Howard Goldblatt (Editor) - Chairman Mao Would Not Be Amused – Fiction From Today

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From Publishers Weekly
In contrast to the utopian official literature of Communist China, the stories in this wide-ranging collection marshal wry humor, entangled sex, urban alienation, nasty village politics and frequent violence. Translated ably enough to keep up with the colloquial tone, most tales are told with straightforward familiarity, drawing readers into small communities and personal histories that are anything but heroic. "The Brothers Shu," by Su Tong (Raise the Red Lantern), is an urban tale of young lust and sibling rivalry in a sordid neighborhood around the ironically named Fragrant Cedar Street. That story's earthiness is matched by Wang Xiangfu's folksy "Fritter Hollow Chronicles," about peasants' vendettas and local politics, and by "The Cure," by Mo Yan (Red Sorghum; The Garlic Ballads), which details the fringe benefits of an execution. Personal alienation and disaffection are as likely to appear in stories with rural settings (Li Rui's "Sham Marriage") as they are to poison the lives of urban characters (Chen Cun's "Footsteps on the Roof"). Comedy takes an elegant and elaborate form in "A String of Choices," Wang Meng's tale of a toothache cure, and it assumes the burlesque of small-town propaganda fodder in Li Xiao's "Grass on the Rooftop." Editor Goldblatt has chosen not to expand the contributors' biographies or elaborate on the collection's post-Tiananmen context. He lets the stories speak for themselves, which, fortunately, they do, quietly and effectively.
From Library Journal
The 20 authors represented here range from Wang Meng, the former minister of culture, to Su Tong, whose Raise the Red Lantern has been immortalized on screen.
***
Chinese literature has changed drastically in the past thirty years. During the Cultural Revolution (1966-1976) arts and literature of all sorts were virtually nonexistent since they were frowned upon by official powers so that attempts to produce any were apt to cause one’s public humiliation and possibly even death by the Red Guards and other unofficial arms of the government. After 1976, in the wake of Mao’s death, literature slowly regained its importance in China, and by the mid-1980s dark, angry, satirical writings had become quite prominent on the mainland.
In the wake of Tiananmen Square, dark literature faded somewhat, but never vanished. Now Howard Goldblatt, a prominent translator of Chinese fiction and editor of the critical magazine Modern Chinese Literature, has compiled a representative collection of contemporary Chinese fiction entitled Chairman Mao Would Not Be Amused. Even with my limited knowledge of modern China I feel certain the title of the book is fairly accurate.
Mo Yan is one of my favorite contemporary writers. His dark, no-holds-barred satires Red Sorghum and The Garlic Ballads detailed what he sees as the failings of both Chinese peasants (of which he was born as one) and the Chinese leaders. His short story "The Cure" is in the same vein, detailing how a local government representative-probably self-appointed during the Cultural Revolution, although that is never made quite clear in the story-leads a lynching of the village’s two most prominent leaders and their wives. But, as in most Mo Yan stories, the bitterness directed at the lyncher is double-edged with the bitter look at a local peasant who sees the deaths of the two village leaders as a desperate chance to possibly rescue his mother from impending blindness. The story is coldly realistic and totally chilling in the rational way it treats the series of events.
Su Tong is the author of the novella "Raise The Red Lantern", the basis of the wonderful movie. His "The Brothers Shu" is a bitter look at some traditional character weaknesses of Chinese people, and particularly how they affect family life. The Shu family is incredibly dysfunctional. The father nightly climbs up the side of his two-family house to have sex with the woman upstairs until her husband bolts her windows shut. So the woman sneaks downstairs to have sex in the younger son’s bedroom while the son is tied to his bed, gagged and blindfolded. Meanwhile the elder son abuses the girl upstairs until she falls in love with him. When she becomes pregnant, they are both so shamed they form a suicide pact, tie themselves together and jump into a river, where the boy is rescued in time but the girl dies. The younger son so hates his older brother-somewhat deservedly considering the abuse heaped on him by the brother-that he pours gasoline through his bedroom and sets it ablaze.
And so on, complete with beatings and torments worthy of the most dysfunctional American families. While not a particularly likeable cast of characters, the story is strong and thoughtful.
Perhaps the most moving part about "First Person", by Shi Tiesheng is in the brief author description in the back of the book. Shi is described as “crippled during the Cultural Revolution”. So many lives were needlessly destroyed during that tumultuous decade, it is easy to feel that the arrest and subsequent conviction of the notorious Gang of Four was not nearly sufficient punishment for them.
"First Person" tells the story of a man with a heart condition-Shi frequently writes about the lives of handicapped people, according to his description-who is visiting his new 21st floor apartment for the first time. While climbing the stairs very slowly, taking frequent rests, he notices a cemetery separated from the apartment building by a huge wall. On one side of the wall is sitting a woman, while on the other side stands a man. As the man climbs the stairs he fantasizes about why the couple are there, and why they are separated by the wall. Perhaps the man is having an affair, and the wife is spying on him as he rendezvous with his lover?
But then the man notices a baby lying on a gravesite, being watched from a distance by the man, and he realizes that the couple is abandoning the child. An interesting story about the fanciful delusions a person can have, but with no real depth beyond that.
Two stories involve fear of dentists in completely different ways. Wang Meng’s "A String of Choices" is a very funny story that combines a bitter look at both Eastern and Western medicine with perhaps the most extreme case of fear of dentists imaginable. Chen Ran’s "Sunshine Between the Lips" tells of a young girl whose adult male friend exposes himself to her. If that were not traumatic enough, after he is arrested for exposing himself to a complete stranger, he sets his apartment on fire and dies a brutal death. This event, combined with a near-fatal bout of meningitis, creates in the girl a deep fear of phallic objects such as needles and penises. So imagine her trauma when she develops impacted wisdom teeth at the same time as she gets married. While this description might sound a bit ludicrous, this story is very serious and very well-executed.
A strong satire on how history can be rewritten to suit the writers’ needs is Li Xiao’s "Grass on the Rooftop". When a peasant’s hut goes on fire, he is rescued by a local student. The rescue is written up for an elementary school newspaper by a local child, but the story is picked up by other papers, changing radically with each reprinting until the rescuing student becomes a great hero of the Maoist revolution because of his supposed attempt to rescue a nonexistent portrait of Mao on the wall of the hut. While this story is uniquely Chinese in many ways, it resonates in all societies in which pride and agenda is often more important than the truth.
Anybody interested in a look at contemporary Chinese society should enjoy this collection immensely.

