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

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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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"Don't worry about it, don't worry. It isn't scary in the least."

Maybe it was a Saturday or a Sunday evening, at a bus stop near her dormitory, the last time they said good-bye. The sky was already very dark, and it was about to rain. The wind came in swift, violent gusts; dampness spread out through the black night. Or maybe it was after the rain, and everything was quiet, not a single person in sight. The streetlamps shone on the wet street, which was like a river reflecting festival lights.

"Honest, it's not scary. It's a pretty cemetery."

"Go east? Is it far?"

"No, not far. You'll be able to see it as soon as you get off the bus. It's a very tall building."

Maybe it was close to midnight, in a gloomy corner of a diner. The occasional sound of lonely whistling from someone walking came from the street. The little diner was about to close.

"The building is twenty-one stories. It's white."

"A green brick wall?"

"Right, I'll wait for you there."

But what about the woman inside the wall? Who was she? What was she doing here? Maybe she and the man outside the wall had absolutely no connection to each other. But did they really have no connection? She was sitting beneath the big tree, not making a sound. Behind it, actually. If you looked carefully, you would notice that she, the big tree, and the small gate all happened to line up perfectly. If you looked in through the crack between the doors of the gate, you wouldn't be able to see her. Why should this be? The man couldn't see her, but she could hear everything outside the wall. And why didn't the man go to the bus stop to wait for his friend? Why did he hide over here and waste all that energy peering into the distance? "Go with the flow" was what the woman said. If her husband had fallen in love with another woman and if she had found out, what could she do? Suffer, yes, she would suffer. She would cry, argue, throw a fit, but in the end what good would that do?

"Nothing like it, nothing at all," the man said. "There just isn't anything like that going on."

But after he said this, she knew that if he continued to see the woman, there would be little she could do. "No! No!" She would cry and shout. "No, this won't do! It won't do…"

"How can you be so vulgar?" the man said. "How can you be so petty?"

The man said, "I never thought you'd act like this. She's just a friend, an ordinary friend."

But he spent far more time with his ordinary friend than he spent with her. When he was with his ordinary friend, he laughed and talked excitedly, but when he was with her, he had less and less to say, and he grew more and more withdrawn. What could she do?

"For the children," she said to him. She didn't want to argue anymore, and she didn't have the strength to cry anymore.

She said, "You don't have a thought for me, but you must think of the children."

"OK, OK," the man said. "Since you refuse to believe me, I won't have any more to do with her."

But after he said this, he kept seeing the other woman behind his wife's back. If that was how things were, what could she do? She could take him to court. She could cause a scandal, raise such a fuss that everyone in the neighborhood would know. She could walk away. She could leave him. But she loved him. Love was as difficult to explain as death. She didn't want to hurt him, and she didn't want to leave him. What should she do? Obsessed, she followed him here. She watched him walk back and forth along the outside of the wall, anxiously waiting for that ordinary friend of his. Quietly, she went around to the other side of the vacant building, crossed the little bridge, and came in through the main gate. She walked over beneath the big parasol tree and listened for a while. She could hear that he was still outside the wall. Not wanting him to discover her, she hid behind the thick trunk of the parasol tree. She wondered what it was she thought she was going to do. Make her existence known to the other woman?

Talk face to face with her? Expose the man's lies there and then? But what good would any of that do? What would be the point? If he had already fallen out of love with you, if he longed for another woman, what more hope could you have in him? All you could do was go with the flow. Let him go, all you could do was let him go. "Go with the flow." When she said this, her heart was like a cemetery. She was unaware that somebody had walked over to her, unaware that somebody had asked her a question. The sun had sunk completely behind the trees. The evening breeze was stronger with each gust. It grew gloomy and lonesome beneath the tall tree. The shadow of the tree and the dots of light that had swayed and pulsated were the same as the past, the same as yesterday; they passed away quietly, unnoticed. Of course, tomorrow they would do it all over again in the same place. Let's go, but where? Let's go home, but what is home? Were you just going to wait? Wait until when? You didn't care? You were indifferent? OK, OK, go with the flow. But I had to be on my way, for I still had a dozen more floors to climb.

