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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"Why don't you want it?" Hanzhen asked wide-eyed.

"We'll work a swap," Old Shi said. "I'll give you the dried plums, and you give me something in return."

"Tell me what you want, and I'll go home and get it."

He scooped a big handful of dried plums out of a metal box. "Open your mouth, Hanzhen," he said. She did. With a giggle, he tossed in a dried plum. "Good?"

"Yum," she said.

Altogether, Old Shi flipped five dried plums into Hanzhen's mouth. "Now it's your turn," he said. "Let me se,e your belly button, that's all I want."

Unable to speak with all those dried plums in her mouth, Hanzhen just shook her head. The strange look on Old Shi's face was one she had never seen before, but the realization came too late, for Old Shi had wrapped his arms around her and was forcing her to the floor, where he crammed the rest of the dried plums into her mouth so she couldn't make a sound. The next thing she felt was Old Shi's sweaty hand pushing her undershirt up and rubbing her exposed navel. Then the hand pulled down her underpants and slipped between her legs. Hanzhen was shocked nearly out of her mind. She wanted to scream but couldn't, with all those dried plums in her mouth.

Old Shi said breathlessly, "Don't scream, don't make any noise. I'll give you ten bags of dried plums and three packages of toffee. Don't scream, don't you scream."

Hanzhen nodded and shook her head as if her life depended on it. She didn't know what he was doing to her; all she could see was Old Shi's gray head resting against her breasts. Then she felt a sharp pain down below and thought Old Shi was trying to kill her. She grabbed his gray hair with both hands and screamed, "Shame on you! Shame on you!" But there was no sound; it seemed like a fantastic, bizarre dream.

It was nearly dark when Hanzhen walked out of the sweetshop. She hugged the wall as she walked slowly, the schoolbag dangling from her hand, chock-full of preserved fruit that Old Shi had nearly forced her to take. "If you don't tell anybody," he had said, "you can have any treats you want." Hanzhen sucked on a dried plum as she walked. The place where Old Shi had done it felt as if he had left something sharp in there. Hanzhen looked down and was horrified to see a trickle of blood running down her pant leg and onto her shoes and the ground. Whoop! The dried plum came sailing out of her mouth as she gaped at the crimson blood. She sat down, hugged her bulging bag to her chest, and started to cry. Pass-ersby ignored her. Sometime later, Old Shu walked by, pushing his bicycle home from work. He asked what was wrong. Hanzhen looked up and bawled, "Shame on Old Shi! Shame on Old Shi!"

The only resident of Fragrant Cedar Street ever thrown into prison was Old Shi from the sweetshop. They dragged him to the local school in chains to be publicly villifled. We sat beneath the stage, gazing up at Old Shi's gray head and the look of dejection on his face. Hanzhen was sitting up front, where everyone could gawk at her, though she was oblivious to their looks. She stared blankly at Old Shi, trussed up and on display above her.

Her mortal enemy, Shu Nong, walked up and slyly felt her pocket. When he returned, he said, "She hasn't stopped eating those dried plums. She's still got some in her pocket!" He said Lin Hanzhen was trash, just like her whole family; none of the other neighborhood boys gave him an argument on that score since they had written her off as a worn-out shoe-damaged goods. Under their breath, they called her "a little worn-out shoe." Someone even made up a stinging nursery rhyme for Hanzhen, whose mother, Qiu Yumei, accused Shu Nong of authorship.

If you walked down Fragrant Cedar Street, the one thing you could not escape was the smell of the river that flowed beneath our windows. As I indicated early on, it was like a piece of rusty metal eroding the life of Fragrant Cedar Street. You could not overlook the river's influence, for the street's time was also the river's time.

The residents of Fragrant Cedar Street were tired of putting up with their river. It had taken on the color of its pollutants, and boats from the countryside no longer plied it. One day, an old-timer hooked a rotting sack with his bamboo pole and dragged it up onto the bank. Inside he found a dead infant curled up like a shrimp, a newborn baby boy with a wrinkled face that made him look like a sleeping old man.

The residents of Fragrant Cedar Street had arrived at a point where they didn't know how to deal with their river. It could drown them, but they couldn't do anything to it in return.

One day, Shu Nong had a brilliant idea: he spread a layer of flour over a spot beneath the bridge, then dropped in his fishing line. The minutes lingered until there was a violent tug on his line.

He jerked it out of the water. On the end was a worn-out leather shoe-dainty, T-shaped, made for a woman. An onlooker recognized it as one of the shoes Hanli was wearing when she jumped into the river. He threw it back in and murmured, "What cursed luck."

Why Shu Nong got into trouble isn't all that clear. Let's say it's an ordinary winter morning and Shu Nong is searching for his schoolbag after breakfast. He can rarely find his schoolbag before departing for school. So when he spots it under Shu Gong's cot, he gets down on his hands and knees to get it. But a sleepy Shu Gong presses down on him. "Quit goofing off." "Who's goofing off? I'm getting my schoolbag." Shu Gong pins him to the floor and says, "Put a bowl of porridge on the stove for me before you go." A simple request. "That's not my job," Shu Nong replies. "Do it yourself." Shu Gong narrows his eyes. "You're really not going to do it?" he asks.

"No," Shu Nong says. "Get out of bed, and do it yourself." Shu Gong snaps into a sitting position and throws off the covers. "OK, I'm up." He gets out of bed, grumbling, and takes the bowl of porridge over to the stove; then he gives Shu Nong a long look out of the corner of his eye. He jumps up and down to keep warm, bouncing straight into Shu Nong's little room. "You're a lucky bastard I don't feel like pounding you right now," he says as he pulls back the covers on Shu Nong's bed to feel the sheet. It is dry. With a grin, he undoes his pants and relieves himself on Shu Nong's sheet. When he is finished, he snaps his fingers. "Father will come in pretty soon and see you've wet your bed again. I'll let him pound you for me."

Shu Nong stands there stunned, hugging his schoolbag to his chest, his face turning red; instinctively, he runs over to the water vat, scoops out a ladleful of water, and dumps it on Shu Gong's bed. Shu Gong doesn't move a finger. He dresses and says, "Go ahead, sprinkle away. No one will believe I wet my bed, and you'll still be the one to get pounded."

Shu Nong leaves for school after soaking his brother's bed. By lunchtime, he has forgotten the morning's incident-until he sees that Mother has hung out the sheets to dry. Old Shu glares darkly at him.

"I didn't wet the bed, Shu Gong did it."

Old Shu roars, "Liar! You're not only a bed wetter, you're a liar!"

Shu Nong defends himself: "Shu Gong pissed on my bed."

Old Shu jumps up angrily. "Stop lying! Shu Gong was never a bed wetter. Why would he want to piss on your bed?"

"Ask him yourself," Shu Nong says as he sits down at the table and picks up his rice bowl.

Old Shu rushes up and grabs the bowl out of his hand, then picks him up and flings him out the door. "Fuck you, you little bastard!" he bellows. "Nothing to eat or drink for you. Then we'll see if you still wet the bed. And if you still feel like lying!"

Shu Nong sits on the ground in front of the door, looking up at his father and tracing words in the dirt with his finger- fuck is one of them. Old Shu slams the door shut, and Shu Nong thumps it a time or two as he climbs to his feet and brushes off the seat of his pants. The cat chooses this moment to spring out through the window. It mews at Shu Nong. It seems to be chewing on a piece of cooked fish.

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