Говард Голдблатт - Chairman Mao Would Not Be Amused - Fiction From Today`s China [редактор Говард Голдблатт]

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From Publishers Weekly
In contrast to the utopian official literature of Communist China, the stories in this wide-ranging collection marshal wry humor, entangled sex, urban alienation, nasty village politics and frequent violence. Translated ably enough to keep up with the colloquial tone, most tales are told with straightforward familiarity, drawing readers into small communities and personal histories that are anything but heroic. "The Brothers Shu," by Su Tong (Raise the Red Lantern), is an urban tale of young lust and sibling rivalry in a sordid neighborhood around the ironically named Fragrant Cedar Street. That story's earthiness is matched by Wang Xiangfu's folksy "Fritter Hollow Chronicles," about peasants' vendettas and local politics, and by "The Cure," by Mo Yan (Red Sorghum; The Garlic Ballads), which details the fringe benefits of an execution. Personal alienation and disaffection are as likely to appear in stories with rural settings (Li Rui's "Sham Marriage") as they are to poison the lives of urban characters (Chen Cun's "Footsteps on the Roof"). Comedy takes an elegant and elaborate form in "A String of Choices," Wang Meng's tale of a toothache cure, and it assumes the burlesque of small-town propaganda fodder in Li Xiao's "Grass on the Rooftop." Editor Goldblatt has chosen not to expand the contributors' biographies or elaborate on the collection's post-Tiananmen context. He lets the stories speak for themselves, which, fortunately, they do, quietly and effectively.
From Library Journal
The 20 authors represented here range from Wang Meng, the former minister of culture, to Su Tong, whose Raise the Red Lantern has been immortalized on screen.
***
Chinese literature has changed drastically in the past thirty years. During the Cultural Revolution (1966-1976) arts and literature of all sorts were virtually nonexistent since they were frowned upon by official powers so that attempts to produce any were apt to cause one’s public humiliation and possibly even death by the Red Guards and other unofficial arms of the government. After 1976, in the wake of Mao’s death, literature slowly regained its importance in China, and by the mid-1980s dark, angry, satirical writings had become quite prominent on the mainland.
In the wake of Tiananmen Square, dark literature faded somewhat, but never vanished. Now Howard Goldblatt, a prominent translator of Chinese fiction and editor of the critical magazine Modern Chinese Literature, has compiled a representative collection of contemporary Chinese fiction entitled Chairman Mao Would Not Be Amused. Even with my limited knowledge of modern China I feel certain the title of the book is fairly accurate.
Mo Yan is one of my favorite contemporary writers. His dark, no-holds-barred satires Red Sorghum and The Garlic Ballads detailed what he sees as the failings of both Chinese peasants (of which he was born as one) and the Chinese leaders. His short story "The Cure" is in the same vein, detailing how a local government representative-probably self-appointed during the Cultural Revolution, although that is never made quite clear in the story-leads a lynching of the village’s two most prominent leaders and their wives. But, as in most Mo Yan stories, the bitterness directed at the lyncher is double-edged with the bitter look at a local peasant who sees the deaths of the two village leaders as a desperate chance to possibly rescue his mother from impending blindness. The story is coldly realistic and totally chilling in the rational way it treats the series of events.
Su Tong is the author of the novella "Raise The Red Lantern", the basis of the wonderful movie. His "The Brothers Shu" is a bitter look at some traditional character weaknesses of Chinese people, and particularly how they affect family life. The Shu family is incredibly dysfunctional. The father nightly climbs up the side of his two-family house to have sex with the woman upstairs until her husband bolts her windows shut. So the woman sneaks downstairs to have sex in the younger son’s bedroom while the son is tied to his bed, gagged and blindfolded. Meanwhile the elder son abuses the girl upstairs until she falls in love with him. When she becomes pregnant, they are both so shamed they form a suicide pact, tie themselves together and jump into a river, where the boy is rescued in time but the girl dies. The younger son so hates his older brother-somewhat deservedly considering the abuse heaped on him by the brother-that he pours gasoline through his bedroom and sets it ablaze.
And so on, complete with beatings and torments worthy of the most dysfunctional American families. While not a particularly likeable cast of characters, the story is strong and thoughtful.
Perhaps the most moving part about "First Person", by Shi Tiesheng is in the brief author description in the back of the book. Shi is described as “crippled during the Cultural Revolution”. So many lives were needlessly destroyed during that tumultuous decade, it is easy to feel that the arrest and subsequent conviction of the notorious Gang of Four was not nearly sufficient punishment for them.
"First Person" tells the story of a man with a heart condition-Shi frequently writes about the lives of handicapped people, according to his description-who is visiting his new 21st floor apartment for the first time. While climbing the stairs very slowly, taking frequent rests, he notices a cemetery separated from the apartment building by a huge wall. On one side of the wall is sitting a woman, while on the other side stands a man. As the man climbs the stairs he fantasizes about why the couple are there, and why they are separated by the wall. Perhaps the man is having an affair, and the wife is spying on him as he rendezvous with his lover?
But then the man notices a baby lying on a gravesite, being watched from a distance by the man, and he realizes that the couple is abandoning the child. An interesting story about the fanciful delusions a person can have, but with no real depth beyond that.
Two stories involve fear of dentists in completely different ways. Wang Meng’s "A String of Choices" is a very funny story that combines a bitter look at both Eastern and Western medicine with perhaps the most extreme case of fear of dentists imaginable. Chen Ran’s "Sunshine Between the Lips" tells of a young girl whose adult male friend exposes himself to her. If that were not traumatic enough, after he is arrested for exposing himself to a complete stranger, he sets his apartment on fire and dies a brutal death. This event, combined with a near-fatal bout of meningitis, creates in the girl a deep fear of phallic objects such as needles and penises. So imagine her trauma when she develops impacted wisdom teeth at the same time as she gets married. While this description might sound a bit ludicrous, this story is very serious and very well-executed.
A strong satire on how history can be rewritten to suit the writers’ needs is Li Xiao’s "Grass on the Rooftop". When a peasant’s hut goes on fire, he is rescued by a local student. The rescue is written up for an elementary school newspaper by a local child, but the story is picked up by other papers, changing radically with each reprinting until the rescuing student becomes a great hero of the Maoist revolution because of his supposed attempt to rescue a nonexistent portrait of Mao on the wall of the hut. While this story is uniquely Chinese in many ways, it resonates in all societies in which pride and agenda is often more important than the truth.
Anybody interested in a look at contemporary Chinese society should enjoy this collection immensely.

