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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From childhood I have always suffered from a kind of unaccountable inner chaos, as if the cells within my body could exist only under a frightening state of total anarchy. So I have always instinctively stayed clear of the kind of order represented by the police. Now, when I saw that the police had arrived, my entire body suddenly became tense.

I heard some of the neighbors secretively discussing how Mr. Ge had fled without leaving a trace after strangling his wife with his belt.

These frightening details stabbed into my brain to explode like great rolls of thunder. I felt dizzy and had to gasp for breath. My fear turned the short path through their front courtyard that I was so familiar with into a black and endless corridor.

It seemed that the air was filled with the smell of rotting flesh, and the withered and bare wisteria in their courtyard suddenly reminded me of my dream.

I began to shake uncontrollably.

10 Bed – A Stage For The Drama Of The Sexes…

When we got home after my injection and picking up my medicine, Mother had to leave for work immediately, so she asked the Widow Ho to come over and look after me.

Looking out the window from my bed, I could see that it was a heavily overcast day. Last night's raging storm had blown itself into a gentle breeze that stirred the bare branches of the date tree so that their shadows flickered against the rice-paper panes in my window. My fever had begun to drop and I felt much better. The hospital procedures in the morning had taken almost two hours, and I was exhausted. Lying on my bed looking out my open window at the low-hanging winter clouds, now shot with the orange glow of the sun, now leaden gray, I fell asleep thinking about the frightening affair with the Ge family in the neighboring courtyard, and didn't wake up until Widow Ho called me at noon.

Feeling my forehead first, then pressing her own against mine to double-check my temperature, she said, "Much better, but you still have a little fever. Sit up and have something to eat. I've made you some shredded mustard root and egg-drop soup with black pepper and sesame oil. Have some while it's hot. It'll make you sweat and drive your fever out."

I said, "I'm not hungry. You eat it."

She said, "Niuniu, be a good girl. Sit up."

As she spoke, she pulled back my quilt and bent over to help me up. Resisting her, I said, "I feel sick, I'm sore all over. I don't want to eat."

By this time, I was almost as tall as she was, and because she had suffered from diabetes for many years and could eat no more than two and a half ounces of grain a day, she was thin and not very strong. If I just lay there not wanting to get up, she couldn't possibly move me.

I said, "You eat. I'll watch you."

"Ai!" she sighed. "I'm not going to eat by myself."

She sat down on the edge of my bed and tucked my quilt in around me again, saying, "You're like a candle. After burning with fever for just one night, you're almost melted away."

Like a sleepy cat sitting on the edge of my quilt, she twisted around so that she could look at me. The whites of her eyes were the limpid pale blue of lake water, and an anxious loneliness lurked in her dark pupils. The loveliness of her eyes was like a virus that made me drug dependent. It was as if some hidden desire flowing in her blood was projected through her eyes.

I pulled up my knees so she could make herself comfy leaning against my legs. Though my legs were soft and weak, the moment she touched them they felt as powerful as wound-up springs, and I rooted them firmly in the bedding so that she could lean against me.

"Well then, I'll just sit here so we can have a chat." She shifted around to get more comfortable, and leaning against my legs, she wrapped an arm around my knees.

I said, "It must hurt when you give yourself injections."

She said, "No. All you have to do is pretend it's nothing and relax. Then you hardly feel a thing. The more tense you are, the more it hurts."

I said, "The nurse who gave me my injection this morning must have been angry at someone, and she took it out on me. You would have thought she was giving an elephant an injection." I pulled my panties down below my hips. It was all hard where she had stuck in the needle and was already turning blue. "Look."

She winced when she saw it, and said, "Don't go to the hospital for the rest of your shots. I'll do them for you. You won't feel a thing."

I said, "You know how to inject penicillin too?"

"They're all the same." While she was talking, she pressed the swelling with her fingers, rubbing it very lightly.

Her fingers were very cool and limber as snakes, as if they had no bones. I could see her long, curved neck above me and the gentle swell of her breasts inside her sweater as she leaned over, pressing her thin body against me. Her body curved in an arc that was as fluid as a beautiful melody. Her face was a bit too pale, but the skin of her entire body bespoke a tender readiness to rush to me at a moment's notice, to watch over me, to protect me, and to drive away any pain or misfortune that threatened me.

All of this made me feel totally at ease, especially her touching me, allowing my senses to run along vague and unexpected paths. I thought of that time many years ago when she wanted me to lie next to her and kiss her breasts, which glistened like the polished jade stones on her pillow, and of the doleful tears that slowly gathered to roll across her cheek and fall. Then, for some reason, an image of the two naked bodies entwined on the military cot in Yi Qiu's inner room flashed briefly through my mind.

Switching my attention, I looked at the door to my room, and I noticed that the December light slanting in through the window was much brighter than it had been in the morning. I could see the dust motes floating in the light.

Purposely switching my train of thought, I asked, "Did Mrs. Ge really die?"

Ho replied, "Yes. Just after six in the morning a man from their courtyard who works an early shift noticed that their front door was wide open. He called a couple of times but there was no reply, so he stuck his head in the door. He thought something must be amiss when he discovered that the bed was unmade and there was nobody home. He stood outside a while, uncertain what to do. He suspected there might have been a burglary, and he was afraid to go into the house. So he called some other people, and the longer they shuffled around outside, the more convinced they became that something was wrong. Mrs. Ge was bedridden. How could it be that her bed was empty? If she had gone to the hospital, surely they would have locked the door? So everyone was certain that something untoward had happened."

"Weren't any of the women home?"

"After a while, some people ventured inside for a look. Only after a thorough search did they discover her, tied up and pushed face down under the bed with a towel jammed in her mouth. Frightened, they rushed from the house and called the police."

"Was she really dead?"

"The police came right away, and they didn't take her away until eleven. She was dead."

"Was it her husband who killed her?"

"It's hard to say what things were like in that family. They spent half their lives quarreling. Stuck together under one roof, these two perfectly normal people gradually became enemies. The bed was about the only place they acted in harmony. Their neighbors all said that they used to spend their life in the bedroom making love at the same time they were making war, but that after Mrs. Ge became ill, the only stage where they had ever acted together in harmony ceased to exist. At last this war without winners is over. It takes more than one cold day to make three feet of ice." Ho sighed and continued, "Although marriage can sometimes be an inexhaustible source of life, it can sometimes also be an inexhaustible source of bitterness. It can be creative, but it can also be destructive."

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