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 knight: "But you're not necessarily better than me."

As he spoke, the knight carefully laid out a chessboard on the ground and started setting up the pieces. Then he said, "The condition is this – as long as I am in the game you must let me live."

The knight extended two closed fists to Death.

Death let out a burst of wild laughter as he held up the black pawn in his hand.

The knight: "So, you will play the black?" Death: "Is it not most appropriate for me to do so?"

The knight and Death sat down rigidly, facing each other across the chessboard. Antonius hesitated for a moment, then moved a pawn. Death countermoved.

An intense heat surrounded this desolate field, which was immersed in strange mists. In the distance, crowds of people were dancing their dance with Death, and Death was dancing his fatal steps with each of them.

Death concentrated on his game with Antonius, determined to take him away. Eventually, Antonius lost, and Death carried him off…

But there is a chronological discrepancy involved in all of this. On that oppressive early summer evening when this unbroken string of strange scenes flashed through my mind, I had not yet seen these films.

That evening, as these anticipated scenes were unfolding in my mind, I was walking along that tree-lined street behind the square. It wasn't very far from the hospital where my mother was convalescing.

At that point, an ill-omened wind from above seemed to press down upon the street with an anxious disquietude. The depressing sound of my footsteps on the street, now trapped in twilight gloom, seemed to mark the respite that precedes the onslaught of a storm's main force. Their sound brought me back from the unreality of those illusionary scenes that had held my mind.

The overturned object at the corner of the street looked like a dead mare, her belly swollen with foal. Its smoldering fragments gave off a stench of burning rubber that filled that tree-lined, peaceful street with the nauseating smell of war and floated upward to clog the translucent twilight sky above the city.

The smoke floated up like curling wisps of incense above an altar toward a silent, unanswering heaven.

It was at just that moment that the stray bullet, with complete disinterest, came out of nowhere to pierce my left calf on one side and exit from the other.

19 The Birth Of Miss Nothing…

A person's ability to act in accord with her own conscience depends upon the degree to which she can go beyond the limits imposed by the society in which she lives, to become a citizen of the world. The most important quality she must possess in this is the courage to say no, the courage to refuse to obey the dictates of the powerful, to refuse to submit to the dictates of public opinion.

In the early autumn of 1990, my mother's heart condition brought on a serious heart attack, and one night, sometime after a last wrenching bout of pain, she "died" quietly in the midst of her dreams.

I put quotation marks around "died" because that was what the doctors and the others around her said.

But that was not the way I saw it.

Lying there in her sleep, Mother looked wonderfully serene, as if she were having a beautiful dream. Perhaps she was dreaming that she was strolling down one of Beijing 's broad, paved avenues. I knew that after she got sick and had difficulty breathing, she especially liked open spaces with lots of green trees and lush grass, and the grand streets of Beijing were a perfect match for the ideal streets of her dreams. I imagined that in her dream that night, she was surveying that city where she had lived for more than fifty years through those eyes that would never know youth again, ardently looking at every old tree along the streets, every old-fashioned doorway, and even the stray stones along the roadside worn smooth with time. She looked intently at every wall she passed along her way, as if searching for the secret dreams of her youth hidden in the patterns etched there by the rain and grit-laden winds. Like a pair of loving hands, her eyes caressed the passing scenes along the streets. Time seemed to be flowing backward, and from the deep sockets of her eyes there issued a cloudless radiance.

She so looked like she was sleeping that final night, that I could not believe she had died.

And from that time I have also harbored a quiet secret in my heart: my mother, in actuality, had not left me. Because she couldn't breathe properly, her organs slowly atrophied, perhaps very much in the way that things left in badly ventilated places go wormy, so she got rid of her body and became invisible. She was playing a joke on the living.

But the doctors and the people around me had no sense of humor. They insisted that she was dead, period. Even the stupid professors in my school believed this, and they said I was losing my mind and sent me to the hospital for treatment. (That was where I met Qi Luo, the psychiatrist I mentioned at the very beginning.) The school also used this as an excuse to make me discontinue my studies.

In my heart, I have gone over the factors involved in my case many times, and I know the source of the problem. The key thing is the fact that I still don't know whether the bullet that pierced my calf was red or black. The two different colors for bullets indicate two different things. This has a bearing on all my other problems.

But I never found the bullet. It was total chance that I got caught in the line of fire. There was nothing I could do.

I remember that at the time, when in confidence I told Doctor Qi about my conjecture, I saw him write in my case history: "block in logical thinking; excessive fragmentation in symbolic thought association."

I regarded him as a friend, but I found out that he was not on my side.

So after a while I didn't talk openly with him anymore, though he still wanted to help me. I lied to him all the time and didn't let him know what I was really thinking, but this didn't stop him from wanting to be my friend. He was always loaning me psychology books to read. I really learned a lot from those books, which helped me to eventually understand myself and straighten myself out.

In the beginning, I insisted on telling the people around me, "My mother hasn't really died; she's just playing a joke on us."

But when I talked like this, all of them (except Doctor Qi) felt uneasy about me and then started to avoid me, as if they were afraid.

Eventually I smartened up and didn't talk that way anymore. But in my heart I knew that what they saw as reality was false.

I went home and looked in the mirror to find out what it was about me that made them avoid me. There was nothing about my appearance that was frightening; even my eyes weren't swollen, because I hadn't cried at all.

Why should I have cried? I didn't in the least believe that my mother had died, as they all said.

After Mother's body was gone, all the sounds in her apartment, such as the ticking of her wall clock and the gurgling in the water pipes, seemed to die away.

But her clothes were still alive, I'm absolutely certain of that.

Often, I would knock on her door, then, opening it with my key, I'd go in, saying, "Mama, are you sleeping?" After that, I would talk with her clothes for a long, long time. They were definitely alive, because I clearly heard them talking to me.

One evening when I was out for a walk, I saw a girl who looked a lot like my friend Ho. She was standing under a scholar tree watching the dancing shadows of the leaves beneath the street lamps. For a long time I stood watching her as she watched the shadows moving like dark clouds.

At last, my curiosity got the best of me. I went over and asked, "What are you looking at?"

Of course, I really didn't care what she was looking at, I just wanted to get a closer look at her face.

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