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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This man and woman thus met each other. Their pleasure had no "past," and for this female student the hurt of her first "meeting" turned it into their "last supper."

My memories of that day are very sharp. It was like a new birth. This new world was a vast impure ocean that, without sound, called to me, and I threw myself in so deeply that when it genuinely called to me later I did not hear.

It is like someone once said – the significance of any relationship can only be understood through another relationship.

This led me to see that this world controls us through our sexual passions, and it is only after we have traveled a very long way and have already paid the price that we come to understand this.

14 One Person's Death Brings Punishment To Another…

In the end, a spirit that has suffered wrong finds its way back to punish its tormentors. Sometimes it assumes the shape of a cloud and returns to the world of the living as rain. The dead make use of its special form to continue their fight against their living enemies.

A stranger from another place, or should I say, a man in the guise of a stranger from another place, brushed past me in the stairwell. To be more precise, the first thing I noticed was a shadow abruptly appearing next to my own.

It was late at night, on the way back to my own apartment from Widow Ho's. The gloomy corridors were dead quiet, and the feeble glow from the inadequate lights, like the empty echo of a voiceless sigh, was absorbed, not reflected, by the walls.

Summer was just over, and it seemed like the fresh fall air was step by step climbing the stairs and entering our apartments.

In Ho's apartment, before I bumped into this stranger, or apparent stranger, we had dined together. The dishes she prepared were simple but delicious. There were stewed peanuts, chili cucumber sticks, fresh fried mushrooms in an oil dressing, minced dried beancurd, pickled duck stomachs, tendons marinated in oil, and a bottle of my favorite sweetened wine.

The fragrant odors wafted enticingly around our mouths, and the lamp enclosed the table in a soft rose glow. The faded floral-print cover on her sofa and her unique curios from the Qianlong period, such as twisted-neck vases, fans, and her gold clock with its book-shaped case, gave the room an ancient feel, a secluded charm. In the light from the lamp her clear skin and long, slender legs shone as her bare feet carried her back and forth across the carpet. The ceaselessly changing aspect of her exquisite figure, and her face turned always solicitously toward me, were also contained within this circle of light. The damp weather and the noise of the city outside could not possibly have interrupted the atmosphere in that room.

When Ho was among other people, she was wrapped in a persistent air of haughtiness, but when she was alone with me, she assumed an intense motherly air that made me love her beyond all reason.

Through all the years when I was growing up, I seldom saw such an intense appreciation of the small beauties of life in my own home. My father and mother were both perpetually wrapped up in their own work, with no interest at all in the little events of everyday life. As far as I can remember, my father almost never involved himself in such things, while my mother was always constrained by the pressures of time. I know that she loved me very much, loved me intensely, but it was an abstract, general kind of love, not the significantly more common maternal kind of love of a hen for the eggs she has laid herself. Many of the things around the home that had to be done, she was unwilling to do but nonetheless did, out of her love for me. But such acts on her part made me feel so uncomfortable that I never wanted her to get more involved in our daily domestic life. I have always thought that having ambitious, work-driven parents is not by any means a fortunate thing for a child. Quite the contrary: ordinary parents can bring their children much more of the gentle essence and devotion of a family.

Ho and my mother possessed a similar graceful beauty, but they were very different in personality. Ho always exuded an air of leisurely easiness. Unlike my parents, she was never pressed for time. Her passion for living came from the core of her being. All through my growing years, every woolen sweater and every pair of woolen drawers that I wore, she had knitted. She said that the woolens you could buy were never warm enough, and that fashion was repetitive. She wanted me to be different from the crowd in everything, to be special. Most of my clothes, and those of everyone else in my family for that matter, had been chosen for us by Ho with assiduous care. In addition to having the same refined feminine understanding as my mother, she also had this charming maternal appeal.

That evening, seeing the unalloyed enjoyment with which she prepared all these dishes truly touched my heart.

She said that really, it wasn't just anyone who got to enjoy this "lover's" treatment; that she felt especially close to me; that if it were anyone else just sitting there lending lots of words but never a hand, then the person would be out of luck for dinner.

Hearing this delighted me. I picked up the copy of Interpretations of The Book of Changes lying on the sofa and started thumbing through it, reading all the parts that she had underlined in pencil.

From childhood I had been aware of her love of reading. But our shared enthusiasm for it was something that came later, after I had grown up and done a lot of reading myself. Now, the more we talked, the more we began to realize how much we had in common.

She said that she had been reading The Book of Changes lately, and that it was like smoking marijuana.

I said that she should read something a bit lighter, that the ancients had said, "As you sit by your little window reading The Changes of Zhou, spring has long since slipped by unnoticed," and that life holds for us only a limited number of such "springs."

She said she was reading some lighter things too, like Zhang Jie's The Ark and Yi Lei's poetry.

The end of the '80s was one of those times of great artistic ferment and experimentation in China. Whenever Ho and I were together, we spent hours discussing literature and life. We talked about some of the male writers, but because of our own feminine view of life, it was the contingent of outstanding female writers that got most of our attention. We also discussed the work of such foreign authors as Borges, Joyce, Kafka, Poe, and Faulkner. The kind of enthusiasm and rapture that infused our discussions of literature in those days is gone now, a thing of the past. And I am afraid that we shall never again see a time as rich in artistic energy.

That day, as Ho spoke on unhurriedly, her eyes began to shine with an intense fervor.

Every time we raised our glasses to drink, she used a line from The Ark: "Here's to the ladies – down the hatch!"

I laughed.

There was always a special minty fragrance about Ho's apartment. It was the unsullied smell that you find in the bedrooms of women who live by themselves, not spoiled by the usual mix of male and female hormones. This odor was like the warmth of a perfectly adjusted rich blue flame playing delicately above the surface of my skin, penetrating to its most sensitive nerve endings to make my blood surge with eagerness, yet without any threatening explosiveness.

I could not take my eyes off her as she flitted about before me, behind me, like a restless shaft of silvery moonlight, in a pastel dress trimmed in gorgeously striking purple.

She had had quite a bit of wine that evening and was unusually animated, telling me in endless detail the things she had thought and felt as she read The Ark, while I kept nodding in agreement and appreciation.

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