Mo Yan - Shifu, You'll Do Anything for a Laugh

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In these stories, we see the breathtaking range of Mo Yan's vision-which critics have compared to those of Tolstoy and Kafka. The stories range from the tragic to the comic, though Mo Yan's humor is always tinged with a shade of black. They embody, too, the author's deep and abiding love of his fellow man, equaled only by his intense disdain of bureaucracy and repression-despite which his fiction is never didactic. Satire, fantasy, the supernatural, mystery: all are present in this remarkable and intensely enjoyable volume.
— The release of award-winning director Zhang Yimou's major film adaptation of the title story (Happy Times) in summer 2002 heightened the visibility of both the author and this collection.
— This paperback is being published simultaneously with the author's mangum opus, Big Breasts and Wide Hips-a return to the sweep and ambition of his bestelling Red Sorghum-which will receive major critical acclaim and further raise Mo Yan's profile in the States.
— One of the stories in the volume serves as a companion piece to the author's hugely popular Red Sorghum.

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“What do we do with her?” the nurse asked. “We can't just leave her here, can we?”

My aunt turned to me. “Why don't you take her home with you? I've seen her parents, and there's nothing wrong with them. Tall, sturdy peasants, both of them. So this one ought to turn out just fine, maybe even a real beauty.”

I was on my way out of the room before she'd even finished.

I sat in the sunflower field transfixed, my rear end and legs turning numb from the damp ground. I had no desire to stand up. The petals of the dish-shaped sunflowers had curled up and turned black, like eyelashes. Countless black, seedy eyes were staring at me. Dark cottony clouds blocked out the sun. The floral heads hung down in a state of disorder, as if in sad stupefaction. Black ants were busy rebuilding their tiny fortresses on the flat, muddy ground, making them taller and sturdier than the last time I'd seen them, oblivious to the reality that they would be leveled yet again the next time it rained, in utter disregard of the architectural history of their splendid ant kingdom. Lacking even a breath of wind, the sunflower field was oppressive as a kitchen steamer, in which a meaty, delectable duck — me — was being prepared.

Sitting there, I was reminded of something beautiful that had occurred in a big city somewhere: A beautiful, genteel young woman was in the habit of killing and eating young men. She braised their thighs, steamed their hips, and cooked their shredded hearts and livers in vinegar and garlic. Having devoured quite a few young men, the young woman was the picture of good health. Then I recalled something that had happened in China's distant past, right here in my own hometown: A chef by the name of Yi Ya cooked his own son and presented it to Duke Huan of Qi. They say that Yi Ya's son was incomparably delicious, far tastier than the tenderest lamb.

Those thoughts fortified my belief that human nature was more fragile than the thinnest paper. Just then, gusts of wind made the coarse sunflower leaves rustle coarsely as they brushed my head and face and, at the same time, rubbed against my pitted heart like sandpaper. I don't think I'd ever felt quite so comfortable. When the gusty wind died down, insects all around me burst forth with wonderful sounds. A small locust was riding on the back of a larger one next to a sunflower stalk; they were mating. In at least one significant way, they and humans are alike; that is to say, they are no more lowly than we, and we are no more noble than they. Nonetheless, hope was plentiful there in the sunflower field. Those drooping flowers were like countless children's faces, gazing at me affectionately, consoling me, and instilling me with the strength to come to grips with the world around me, no matter how painful that knowledge and understanding might be.

Unexpectedly, I was reminded of the conclusion to “Dolls of Michinoku.” Once the author of the story understood the custom of drowning babies and had returned to Tokyo, he happened to see a row of marionettes, their eyes closed, hanging in a department store, coated with dust. The sight reminded him of all those babies who were cast into raging waters before they could open their eyes or cry for the first time. But I could find no such symbol on which to pin my sorrow and bring this chapter to an end. The sunflowers? The locusts? The ants? Crickets? Worms? Absurd, all of them. None of them represented the true face of life. In the tunnel I had dug for myself, I kept bumping into the white bones of abandoned children, and I told myself that these human beings who filled the air with sounds that might have been crying and might have been laughter could not be viewed as unvirtuous or dishonest or unlovely. Do the abandoned infants of Michinokou now belong to history? Condoms, IUDs, birth control pills, male and female sterilization, and abortions have combined to eliminate the cruel practice of drowning the infants of Michinokou.

And yet, here, in this place, where the land is blanketed with yellow flowers, the issue is much more complex than that. Doctors and the Township Government can work in concert to force sterilization upon men and women of child-bearing age, but where might we find a wonder drug capable of uprooting and eliminating the petrified notions that cleave to the brains of people in my hometown?

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