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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The sound turned all the way down, the TV was nothing more than a background stage prop to the subtle air of intensity in the room created by the two of us.

She started reciting stanza after stanza of Yi Lei's poetry for me:

Graft me everywhere into your skin
So we shall bloom together in profusion.
Let my lips become the petals of your flowers
Let your leaves become my waving hair.
Your earthen hues become my breath,
And I shall be seen in all things.

Her luminous voice flashed in the room's half-light, words falling from her lips like sparkling liquid spheres upon my upturned face.

I told her that I too was very fond of Yi Lei's poetry.

That I shared her pleasure made her even more passionate, and without another thought she picked up the copy of Yi Lei's poems that was there beside her and started to read "A Single Woman's Bedroom," which was causing a great sensation at that time:

Do you know who I know?
She is one, she is many.
She appears suddenly from any direction
And as quickly disappears,
She stares straight ahead
With no scars of happiness,
She speaks to herself, silently.
She is beautiful, without vitality,
She is three-dimensional, she is two-dimensional.
What she wants to give you, you cannot take,
She cannot belong to anyone.
…She is the I in the mirror.
Divide the whole world by two
And you are left with one,
A self-motivated independent entity
An entity endowed with creative energy.
…She is the I in the mirror.
My wood-framed mirror is at the head of my bed
Where it works its magic 100 times a day.
You cannot come to live with me…

Because my mind was preoccupied that evening, I wasn't giving Ho my full attention. Although I was touched by her excitement, something else was grinding away in the back of my mind.

I really wanted to talk to her about what had happened with Ti. I wanted to tell her about this affair with a man I didn't love. But what would she think? Would she think I was a bad girl, unchaste? Would she stop liking me?

After I'd thought about it for several days, it had become clear to me that I was not in love with Ti. I was attracted to him only because he had aroused in me some nameless desire, but this desire, like a leaf caught carelessly in the surge and suck of a flowing river, had been buoyed and battered out of confusion toward clarity. It was a process both painful and saturated with wet fantasy and desire.

I desperately wanted to talk to Ho, who was older and whom I trusted and was deeply attached to, so that I might make use of her incisive thinking and experience in resolving my own chaotic confusion. This made me realize just how much I needed her.

I wanted to tell her that over the years she had always been the one I truly loved, that I cherished my memories of the way she loved me and looked after me when I was little, that I thought always of her intimacy and tenderness, and that as the months and years fell away, these unexpressed feelings grew stronger day by day. I didn't need anyone else to enter my life or my body. I didn't know what it was that had led me into this unfortunate mess. What was I to do? My desires had pushed me to the edge of a precipice. One more step and I would be lost.

My sexual secrets and everything that I had discovered had become nothing, a blank, empty space in my mind. I felt that all that he had done was lead me through the entrance to another phase of life, nothing more. He was desire made flesh, and I had boldly confronted his probing. He was like a tourist. He had simply visited a young female student's body. We had shared a part of our bodies with each other, a few organs, just like sharing labor in the fields. The itinerary of his journey meant nothing to me. And beyond this, I could see that where he had traveled, that place I had given to him, was in reality no more than an empty space, a kind of illusion.

But Ho was a house made of mirrors that belonged to my innermost being. In it, no matter where I was, I could always see myself. All its blank spaces were my silences, all her joys were smiles reflected on my face. As she watched over me day by day growing up, her fine fingers tightly gripping the barbed railings of life, my own hands felt her pain, and drops of fresh red blood seeped between my fingers. The way she would stand just outside her door, with one hand raised to shield her eyes from the piercing sun, the other resting feebly on her hip, watching me as if I were some kind of big bird leaving the nest to begin my lonely quest for food, made me feel like she was my mother, but she was definitely not my mother. From when I was very small, she had stood there helpless and alone, waiting for me, waiting for me to become a woman, the air around her filled with anxious concern and longing. The way she treated me left me dumb. I would try to say some thing, but I could never find the right words. Only my body itself could tell her.

But on that evening, this woman who had always been so thoughtful and attentive seemed to have lost control of herself. She ignored my responses, ignored my silences. She indulged herself in her intoxication with the ideas and feelings expressed in these poems by other people. Her cheeks were flushed the color of the wine, and her excitement buried my words and wishes.

I was on the verge of interrupting her a number of times, to talk about me, to talk about the two of us, but the wished-for words wouldn't come.

Finally, at a break in the TV program, I got up. I said I was tired, that I had to get up early for school and was going home to get some rest.

Only then did she seem to become aware of something, and her eager loquacity halted abruptly.

Coming over to me, she looked closely at my face; then, feeling my forehead, she said, "Do you feel ill?"

I said, "No, I'm tired, that's all."

When she saw how distressed I looked, she continued with concern, "There's nothing wrong, is there?"

I answered, "No. We can chat another day. There's something I want to talk to you about, but another day – okay?"

She said, "Well, okay. So you go home and have a good sleep."

At the door, she kissed me on the forehead and said, "Good night, my sweet."

When I left her apartment, I started slowly up the stairs. The corridors were deserted and quiet, and the wavering, stealthy shadows as obscure as code. Digging in my pocket for my key, I was totally wrapped in my own thoughts.

It was at that precise moment that I encountered the man I didn't recognize.

As he slipped quickly past me, I caught an odor of rotting soil or befouled water. Famished and filthy and looking utterly exhausted, he had the appearance of a man hounded incessantly by death. It seemed as if he had been ensnared by some ghostly force that had driven him from known roads, to flee endlessly from place to place to place.

I noticed that his hair was as thick and unkempt as wild grass. His cavernous eye sockets were set deeply into his dark face, the light emitted from them more like a feeble reflection flickering through a fissure in the earth than the glint of eyes. When we met unexpectedly in the corridor and brushed shoulders briefly as we passed, I felt his body sway imperceptibly as if it had been touched by some invisible force and suddenly become tensely alert. And he immediately shifted the bag he was carrying to the shoulder away from me.

His wariness aroused my wariness.

After he had slipped past me, I turned back to watch him.

I felt like I had seen this stranger before, a long time ago. But just how long ago, and who he was, escaped me.

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