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Late that night, Shu Nong climbed onto the roof for the very first time. He prowled the dusty roof catlike in his bare feet, not making a sound. The world, having lost its voice, allowed Shu Nong to hear the wild beating of his heart. He walked to the edge and squatted down, holding a clothespole to keep from falling. He could see into Qiu Yumei's second-story room through the transom.

Simply stated, Old Shu and Qiu Yumei were in bed, making love.

In the weak light of the bedside lamp, Qiu Yumei's naked, voluptuous body gave off a blue glare; that was what puzzled Shu Nong. Why is she blue? Shu Nong watched his father ram his squat, powerful body against Qiu Yumei over and over, shattering then congealing the blue glare with lightning speed, until his eyes seemed bombarded with an eternal light. They're killing each other! What are they doing? Shu Nong saw his father's face twist into a grimace and watched Qiu Yumei squirm like a crazed snake. They really are killing each other! Darkness quickly swallowed up their faces and abdomens. The heavy, murky smell of river water seeped out from the room, and when it reached Shu Nong's nostrils, he was reminded of the filthy river flotsam. With the river flowing beneath their window, the one nearly merging with the other, the smells from the window polluted the river, and both created a barrier against Shu Nong's thought processes. He felt as if the world around him had changed, that he really and truly had become feline after falling under the spell of darkness and rank, puckery odors. He mewed and sought out something to eat.

That was the night Shu Nong began spying on his father and Qiu Yumei while they were carrying on.

Shu Nong the voyeur screeched like a tomcat.

Thinking of himself as a tomcat, Shu Nong screeched as he watched.

After each time, a little white object came flying out the second-story window and landed in the river. Shu Nong knew the things belonged to his father but couldn't tell what they were. So once he climbed down and headed for the river, where he saw the thing floating on the surface like a deflated balloon. He plucked it out of the river and onto the bank with a dead branch. It shone glittery white in the moonlight and lay in his hand like a little critter: soft and slippery. Shu Nong slipped it into his pocket and went home to bed. But soon after he lay down, a brilliant idea popped into his head. He took the sheath out, wiped it clean, and, holding his breath, stretched it over his little pecker; he was struck by a sensation of vitality that seized his consciousness. Shu Nong slept like a baby that night, and when he awoke the next morning, he was overjoyed to discover that for some reason, he hadn't wet the bed. Why was that?

The story goes that the sheaths Shu Nong fished out of the river solved his problem, but you needn't buy into that argument if it seems too far-fetched.

