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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That first time I had trouble with my tooth, I had still believed in Western medicine as a science that would be the savior of my tooth. So infantile! Since then, times have changed, the years have chased one another down the aisle of history. As for myself, having passed through countless ups and downs, I have finally learned that science without philosophy or science plus philosophy but without the arm of backdoor connections will get me nowhere, cannot even save my tooth.

Department Chief Liu's letter, in his own calligraphy, read:

Dear Director Zhao:

How have you been? I have been terribly busy and thus remiss in paying my respects. Please excuse.

Regarding the affair entrusted to me, I have made arrangements. Please do not worry.

All these whispers about you-know-what, I think there must be some basis. Therefore please accept my early congratulations.

By the way, a friend-Professor Wang-has a toothache.

Thank you in advance for your attention to this little matter.

So this was the road to the salvation of my tooth!

There was a milling crowd at the Hospital of Chinese Medicine, not unlike Shanghai 's Temple Fair. There were even lines at the men's and women's rest rooms. People would exit still belting themselves up, such was the crush. I looked around in silent astonishment. Before liberation, Chinese medicine had been in such decline, but the scene in front of me now was bursting with activity. And to think that I alone had a letter for Director Zhao. This gave me a sense of superiority as I watched the crowd of patients rushing madly to and fro.

I said to a nurse, "I want Director Zhao. Show me the way to Director Zhao!"

She walked away, completely expressionless. Did she have an ear infection? I asked several other nurselike figures standing around in white jackets. No response either. Nobody seemed to have heard me.

"I have a letter from Department Chief Liu!" I shouted. But all to no effect.

I thought I had come to the wrong place and went out to check the sign at the gate. No mistake, it was the Hospital of Chinese Medicine. By the time I reentered the hospital grounds, I had lost my confidence and rushed about like the other patients. "I want Director Zhao. I have a personal letter from Department Chief Liu!" I insisted. But my demands gradually subsided into spineless whimpers.

While the hospital staff completely ignored me, the other patients turned on me with fury: "Go line up!" I looked around but could not find anyone in particular who had his eye on me. Just as I thought I was safe, again I heard the furious tones of patients shouting in one voice: "Go line up!"

In a sort of daze, I made my way to the registry office. Through the little window slot, I said to the nurse sitting on a raised seat, "I want Director Zhao!"

The window slot was tiny and situated very low. I had to bend and put my head down and then lift up my eyes to make out the (presumably) dazzling beauty of the nurse in charge. All I could make out was the fuzzy contours of someone high and mighty, looking down on the patients as so much trash. I shouted, "I want Director Zhao!" and waved my letter, which by now had become limp in my hands.

"Room seven," the unmoving, unmoved, and immovable figure behind the window slot mumbled. Was it one , or seven , or eleven ? My neck had become stiff, as I was trying to bend my shoulders and lift my head at the same time.

I didn't have a second chance, for the people behind shoved me aside. I rushed to the consulting rooms, fighting my way through the crowd. I was continually pushed by other patients. This infuriated me, and I myself began pushing right and left, only to be swung to and fro by the human tide. I made my way into room i. A woman was sitting behind the desk. A woman? That could not be Director Zhao, I said to myself. I fought my way out through the mass of people craning their necks at the door. A young man was sitting behind the desk. No, that could not be Director Zhao either. Again I pushed and was pushed on my way out. Like a bubble on a boiling sea, I rolled into room 11. An elderly person with venerable white locks-"Director Zhao!" I shouted gleefully and was immediately shoved aside. I found myself in room 8. The doctor in room 8 was in a loud altercation with a patient, who pointed a finger at the doctor's nose and said in disgust, "I've never seen the likes of you!" The doctor pointed his finger at the patient's nose and reciprocated: "I've never seen the likes of you either!" I was sure this was not Director Zhao. Director Zhao would never quarrel with patients, nor patients with Director Zhao. But I had learned something in a flash of inspiration. It seemed that have never seen is a term of extreme opprobrium. What has never been seen is decidedly bad. But I had never seen Director Zhao, so why should I look so hard for him?

By now I had floated willy-nilly into room 9, and found myself face to face with a young fellow with long hair. Unlike the other crowded consulting rooms, this one was quite deserted. Obviously, he was not trusted by patients. I sat down and said hesitatingly, "I'm looking for Director Zhao…"

"I am Director Zhao," he said in firm tones.

I had no reason to dispute this, though I felt in my bones that something was wrong. Toothache, however, overcame my scruples. Leaving aside the verification of his identity, I began to tell him the history of my woes.

In friendly tones, the young fellow asked me to open my mouth. He began poking at my teeth with a steel prod. When he knocked on my bad tooth, I howled in pain.

The alleged Director Zhao nodded in sympathy and wrote out a prescription with many flourishes of the pen. I tried to make out his calligraphy on my way to the pharmacy. Suddenly, I deciphered: "Pain reliever 2 x 3 x 7."

Which means that all I was getting for my pains was pain-reliever pills to be taken three times a day, two at a time, for one week! Then I looked at the signature; it was even more undecipherable. It looked like Liu or Zhou or Xu; but whatever it was, decidedly it was not Zhao.

I had been cheated!

My pent-up feelings of anger exploded, and I made a scene then and there. Four individuals, male and female, young and old, all of whom claimed to be Director Zhao, tried to handle the situation. They said that Chinese medicine is quite all right, especially for chronic complaints, but for toothaches it is no panacea. Sad but true. Of course, this is only one view, for internal reference only, not for dissemination to the general public. All in all, Chinese medicine is superb, acknowledged by Western practitioners. But pain relievers are quite potent in relieving pain, they conceded and suggested I take some and go to a dental clinic. We are touched by your faith in Chinese medicine, they assured me. In theory, they continued, one cannot say that Chinese medicine is helpless when it comes to toothache. The root of toothache is an attack of sinister heat. For this, you may take the powder of crushed rhino horn, deer antler, and mountain-goat's horn mixed with mint and other medicines with cooling properties. But please remember first that these medicines require at least a month to take effect. Considering the pain you're in, can you afford to wait even a week? Second, all these medicines act as laxatives. If taken in small quantities, they don't work; if in great quantities, you will suffer from diarrhea. Considering the state you're in with your toothache, can your constitution tolerate an attack of diarrhea? Third, the most important ingredient among the cooling medicines is the powder of crushed rhino horn. The Ministry of Health has issued a document-x year, x month, x day-stipulating that rhino-horn powder be taken off the national medical-care program and paid for privately. It's a damned nuisance, as this medicine is very expensive. Of course, that was the point of the new regulation.

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