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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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Sonny was silent. Junni emerged from under the pile and walked over to Li Jiming. "Stop standing around in your underwear, torturing yourself. Come on, I can take care of you both."

As her warm body clung to his, Li Jiming smelled a woman's sweat, something that he had never noticed on her before. He followed Junni to the ground.

A shell landed very near, stirring up clouds of dust. Two or three people screamed at the top of their lungs, a sound terrible and numbing.

After a long while, Junni said, "Sonny, was it OK for you?"

"It sure was."

"Jiming, are you content?"

"Hmm," said Li Jiming, still catching his breath. He felt a warmth he had never known boring up through his body all the way to his head, making him dizzy, as if he were about to melt.

"All right, then," Junni said. "I'm feeling really good, too. We're all content."

She reached over for the ice-cold grenade and held it tightly.

Neither the troops retreating across the fields of Chenguan-zhuang nor the troops advancing in the same direction paid any attention to the shell hole. Three days later, after the sulfurous smoke had dissipated, the corpses littering the field began to emit a stench that could not be ignored, and a civilian clean-up crew moved in. What they found in the hole was not easy to collect-all severed limbs and pieces of flesh-so a decision was made to dump in the frozen bodies from the surrounding area. Before long, the hole was full.

When it was dark, the crew wiped their hands on clods of dirt and, on the newly flattened earth, proceeded to build a fire and prepare dinner.

Translated By Susan Mcfadden

Su Tong – The Brothers Shu

The story of Fragrant Cedar Street is legendary among people in my hometown. In the south of China, there are lots of streets just like it: narrow, dirty, the cobblestones forming a network of potholes. When you look out your window at the street or at the river's edge, you can see dried meat and drying laundry hanging from eaves, and you can see inside houses, where people are at the dinner table or engaged in a whole range of daily activities. What I am about to give you isn't so much a story as it is a word picture of life down south, and little more.

The brothers Shu Gong and Shu Nong lived on that particular street.

So did the Lin sisters, Hanli and Hanzhen.

They shared a building: 18 Fragrant Cedar Street, a blackened two-story structure, where the Shu family lived downstairs and the Lins above them. They were neighbors. Black sheet metal covered the flat roof of number 18, and as I stood at the bridgehead, I saw a cat crouching up there. At least that's how I remember it, fifteen years later.

And I remember the river, which intersected Fragrant Cedar Street a scant three or four feet from number 18. This river will make several appearances in my narration, with dubious distinction, for as I indicated earlier, I can only give impressions.

Shu Gong was the elder son, Shu Nong his younger brother.

Hanli was the elder daughter, Hanzhen her younger sister.

The ages of the Shu brothers and Lin sisters can be likened to the fingers of your hand: if Shu Nong was fourteen, then Hanzhen was fifteen, Shu Gong sixteen, and Hanli seventeen. A hand with four fingers lined up so tightly you can't pry them apart. Four fingers on the same hand. But where is the thumb?

Shu Nong was a timid, sallow-faced little devil. In the crude and simple classroom of Fragrant Cedar Middle School, he was the boy sitting up front in the middle row, dressed in a gray school uniform, neatly patched at the elbows, over a threadbare hand-me-down shirt with a grimy blue collar. The teachers at Fragrant Cedar Middle School all disliked Shu Nong, mainly because of the way he sprawled across his desk and picked his nose as he stared up at them. Experienced teachers knew he wasn't listening, and if they smacked him over the head with a pointer, he shrieked like splintered glass and complained, "I wasn't talking!" So while he wasn't the naughtiest child in class, his teachers pretty much ignored him, having taken all the gloomy stares from his old-man's eyes they could bear. To them, he was "a little schemer." Plus he usually smelled like he had just peed his pants.

Shu Nong was still wetting the bed at fourteen. And that was one of his secrets.

At first, we weren't aware of this secret. It was Hanzhen who let the cat out of the bag. Devoted to the act of eating, Hanzhen had such a greedy little mouth she even stole from her parents to buy snacks. One day when there was nothing to steal and she was standing outside the sweetshop looking depressed, Shu Nong happened by, dragging his schoolbag behind him. She stopped him: "I need twenty fen." He tried to walk around her, but she grabbed the strap of his bag and wouldn't let him pass. "Are you going to lend it to me or not, you little miser?" she demanded.

Shu Nong replied, "All I've got on me is two fen."

Hanzhen frowned and casually slapped him with his own strap. Then, jamming her fists onto her hips, she said, "Don't you kids play with him. He wets the bed. His sheets are hung out to dry everyday!"

I watched her spin around and take off toward school, leaving Shu Nong standing motionless and gloomy, holding his face in his hands as he followed her pudgy figure with his eyes. Then he looked at me-gloom filled his eyes. I can still see that fearful look on his fourteen-year-old face, best described as that of a young criminal genius. "Let's go," I said. "I won't tell anybody."

He shook his head, jammed his finger up his nose, and dug around a bit. "You go ahead. I'm skipping school today."

Shu Nong played hooky a lot, so that was no big deal. And I assumed he was already cooking up a way to get even with Han-zhen, which also was no big deal since he had a reputation for settling scores.

On the very next day, Hanzhen came into the office to report Shu Nong for putting five dead rats, some twisted wire, and a dozen or more thumbtacks in her bed. The teachers promised to punish him, but he played hooky that day, too. On the day after that, Hanzhen's mother, Qiu Yumei, came to school with a bowl of rice and asked the principal to smell it. He asked what was going on. Qiu Yumei accused Shu Nong of peeing in her rice pot. A crowd was gathering outside the office when the gym teacher dragged in Shu Nong, who had sauntered in to school only moments earlier and flung him into the corner.

"Here he is," the principal said. "Now what do you want me to do?"

"That's easy," Qiu Yumei replied. "Make him eat the rice, and he'll think twice about doing that again."

After mulling the suggestion over for a few seconds, the principal carried the offending bowl of rice over to Shu Nong. "Eat up," he said, "and taste the fruit of your labors."

Shu Nong stood there with his head down, hands jammed into his pockets as he nonchalantly fiddled with a key ring. The sound of keys jangling in the boy's grimy pocket clearly angered the principal, who in plain view of everyone, forced Shu Nong's head down over the rice. Shu Nong licked it almost instinctively, then yelped like a puppy, and spat the stuff out. Deathly pale, he ran out of the office, a single kernel of rice stuck to the corner of his mouth. The bystanders roared with laughter.

That evening, I spotted Shu Nong at the limestone quarry, wobbling across the rocky ground, dragging his schoolbag behind him. He picked an old tree limb out of a pile of rubbish and began kicking it ahead of him. He looked as gloomy and dejected as always. I thought I heard him announce, "I'll screw the shit out of Lin Hanzhen." His voice was high-pitched and shrill but as flat and emotionless as a girl saying to a clerk in a sweetshop, I'd like a candy figurine, please. "And I'll screw the shit out of Qiu Yumei!" he added.

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