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"Who asked him to like me? Who knows what you're up to?"

"What do you mean by 'what we're up to'?"

"You know what I'm talking about."

"No, I don't . You tell me."

"I'm ashamed to." Suddenly burying her face in her hands, Hanli burst out crying. Then, with tears still streaming down her face, she began combing her hair before the mirror. In the reflection, she saw her mother bend over to pick up the scarf, her face frightfully pale. Hanli wished her mother would rush up and pull her hair so they could have a real fight and get some of that hatred out of their systems. But Qiu Yumei just stood there, wordlessly twisting the scarf around her fingers. Threads of pity settled over Hanli, who said through her sobs, "I don't want it. Give it to Hanzhen."

So Qiu Yumei took back the scarf, and the next day she wore it outside. Eventually it was Hanzhen who went to school with Old Shu's scarf draped around her shoulders. When asked, she said her mother had ordered it from Shanghai and that her mother loved her and not Hanli.

It was a different matter with Old Lin, whom Hanli treated with fatherly respect. In fact, this alone was the source of at least half the praise Hanli received on Fragrant Cedar Street. Whenever Old Lin was in the middle of a neighborhood chess game, she brought him food and tea, and back home she drew his bathwater. She even trimmed his nails for him. Qiu Yumei told people Hanli was trying to be an elder sister to Old Lin, treating him like a little boy.

"And what about you?" they would ask. "How does that make you feel?"

"It's fine with me," Qiu Yumei would say. "It makes my life easier."

Let's say it's a blustery day and that the rain is pounding the sheet-metal roof of number 18, turning everything wet and forsaken at dusk. A frustrated Old Lin is searching for an umbrella beneath the stairs. He never knows where the family umbrella is kept. He opens Hanli's door. "Where's the umbrella?" Hanli looks at him but says nothing, so he tosses things around until he finds an umbrella with broken ribs and torn oil paper, which he can't open, no matter how hard he tries.

"Chess," Hanli says. "That's all you think about even when it's pouring rain. Don't come running to me if you catch your death of cold."

Old Lin flings the broken umbrella to the floor. "Don't tell me there isn't a working umbrella anywhere in the house!"

"There is," Hanli says, "but she took it when she went out. Would it kill you to stick around and pass up one chess match?"

Old Lin sighs. "Shit, what's there to do on a day like this except play chess?" He sits down and arranges the pieces just to keep busy, and Hanli surprises him by sitting down across the table.

"I'll play a game," Hanli says.

"Don't be silly, you don't know how to play."

