Shan Sa - La joueuse de go (chinese)

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Amazon.com Review
In war-torn Manchuria of the 1930s, two lives briefly find peace over a game of go in Shan Sa's third novel, The Girl Who Played Go (translated by Adriana Hunter). The unnamed characters, a Japanese soldier stationed in China and a 16-year-old Manchurian girl, narrate their stories in alternating first-person chapters. For the girl, the struggles of Independent Manchuria take a back seat to her discovery of love and the awakening of her sexuality. For the soldier, his idealized dreams of samurai honor and imperial conquest are slowly displaced by homesickness, troubled recollections of his earthquake-torn youth, and remorse over a lost love. But the solitary concerns of each character are eventually submerged by the tides of war. The girl's first lover, Min, is a revolutionary. His ardor for his virgin conquest is matched by a doomed patriotism. Simultaneously, the soldier comes to relish the girl's home town, Thousand Winds, in Southern Manchuria, and becomes distrustful of his own nationalism. His daily games of go with the young female stranger awaken a new passion in him that becomes entwined with admiration for her aggressive play.
As they hardly speak, the soldier and the girl's views of each other remain clouded in Sa's technically facile narrative maneuvers. Where the soldier sees love, the girls sees escape. By maintaining the first person, Sa (winner of the French Prix Goncourt du Premier) leads the reader not only to experience the Japanese and Manchurian perspectives of the occupation, but also she offers glimpses into the deep failure inherent in cross-cultural and cross-generational communication. Couple with the rich historical detail, Sa's narrative games reward close reading amidst the briskly paced spiral into tragedy. -Patrick O'Kelley
From Publishers Weekly
In her first novel to appear in English (her two previous novels, published in French, won the Prix Goncourt and the Prix Cazes), Sa masterfully evokes strife-ridden Manchuria during the 1930s. The first-person narration deftly alternates between a 16-year-old Chinese girl and a Japanese soldier from the invading force. As in the Chinese game of go, the two main characters-the girl discovering desire, the soldier visiting prostitutes, both in a besieged city-will ultimately cross paths, with surprising consequences for both. Sa's prose shifts between lavish metaphor-the girl's sister, grieved by an adulterous husband, is "not a woman but a flower slowly wilting"-and matter-of-fact concision ("We weary of the game and kill them," the soldier says of two Chinese prisoners, "two bullets in the head"). The most absorbing subplot is Sa's careful rendering of the girl's sexual awakening. Though at first intrigued by a liaison with a revolution-minded student, she is reluctant to enter adulthood, a state she views as fraught with injury and falsehood, "a sad place full of vanity." To escape her increasingly troubled life, she becomes a master at go, eventually taking on the soldier, who is in disguise. As the two meet to play, they gradually become entranced, even while war rages around them. The alternating parallel tales add an extra spark of energy to this swift-moving novel, as Sa portrays tenderness and brutality with equal clarity.
***
Japan 's bloodbath in China during the 1930s began in Manchuria, a resource-rich region in northeast Asia. This prelude to World War II in the Pacific haunts Shan Sa's story of young lovers whose worlds collapse in a typhoon of despair. The Girl Who Played Go, the fiction winner of the 2004 Kiriyama Prize, has an economy of prose that allows the novel to cover an epic time, while focusing on the tragedy of a Chinese girl who loves a Japanese boy. This boy comes to her as an enemy soldier trying to maintain his father's samurai ethic; she comes to him as a member of an aristocratic Manchu yellow-banner family that has served the Qing emperors in Peking. His side is on the rise, hers in decline.
The protagonists meet in a public park, a place where one can play the ancient board game of Go. Both play masterfully, initially knowing nothing of each other's identity. They are strangers in a game of strategy, much like their political leaders in Tokyo and Nanking. The interplay of two youngsters and two empires drives the narrative, allowing the author to counterpoise the Japanese story with its Chinese counterpart. Family portraits from both sides illuminate two teenagers driven to adulthood before their time, cheated of a full youth and the critical years when they might have discovered their humanity – already a challenge in a time of terror and terrorism with the Manchurian war regressing into bitter guerrilla fighting, which results in atrocities on both sides.
Shan's voice is unmistakably Chinese – feminine but hard, finely tuned and precise. Not a word is wasted, no excess of emotion shown. She colors her background with a few swift strokes that a master calligrapher would admire. Her dialogue has a staccato rhythm, somewhat like a Chinese Hemingway with bullet prose. Ornamentation is not for Shan, stark reality is.
More than pleasure, readers will become involved in a healing process. As horrific as the war was, its aftermath has brought a dreadful hatred between the former enemy states. Japan bashing dominates much of what comes through in recent Chinese literature. This book offers a way around the sepsis wasting away a possible healing. Shan has created two life-loving youths shattered in a hellish war that carries them and millions like them to early deaths. Even-handed in her treatment of both main characters, she allows a reader to see the richness of both Japanese and Chinese culture, making us imagine how they might each enrich the other once again
Reviewed by Patrick Lloyd Hatcher

