Ran Chen - A Private Life

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From Publishers Weekly
"Sexuality has never been a problem with me. My problem is different. I am a fragment in a fragmented age." Despite this claim, the protagonist of Ran's unusual coming-of-age novel is defined by her precocious beauty and her struggle to define her sexual identity. Ran, one of China's most acclaimed contemporary women writers, tells how lovely Ni Niuniu is seduced before she enters puberty by an older woman, the sly, wise Widow Ho, then falls into an unwanted affair with her male teacher, Ti. In college, she meets the love of her life, a fellow student named Yin Nan, but their brief, passionate affair ends abruptly when Yin Nan becomes involved in the student protests in Tiananmen Square. Traumatized by the loss of Yin Nan and the deaths of her mother and Widow Ho, Niuniu retreats into her own mind, becoming Miss Nothing ("I no longer exist… I have disappeared…"). Niuniu's flaws, foibles and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study. Even the more conventional scenes are narrated with lyrical intensity, and hallucinatory dream sequences and passages describing Niuniu's alienation range from the revelatory to the overwrought. The result is an uneven but intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space.
From Booklist
The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous coming-of-age tale by Chinese essayist and short-story writer Chen. As a child, sensitive and gawky Ni Niuniu never quite fit in. Teased by her classmates and neglected by her cold, distant father, she engaged in quiet forms of rebellion (she once stole her father's woolen trousers and cut them off at the knees). While her father scarcely acknowledged her, other adults paid Ni Niuniu too much mind: her middle-school teacher, Ti, and an eccentric widower who lived next door each took sexual advantage of the impressionable young girl. Haunted by the past and despondent over the recent death of her mother and departure of her first love, Ni Niuniu retreats from the realities of politically charged Beijing, writing and drawing and endlessly soaking in her tub. Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world.
***
"Chen Ran's strikingly introspective, subjective, and individualized writing sets her work distinctively apart for the traditional and mainstream realism of the majority of contemporary Chinese writers… In his translation, Howard-Gibbon adeptly conveys the exquisiteness, richness, and slight eccentricity of Chen's prose." – China Daily
"The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous, coming-of-age tale by Chinese essayist and short-story writer Chen… Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world." – Booklist
"An intriguing exploration of the contemporary consciousness of an alienated, urban Chinese woman for whom current history matters less than the reliable comforts of love, nature, and solitude." – Kirkus Reviews
"Niuniu's flaws, foibles, and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study… [an] intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space." – Publishers Weekly
"In the novel A Private Life, Ran Chen immerses us in the troubled life of Ni Niuniu… Chen weaves together these evaluations with Niuniu's manic writings in order to create an ultra postmodern tale of a young woman's psychosocial evolution… an important portrait of a young woman trying to survive in a complicated world." – Bust Magazine
"A Private Life is not an overtly political book; rather, it has the timeless quality of most dreams. Still, [narrator] Ni Niuniu's refusal to connect with the world outside her door becomes a kind of political statement." – Elizabeth Gold, Washington Post
"An atmospheric story of sexual awakening and ennui that enlarges our understanding of modern China." – Vancouver Sun
"Niuniu's hatred of the few powerful males in her life and her sexual confusion and manipulations are clearly depicted." – Sofia A. Tangalos, Library Journal
"This polished and readable translation of the inaugural novel of Chen Ran stands as an example of the quasi-autobiographical Sino-Japanese shishosetsu" – Choice
"A riveting tale… a lyrical meditation on memory, sexuality, femininity, and the often arbitrary distinctions between madness and sanity." – Translation Review
"A Private Life shows Chen Ran at her best: weaving together the female bildungsroman and social and political satire, she effortlessly flits from outbursts of rage to ecstasy to rarefied emotions. Her philosophical musings on the difficulty of achieving individual freedom are as critical of the collective pursuit of wealth and sensorial pleasures in China after socialism as of the authoritarianism and ideological conformity during the heyday of the Cultural Revolution. The poignant, tragic-comic tale is ultimately about bondage and transcendence." – Tze-Lan D. Sang, author of The Emerging Lesbian: Female Same-Sex Desire in Modern China
"The novel daringly depicts a woman's emotional journey towards the maturation of her sexuality. It is a provocative reflection of the new sensibility of a young generation of Chinese women in the post-Deng era. Chen Ran's sensuous style easily breathes through the translator's English rendition of her language." – Lingchei Letty Chen, Washington University, St. Louis
"One of the most acclaimed women writers in contemporary China, Chen Ran in this novel explores the complex emotional territory of the female body, sexuality, homoeroticism, and fantasy. The author’s personal voice triumphs in the novel as a most conscious presence, dissolving the public and collective model of socialist literature. Daringly written and excellently translated, A Private Life not only entertains, but also leaves the reader pondering Chen’s disturbing and deeply personal message." – Lingzhen Wang, Brown University

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When tiny Yi Qiu was dragged from the river by a passerby, she was very close to death. She had been stabbed several times with a pair of scissors, and it was easy to re-create the scene. Taking a pair of scissors with him, her father had carried her in his arms to the river. When she saw the demonic expression that had taken over his face, she beseeched him again and again, "Papa, I'll be a good girl, I won't bother you." After he had stabbed his baby daughter several times, he could still hear her pleading feebly, "Papa, I'll be a good girl," and unable to continue, he dropped her in the river.

The bodies of Yi Qiu's father and mother were found together in a grove of barren, bent-over trees on the outskirts of the city. They were hanging separately from two adjacent trees.

