 2016, and has the title “”One Child,’ by Mei Fong.”)
The book under review, is:
Fong, Mei. One Child: The Story of China’s Most Radical Experiment. Boston, MA: Houghton Mifflin Harcourt, 2016.