As I'd expected, my new apartment wasn't bad. Two bedrooms and a living room. The bigger bedroom was close to 180 square feet, sixteen feet long and eleven feet wide. The smaller bedroom was sixteen feet long and eight feet wide, 128 square feet. It was a miracle for a bachelor like me to have an apartment like this. The living room was 75 square feet. The kitchen was only 54 square feet, but there would just be me cooking and me eating, so it was big enough. To my surprise, the toilet was in a different room from the shower. I hadn't expected that. The closet was so large I could sleep in it. The balcony? Four feet by seven feet. (How many square feet would that be?) From it, I could look down to the woods.

Under an unfathomable autumn sky, the trees were a riot of color. The maple leaves were already red, the ginkgoes were completely golden, the pines and cypresses were so green they were almost black, and numerous white tombstones ornamented the spaces between the trees. I wondered if in the future I would want a gravestone. If I did, where would it stand? Would I want words engraved on it? What should I have engraved? Over the years, a number of people are likely to come to my grave, on rainy days, on windy days, on snowy days, on clear days. They will pass by my grave, read the words on the gravestone, and then walk away. Who will they be? Will they wonder who the person buried in the grave might be or wonder about the experiences he might have had? Will it occur to them that the person in the grave once imagined their coming? Perhaps some of the people destined to walk by my grave have already been born and are walking toward my gravestone. Of course, they have a long way to go, and many things have to happen in their proper sequence. There is no way to predict which road they will take to get to my grave, because I have yet to die. There is no way yet to determine the place and time, but this sort of thing is certain to occur. Someone who is certain to pass by my grave has already begun his trip. Maybe he is in Africa, or maybe he is within my field of vision. As I was thinking about all of this, I suddenly noticed a child in the woods.

It was a baby. You could see him only from the twenty-first floor. He was lying behind a gravestone in the pale red light of the setting sun. There was a baby carriage beside him, filled with many colorful toys. He was wrapped in a pink woolen blanket so that only his little face showed. He was sleeping soundly and peacefully, as if nothing could disturb him. Who was he? Whose child was he? Where were the adults? Where had his mother and father gone? Why had they stayed away so long? There was no one else around; I could see clearly from the twenty-first floor that there was no one else anywhere in sight. Why wasn't the child in the baby carriage; why was he sleeping on the ground? Heavens! I understood: an abandoned infant! In a flash, I realized what was going on. The man outside the wall! And the woman inside the wall! The man was gazing steadily in the direction of his child. He paced back and forth beyond the wall, looking off into the distance at his child. He watched the bus stop to see who would come take the baby away. He had no choice but to abandon his child, but he was uneasy; he wanted to see with his own eyes what sort of person would take the boy. Why are you doing this, young father? And you, the mother, why are you doing this? She couldn't bear to watch, so she hid. After walking in through the small gate, she no longer had the strength to stand, and so she sat down beneath the big tree as if at the center of a nightmare. She listened to hear if the child was crying or not. She wondered if she had brought along enough toys. She listened for any movement from the distant woods. She wondered what sort of fate was in store for the child. Yes, when she looked at me, her eyes were full of alarm. It never occurred to her that someone might come in through the main gate to the south. "Go with the flow," she said in a voice heavy with despair. Maybe I look reasonably honest and decent, but I didn't go toward the small gate, and she couldn't say to me, "Go into the woods. Thank you. Please take care of the child for us." She thought with resignation, Go with the flow, just go with the flow. The sky grew darker and darker, but the child was still lost in his sweet dreams. Did he dream? What did he dream of? No, no! This could not be! No matter what had happened, they could not do this. I went down the stairs. I have a little heart trouble, but going down stairs is always easier than going up. I rested on the fourteenth floor and again on the seventh. When I reached the bottom, it seemed that other than the fact that my heart was beating a little faster than usual, nothing was amiss.

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