Shu Nong's night prowls atop number 18 went undetected for the longest time. Then one day, Old Shu found two yuan missing from his dresser drawer, so he searched his sons' pockets. In Shu Gong's pockets, he found one yuan and some change and a pack of cigarettes; in Shu Nong's pockets, he found three condoms. Needless to say, the unexpected discovery of condoms shocked and enraged Old Shu.

The first order of business for Old Shu, whose methods of punishment were unique on Fragrant Cedar Street, was to tie Shu Gong to his bed. Then he removed a cigarette from his son's pack, lit it, and puffed it vigorously. He asked the hogtied Shu Gong, "Want a puff?" Shu Gong shook his head. "Here, try it. Don't you want to be a smoker?" Before waiting for an answer, he shoved the lit end of the cigarette into Shu Gong's mouth, and Shu Gong screamed bloody murder. Old Shu clamped his hand over his son's mouth. "Stop that crazy screaming. It won't hurt long. The cigarette will burn out in no time. You can have another one tomorrow if you want."

Shu Nong's punishment was a touchier matter since Old Shu wasn't sure how to handle the situation. When he called his younger son into the little storeroom, he could barely keep from laughing as he held the three condoms in his hand and asked, "Do you know what these are?"

"No."

"Where did you get them?"

"The river. I fished them out."

"What did you have in mind? You're not making balloons out of them, are you?"

Shu Nong didn't answer. Then Old Shu saw flashes of deep green light in his son's eyes as he answered in a raspy voice: "They're yours."

"What did you say?" Suddenly, Old Shu knew he had a problem. He wrapped his hands around Shu Nong's neck and shook his puny skull for all he was worth. "How do you know they're mine?"

Shu Nong's face was turning purple, but rather than answer, he just stared into the strangler's face, then let his gaze slide down past the brawny chest and come to rest on his father's fly.

"What are you looking at?" Old Shu slapped Shu Nong, who flinched although his gaze stuck stubbornly to his father's fly. He was given another glimpse of the blue glare, which made him lightheaded. Old Shu grabbed his son's hair and banged his head against the wall. "Who were you spying on? Who in the hell have you been spying on?" Shu Nong's head banged into the wall once, twice, but he felt no pain. He was watching blue specks dance before his eyes like a swarm of wasps. He heard the screech of a cat on the roof; he and the sound merged into a single entity.

"Cat," Shu Nong said weakly as he licked his torn gums.

Old Shu wasn't sure what his son was talking about. "Are you saying the cat was spying?"

"Right, the cat was spying."

Some Fragrant Cedar Street neighbors passing beneath the window at number 18 stopped to gawk as Old Shu beat his son mercilessly. People living on Fragrant Cedar Street considered boys well raised if they were beaten often, so there was nothing unusual here. But the victim's behavior perplexed them. Instead of screaming and carrying on, Shu Nong appeared determined to bear up under the punishment, which was a big change from before.

"What did Shu Nong do?" one of the window gawkers asked.

"Wet the bed!" Old Shu replied from inside.

No one had any reason to suspect any different, since Shu Nong's bed-wetting was well-known up and down Fragrant Cedar Street. The neighbors were sensitive, alert people but not particularly adept at digging beneath the surface to get to the heart of a matter. When Shu Nong's destructive tendencies first began to manifest themselves, the people were too tied up in their belief that he was still fourteen and still wet the bed to spot the differences.

Shu Nong had stopped wetting the bed at the age of fourteen, but no one would believe it. Or better put, people found Shu Nong's bed-wetting interesting, but not the cessation of his bed-wetting. Take Shu Nong's mortal enemy, Hanzhen, for instance: she chanted the following when she jumped rope:

One four seven, two five eight,

Shu Nong bed-wets at a nightly rate.

Hanli, who rarely spoke to her mother, told a schoolmate, "My mother's a slut, and I despise her."

Folks assumed that Hanli was aware of her bloodline. Since half the women on Fragrant Cedar Street feuded with Qiu Yumei, any one of them would have happily let her in on the secret. But more to the point was Hanli's precociousness. She didn't need to be told what was what. You can't wrap a fire in paper, after all.

Hanli had not spoken to Old Shu for years. He bought her a scarf for her seventeenth birthday, but deaf to his entreaties, she cut him dead at the foot of the stairs. So he gave the scarf to Qiu Yumei, who tried to drape it around Hanli's shoulders. Hanli tore it out of her hands and flung it to the ground, then spit on it. "Who needs it? Who knows what you're up to?"

"Old Shu gave it to you only because he likes you. Don't be an ingrate."

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