One summer a number of years earlier, Yi Qiu's father had gone to this place with a number of his colleagues for a weekend to escape the heat. At that time, the entire grove was filled with countless pink peach blossoms – a virtual peach garden paradise, like a totally romantic stage set in the midst of the gray city suburbs. In the center of the grove, completely surrounded by peach trees, was a clump of small birches, all canted over at an angle of about 45 degrees. Those slanted birches must have made a deep impression on Yi Qiu's father.

The bodies were discovered early in the morning by a woman doing calisthenics. She said that she was doing waist bends in an area facing and a little bit higher than Yi Qiu's parents' leaning birches. At first she only vaguely noticed what appeared to be a man standing in front of a bare tree, his cap pulled down very low, almost completely covering his face. It puzzled her that anyone would stand there so long without moving on such a cold day. Then she noticed a second person, apparently a woman, with her long hair around her shoulders, standing before another tree close by. She was convinced that it was a pair of lovers meeting secretly. She continued exercising, but her attention had shifted, and she kept an eye on the man and woman. At first, she thought it a little strange that they didn't move, but when they had been rigidly motionless for about twenty minutes, she was sure there must be something amiss. Lovers just wouldn't behave like that. She stopped exercising and started moving closer for a better look, until she could see that they were not standing, they were hanging about a foot above the ground. She gave out a stunned scream… As I listened to Yi Qiu talking about her life, I did everything I could to suppress my fear and discomfort. We agreed to meet again the next day.

When I was leaving, she pressed close to my ear and whispered that she had a "boyfriend," and enjoined me not to tell anyone else. From the way she said this I could more or less imagine what kind of secrets were involved. I was filled with the kind of admiration for Yi Qiu, with her unique life experience, that a young girl feels for an older girl.

8 The Inner Room…

For women, the inner room is referred to in a different way; it has a different name. It is a wound, it seems, that comes along with birth, that others are not allowed to touch, that secrets itself in shadow as deep as the obscure darkness within the womb that quickens the heartbeat of men. Our maturation process involves our gradual acquiescence to and our seeking for and ultimate acceptance of "entry." During the process of seeking, our girlhood ends and we enter womanhood.

One morning shortly after eight, when I arrived at Yi Qiu's place as usual, I had to go to the toilet because I had had a bowl of thin gruel and a glass of milk before I left home.

Yi Qiu was putting on a blouse that was so tight she could hardly do up the buttons. Her plump breasts threatening to tumble out, she used a bare foot to point to the westernmost corner of the big room. "Nnn! There!" she said.

Only then did I notice a white door curtain hanging against the wall, but no doorway.

"Where?" I said.

She waved me over. "I'll show you."

I followed her, her bare feet padding across the rough but clean floor like a pair of big fat bugs.

Lightly lifting the curtain with one hand, she gestured, "Here. Most of the time I don't use the communal toilet. I go here."

I was totally surprised to find that this big square box of a house, in fact, had a "sleeve" attached to it. There was a long, rectangular space behind the curtain, which really did stretch out like the sleeve of a sweater. There was a triangular steel stand that had been painted blue, with a washbasin on it. A pair of underpants, a bra, a pair of stockings, and a handkerchief were hung to dry on a crooked length of wire that ran at an angle from one corner of the ceiling to a screw above the doorway. Like a miniature airplane, a big mosquito with transparent wings was perched securely on the wire, its stomach distended with blood it had probably sucked from Yi Qiu. A simple toilet that looked like a wooden stool stood in the center of the room, its bowl speckled with rust.

Yi Qiu said, "Xi Dawang fixed it up for me. You can't flush it like the ones in apartment buildings, but you can rinse it out with the water from the washbasin. It's connected to the sewer."

"Xi Dawang?" I asked. "Who's Xi Dawang?"

Yi Qiu smiled. "My cousin." She started tidying her hair as if the person she mentioned was about to appear in front of her. "Actually, he's my boyfriend."

I went into the toilet and dropped the curtain. The seat was wet and not very clean, so I sort of squatted rather than sitting right down. When I was finished, I put my toilet paper in a big bag for waste paper beside the toilet. As I stood up, I suddenly caught sight of a blood-soaked wad amid the waste paper in the bag. Its strident red color seized my eyes. It was like a budding flower that had burst into blossom hidden among a heap of white paper. My heart pounded wildly for a moment.

I had seen older women doing this sort of thing in public toilets. They were very open about changing the paper, making no effort to hide what they were doing. It seemed it was something that everyone did; there was no need to be secretive about it. Nonetheless, I would always turn away in embarrassment, unable to watch. But even though I didn't look directly, I could still see them dropping the red wads of paper into the filthy pit. I thought it was very strange, but that was all, because it was something that concerned adults.

When I saw that my companion Yi Qiu also had this problem, I was amazed. Only then did I begin to realize that this was going to happen to me too, and I couldn't help feeling confused.

When I came out of the "bathroom," I pretended nothing had happened and without a word, I opened my exercise book.

After a while, Yi Qiu said she had to go to the toilet, and disappeared into the "sleeve."

Unable to suppress my curiosity, I raised my head from my book and looked at the curtain.

Through a gap at the curled edge of the curtain, I could just make out Yi Qiu sitting on the toilet. She had something in her hand that she was rubbing herself with. I could see that it was red in color. My heart started to pound wildly all over again, so I dropped my head and forced myself to calm down.

Even today, I still believe that Yi Qiu was the catalyst that initiated my passage into womanhood, because when I got out of bed the morning after I had witnessed this, I discovered a small patch of blood, like a living crimson plum blossom, among the printed green flowers on my sheets.

I was fourteen that year.

When Yi Qiu opened the curtain and came out of the "sleeve," I had my head down and was practicing my written characters with grim deliberation. They were square and solid as bricks. She said, "How strange. You're so thin and frail, but your characters are so sturdy and solid."

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