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我无法抑制想拥抱她的冲动!我怎能揽过她的肩膀,让她的头靠在我的胸口?又怎能轻轻地、卑微地触碰她的手指或辫梢。我偷偷瞥了她几眼,随时准备像飞蛾扑火般不顾一切地扑过去。中国女孩却是面无表情,双眉紧锁,一味凝视车夫的背影。

我尽力把手放在膝盖上,规矩地夹紧双腿。

黄包车停了下来,我俩先后下车。我抬起头,沿着丛林草木向山顶望去。日光熙攘中,我隐约看见一座古庙,如剪纸一样细腻。

面前是一条崎岖的土路,在野花杂草参天古木中蜿蜒而上,隐没于绿荫之中。

77

课堂上,鸿儿从背后传给我一张纸条:

“你怎么样?”

我撕下一张纸,答道:“!”

片刻功夫,她又递过来一张。她写字时用力过猛,落笔之处,纸都被刺破了。

“今天早上,我爸爸来了。他说学期末就要把我带走。我该怎么办!”

我们这周就停课放假了,一想到鸿儿要嫁给某镇长的儿子,我不禁悲痛欲绝。情急之下,腹中又是一阵绞痛。下课铃一响, 向 老师行过礼,我就抱起装满卫生棉的书包,冲进了厕所。

鸿儿追踪过来,在门口等我。她颤抖得说不出话来。我好不容易把她拉到无人的地方,她一下子抽泣起来。我肚子疼得要命。鸿儿扑进了我的怀里,我没法弯下腰,只得拥紧了她。我的汗水和她的泪水融为一体。

她父亲中午接她吃饭,鸿儿苦苦求我和她同去,让我替她谈判。

她父亲身上穿这短跑,胸前挂着金表,一副乡土绅的样子。他领我们进来了一家豪华的饭庄。刚坐下,他就念叨着学费贵,他辛苦赚来的钱都浪费了。

他一拳砸在饭桌上:“总算熬到这一天了。快,咱们收拾行李,不再受城里人的骗。”

他的满嘴金牙看得我一阵恶心,鸿儿的脸色像纸一样白,怯生生地不敢开口。

我的小腹一阵阵痉挛,碗筷的响动和人们的嘈杂声我听来却是震耳欲聋。筷子从我手中滑了下来,我弯腰去捡。鸿儿俯在我耳边说:

“快点儿,快说话呀。”

我该说些什么呢?从哪儿说起呢?我的朋友把她的全部幸福都寄托在我身上了。

我一口气喝下三杯茶,强打精神跟这个老地主解释说他女儿得完成学业,获取文凭。他的唾沫星子喷了我一脸:

“一张文凭能值几个钱?我大字不识一个,照样过得挺好!我在这个拖油瓶身上可没少花钱,现在,到她报答我的时候了!小姐,你还是管好你自己吧。你长得还算不丑,你父母还不赶紧给你找户好人家,就人老珠黄了。”

我起身离席而去。听见老头在我身后大发雷霆。

“这就是你最好的朋友?你要敢再见她我就把你的眼珠子挖出来。别哭鼻子了,吃吧。吃晚饭我带你买裙子去。等着瞧吧,你的嫁妆一定是全乡最丰厚的。”

我在街上叫了辆黄包车。

从中午起,血渐渐流得少了。我只觉得浑身精疲力竭,真想好好睡上一觉。母亲现在在家,要是回去,怎样才能躲过她尖锐的目光?