"Sure I do. I learned by watching you."

"All right." Old Lin reflects for a moment. "I'll hand over one of my pieces. What do you want, cart, horse, or cannon?"

Hanli looks down at Old Lin's hands without answering. She's acting strange today.

"You can have two carts and a cannon. What do you say?"

"Up to you."

Old Lin removes two carts and a cannon and lets Hanli open. But she just moves her vanguard cannon and stops. Obviously, her mind isn't on chess.

"Papa, why don't you two sleep in the same room?"

"Just play, and no foolish questions."

"No. I want some answers."

"She doesn't like me, and I don't like her, so why should we sleep in the same room?"

"But I hear noises in her room at night."

"She walks in her sleep. She's never been a sound sleeper."

"No, I heard Old Shu from downstairs-"

"Keep playing, and stop with all that nonsense."

"Everyone says she and Old Shu-"

"You're getting on my nerves!" He picks up a chess piece and bangs the board with it. "What you people do is your business."

"What do you mean our business? It's your business, too. Do you know what people call you?"

"Shut up! Now you're really getting on my nerves!" He stands up, grabs the chessboard, and dumps everything on Hanli. "You bastards won't let me live in peace!"

Old Lin scoops up the broken umbrella and runs downstairs. Rain beating down on the sheet-metal roof has turned the dusk wet and forsaken. Hanli is on her knees, picking up the chess pieces, biting her lip to keep from crying out loud. She tries to figure out what's up with her father. What's up with this family? She can tell by the sound that the rain is picking up, and before long she fantasizes that it is about to innundate Fragrant Cedar Street. From where she sits on the floor, she feels as if the whole building were sinking. With darkness settling around her, she gets up to turn on the lights. Nothing happens, which scares her. Rushing over to the window to look downstairs, she sees Shu Gong poke his head out his window to pull in the line on which his blue underpants had been drying. Darkness claims Fragrant Cedar Street, all but a single bright spot on the crown of Shu Gong's head. Hanli runs downstairs, her flying feet making the stairway shake and creak. In the grip of a vaguely despairing thought, she hears her heart murmur, People should leave one another alone. I'll leave you alone, and you do the same for me.

Hanli bursts into the little room in the Shu flat and plops breathlessly into a wicker chair. Shu Gong eyes her suspiciously. "Who's after you?"

"Ghosts," Hanli says.

"The electricity is out, probably a clowned wire."

"It's not the dark I'm afraid of."

"Then what is it?"

"I'm not sure."

"You don't have to be afraid of anything while I'm around." Unable to see Hanli's face in the darkness, Shu Gong grabs hold of the wicker chair and leans down to look more closely; but she turns away from him, the tip of her braid brushing his face.

"People should leave one another alone," Hanli says. "I'm not going to get involved in their affairs anymore, and they'd better not get involved in mine."

"Who's involved in whose affairs?" Shu Gong stops to ponder. "People should try to take care of themselves."

"I'm not talking to you," Hanli says.

"Then who are you talking to?" Shu Gong lifts a strand of her hair and tugs it.

"To myself." She slaps at his hand but misses, which he finds exciting.

"You're something, sure as hell." He yanks the hair out by its root. "It sure is long," he says, mesmerized by the strand of hair. "And really dark." A pulsating desire wraps itself around him; suddenly materializing, it emanates from Hanli, her natural scent making him limp all over. It is more than he can stand. He can hardly breathe. The time has come to inject life into the fantasy that visits him at night. Without warnings he throws his arms around Hanli, sticks out his tongue, and licks her lips. She screams and struggles to get out of the wicker chair, but the frantically licking Shu Gong covers her mouth with his hand. "Don't scream! Keep it up, and I'll kill you!"

Hanli recoils like a little bunny and lets him lick her face as much as he likes, calming herself by staring at the curtain of rain outside the window. "This isn't so bad," she says, sensing the time has come to see what it's like to be with a boy. She can show Qiu Yumei that she knows a thing or two about being shameless, too.

This isn't so bad. People should leave one another alone. Hanli smiles and gently pushes Shu Gong away. "We need a real date," she says in the darkness, emphasizing the word date .

"How do we do that?" Shu Gong asks, holding her hand and not letting go. He is breathing hard.

"Leave it to me, I'll teach you," she says. "Now let go."

"If you're playing games with me, I'll kill you." Shu Gong shoves her away. He is already very, very wet.

"I'm not." Hanli gets to her feet, puckers up, and gives Shu Gong a peck on the cheek. "I have to go upstairs. We'll do it. Just be patient."

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