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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"Meeow," Shu Nong mews like the cat, then follows it down the street, heading east, all the way to the auto-repair shop, where he loses track of the cat. Shu Nong enters the repair shop, where some greasy mechanics are working on cars, their heads hidden under the hoods. Shu Nong squats nearby and watches them work. "What are you doing here?" one of them asks. "Get out right now."

Shu Nong says, "I'm only watching, what's wrong with that?"

A can of gasoline sits on the floor in front of some beat-up cars. Shu Nong is squatting next to it. He sniffs the air to breathe in the gasoline smell. "I know that's gasoline," he says, "and that a single match will light it off."

"You're right," the mechanic says, "so don't play with it. If it goes up, that's the end of you."

Shu Nong hangs around watching them for a long time, and vvhen they realize he is gone, they also discover the missing gas can. They don't associate the one with the other.

Shu Nong walks home with the gas can. People see him, but the problem is no one knows what he plans to do with the stuff. He walks up to the dark building at number 18 and, after hiding the can behind the door, tiptoes inside, where he notes that both his father and Shu Gong are asleep. He softly closes his father's door and jams a toothbrush into the eye of the latch hook. Then he approaches his brother's bed. Shu Gong, whose head is under the covers, is snoring away. Shu Nong curses the covers under his breath: "Watch me even the score, you bastard." He fetches the gas can. The cat has returned home, he discovers, and is perched atop the can, staring with its lustrous-green cat's eyes. Shu Nong makes a face at the cat and shoves it off the can, which he carries over to Shu Gong's bed. He pours gasoline on the floor under the bed, smelling its aromatic scent as it spreads silently throughout the room and hearing the dry floorboards soak it up. He walks, and he pours, and he watches the clear liquid seep under the door into Father's room. That should do it, he tells himself. Confident that the gasoline will ignite, he puts the can down and takes a look around; everything is napping, the old, wormy furniture included-all except for the cat, which is watching him with its shiny green eyes. Cat, Shu Nong muses, watch me even the score now. He takes a box of matches from Shu Gong's pocket. His hand shakes; he attributes that to mild fear. So he grits his teeth, lights a match, and drops it to the floor, releasing a brief red flame. The fire takes hold under Shu Gong's bed and begins to spread. He hears the cat screech in agony and watches it streak ahead of the flames.

Shu Nong rushes desperately upstairs, without knowing why. The Lins' door is closed. Qiu Yumei and Hanzhen poke their heads out the kitchen door. "What's gotten into him?" Qiu Yumei asks.

"He's going crazy," Hanzhen says.

Shu Nong ignores them in his race to the rooftop. The first chaotic sounds rise to greet him as he crawls to the roof's edge. He believes he can hear Shu Gong scream as if his soul had left his body and Father trying with all his might to yank open the toothbrush-jammed door. He can even hear bumping sounds as Hanzhen tumbles down the stairs. By then, Qiu Yumei has thrown open a window and is shouting at the top of her lungs: "Fire fire fire fire fire fire…"

Shu Nong sees no sign of fire and wonders why. From his vantage point on the roof, he notices a red glow in one of the roof vents, then sees the cat emerge amid a ball of flames. The cat screeches as it burns, giving off a strange charred smell. Its eyes turn from green to purple; it seems poised to pounce on Shu Nong, who contemplates going over to pick it up. But he has second thoughts because of the flames licking its body. How could the cat have caught fire? How could it have followed me onto the roof? Shu Nong watches the cat slink forward a few steps, then crouch down and stop moving. The flames on its body die out, leaving a ball of cinders behind. Shu Nong realizes that his cat is dead-incinerated. He reaches out to feel the corpse-it is hot to the touch. He rubs the cat's eyes. They are still alive-deep purple and shiny bright.

People from all over Fragrant Cedar Street converge on number 18. To Shu Nong, the mob on the run looks like a pack of skittish rats bearing down on his home with loud screeches. He assumes that the building is about to be engulfed in flames, so what possesses them to enter it? He pokes his head over the edge to see what is going on down there. Black smoke pours out of the windows but no flames that he can see. How come? His thoughts are interrupted by a shout from below. "Shu Nong, it's Shu Nong, he's on the roof!" It's Shu Gong down below, brandishing his fists at Shu Nong. He's in his shorts-no sign of flames. Shu Nong wonders why Shu Gong hasn't been burned. Maybe he was pretending to be asleep. Shu Nong sees someone bring up a long ladder and lean it against the building. It's Old Shu. Shu Nong is getting lightheaded. Things aren't working out as planned. Everything is going wrong. He tries to push the ladder away but can't budge it. Old Shu, his face blackened with soot, is climbing toward him. Shu Nong clings to the top of the ladder. "Don't come up here!" he screams. "Don't come up here!" Old Shu keeps coming, silently, menacingly. Again Shu Nong tries to push the ladder away, but still he can't budge it. He watches his father's smoke-blackened face draw nearer and feels something cold drip from his heart. "Don't come up here!" Shu Nong screams hysterically. "I'll jump if you take another step!" A curtain of silence falls upon the crowd below. Everyone is looking up at Shu Nong. Old Shu stops his advance and joins the others in gazing at Shu Nong for about three seconds before continuing up the ladder. When his cramped fingers touch the roof, he sees Shu Nong leap high into the air like a cat and sail over his head.

With their own eyes, the residents of Fragrant Cedar Street see Shu Nong plunge into the river. Amid shrieks of horror, Shu Nong's voice is the shrillest and loudest of all. It sounds like a cat or, in the final analysis, just like Shu Nong's own voice.

It was an autumn day in 1974 on Fragrant Cedar Street. I think it was some southern holiday but can't recall which one. At dusk, two young northerners were walking from one end of the street to the other. They had stopped off on their way from Shanghai to Nanjing. As they headed down Fragrant Cedar Street, they saw a white ambulance tearing down the narrow street and a crowd of people running toward a dark building. They joined the surging crowd. The building and the area around it were packed with men, women, and children, all seemingly talking at the same time, not a word of which the two northerners could understand. But they detected the subtle odor of gasoline coming from inside the building. "Children playing with fire!" a woman said in Mandarin.

Afterward, the northerners were on the bridge, looking down at the river, its green-tinged black water flowing silently beneath them. When debris from upriver floated under the bridge, it bumped against the stone pilings. They spotted a little white sheath floating past and smiled at each other. One kept silent, but the other said, "Well, fuck me." They were still watching the river when they spotted a charred little animal float by, lying heavily in the water as darkness settled in, making it disappear from time to time. One of the northerners pointed to it and said, "What was that?" "It looked like a cat," the other one said.

Translated By Howard Goldblatt

Wang Meng – A String of Choices

It all began with that toothache of mine. In the beginning, it was just a little nagging pain. At the time, I still believed in medicine as a science, in science leading the way on the path to freedom and happiness, that knowledge is power, and all the rest.

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