我在黄包车上打着盹儿,车夫拉了好久,我才想起还有局围棋要下。到家门口,我躲在车里,让车夫朝女仆要了棋盒。

我的对手,如铜像一般僵直,早在千风广场上等着我了。

我们这局进入了决战阶段。我在棋盘上找回了自己的精力和尊严。可天气偏偏要与我作对。我的对手陷入了沉思,阳光刺得我几欲昏倒。我闭上了眼睛。恍然间脚下是一片林中空地。我倒在草丛一头睡着了。

一声清脆的棋声惊醒了我。我的对手刚刚走了一子。我俩的目光碰到了一起。

“能帮我个忙吗?”我脑中刚闪过这个念头,话就不自觉地脱口而出。

我站起身来,浑身发烧、腹中绞痛,我要远离那些棋手,远离围棋,远离我的城市。

我跳上了黄包车。我的对手坐在我旁边。他肌肉发达,肩膀比敏辉还要宽。车座变得窄小了。

黄包车颠簸不停,我突然觉得自己是要出门远游,也许这次我不再回家。在恍惚中,我已不是自己。女友们说得对,我永远是个异乡人。

黄包车停在山脚下,我朝山上走去。他默默地跟在我身后。微风吹来阵阵野花的幽香。我走出了一身汗,烧也好像退了。在我身后,他背着手慢慢地走,偶尔一抬头,随即又垂下了眼帘。

他是谁呢?他从哪儿来?有必要问这些问题吗?他是那么的熟悉,又是那么的陌生。人生如梦,他只不过是一过路人。有了答案,我们的相识也许从此失去了意义。

我们沿途路而上,路的南头,我曾坐在一块雕成莲花状的大理石上,面对着敏辉,等待着我的初吻。

我绕过一座残破的画亭,走入了一片松林,耳边传来一阵虫鸣。风停滞不前了,树林中的阳光飘曳不止。一片林中空地出现在眼前。

这座山是我初恋的坟墓。

我头枕着书包,躺到地上。草儿被我压倒身下,弄得我胳膊痒痒的。

我要在坟头上睡了。

78

她在林中空地站定,朝我鞠了一躬:

“请您看着我,要是我睡着了,请不要叫醒我。”

她头枕着书包,躺在树下草丛间。

我大吃一惊,不知如何是好。我明白一切又什么都不懂。为什么她约我到这荒山野岭与她作伴。她深知棋盘上的尔虞我诈。对弈时能计算十步之后的陷阱险境。为什么今日如此轻率地坠入情网,甘愿做我的囚徒。

我抬手摸衣下的手枪。莫非她发现了我的真实身份?莫非这是个圈套?周围又高又深的草木让人疑心不已。我侧耳倾听,四周一片寂静,只有鸟儿婉转啼叫,蝉儿单调的嘶鸣,一股清泉潺潺而流。

我走近中国女孩。她紧闭双眼,双腿微屈,向左侧卧而眠。一只蜜蜂把她脸上的绒毛错认成了花蕊,我用扇子把它赶走,她一动不动。我俯下身。她的胸脯随着呼吸有节律地起伏,女孩子睡着了。

我在树荫下盘腿而坐。熟睡的她让我爱怜。我决心等她醒来。不知不觉中,我眼皮发沉。单调的虫鸣听得我昏昏欲睡。我闭上了眼睛。

这段故事是怎样开始的?我住在日本,她生在满洲。一个飘雪的清晨,我们的船直驶中国内地。甲板上望得见海上浪花滚滚,薄雾笼罩。那时,中国还是一个抽象的概念。突然间,团团灰雾中闪现出森林,铁路,江河,城市。曲折离奇的命运之路把我引到了千风广场,围棋少女在那里等待着我。

我已经记不起童年初次对弈的情景。小时候,最爱向成人挑战。输了,就缠着再下一盘。我最初的几招难免被人嘲笑。那时,我没有未来和过去的观念。是围棋教会我识别过去、现在和将来,在时空中上下徘徊。

十几年来,不知不觉中,上百万触摸过的黑白棋子竟搭成了通往中国的桥梁。

我睁开了眼睛。天空中积云在空地中投下奇异的阴影,原先匿迹于强光下的花草树木渐渐显出形状,好像刚被雕刻出来。风儿拂过树梢,枝叶簌簌,中国女孩在这一如琵琶、古筝、笛子一样和谐优美的协奏曲中沉沉睡去。她的长裙盖住了脚踝。落叶落到她身上,把她揉皱的蓝紫色裙子变成了千缝百褶的盛世华衣。她会不会起身翩翩起舞,飘飘欲仙?

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