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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What trouble? What was this all about? It seemed someone had passed the word that my train had been delayed by a flash flood in the mountains, which is normally no big deal. This comrade, though, for some reason couldn't believe that I had managed to arrive in one piece. He gave me a good firm handshake but left me stuck with a grim thought: somehow I'd made it through safe and trouble free!

The conference was to open the following day, and we were going to drive out there bright and early in the morning. The plan, meanwhile, was to take the afternoon to do some sightseeing. I got a clear idea of the arrangements and checked my watch: still just a bit past ten in the morning. A van hauled us from the train station to the hostel, where we were to spend the night before heading off to Luxian and the conference. I went over to the check-in desk to make a phone call.

I gave her a call. Xiao Tong.

As soon as I began thinking of Xiao Tong, that summer three years ago drifted back into view. I was separated from my wife, feeling low and foul, as if she and I were involved in some sort of warfare. (I had no heart for fighting it out. We could have been happy together-if only, that is, I hadn't become what I am now.) It was in a gray fifties-era building that I had first met Xiao Tong. I was there with some journalist friends at a get-together called the Journalists' Trust, as we were all in the same line of work. But since each of us was either already divorced or in the process, it might have been better named the Singles' Club. I think it might have been I who came up with that Singles' Club tagline while proposing a toast. As for a good journalistic subheading to go with it, no one ever came up with anything. The opening speech was called "The Independent Woman." The speaker was Xiao Tong. She had recently got a divorce from a husband dead set against splitting up. Originally an athlete, she was powerfully built, proud, and bursting with an unreasoning drive to go out and take on her new life. (I have to admit that for me, it wasn't like that at the time.) She had prepared the lunch: fried sausages, ham, pickles, even cheese, and a ginger nutcake she herself had baked. And then that magnificent chicken. Even the way she carried it out to the table: unforgettable. She knew how to live and live well. The talk she gave, delivered in a strongly speculative vein, left a lasting impression, too. I remember only one phrase from it, when she said, "If a woman can love only one man, then she's not affirming the emotion of love but the man; only if a woman loves continually does she give affirmation to love in and of itself."

At the end of the get-together, our friends left Xiao Tong and me behind on our own; each one of them shook our hands as if wishing the two of us well in some unstated sort of way. I can't remember what she and I talked about then, except that she seemed to want me to stay for dinner (the get-together had been a lunch party), and I felt that wasn't really necessary. We met several times after that. She told me how she wrote compositions in English and how she spoke French in her sleep. She was the one who recommended that I read some of the world's most abstruse books. (I think I still have two that I bought after consulting the list she wrote out for me.) Later on, mutual friends were always filling me in on the latest about Xiao Tong: Xiao Tong's in love again, or Xiao Tong's gone through another breakup. The explanations of why she went to Xi'an conflicted. I tended to believe the one I could accept most readily: that she switched job assignments with a teacher who wanted to get back to her husband and child in Beijing. Then, of course, there were other factors in the background: after another frenetic breakup, Xiao Tong, in a huff, had stopped talking with her family.

This was where it stood when I arrived in Xi'an and gave her a call.

She would be happy to have me over for a visit but made it clear that she had nothing to offer me as her guest.

So after lunch at the hostel, I started out. The medical academy would be easy to find, I was given to understand, but even so I kept trying to talk myself out of going there right away: should I rush to get a quick look at the sights of Xi'an first, or should I spend the entire afternoon seeing Xiao Tong? Then again, we could take in the sights together. I decided on the latter.

Walking alongside a muddy road, at last I spotted the sign at the gate to the medical academy, and then I saw Xiao Tong.

A half month later, I'd finished the conference report and gone to see the terra-cotta soldiers, Empress Wu Zetian's Tomb, and the Tomb of the Yellow Emperor. Getting ready to leave on my return flight to Beijing, I wondered if perhaps I ought to make another trip to Wild Goose Pagoda or perhaps see Xiao Tong again. I decided on the former. No-I went to Xiao Tong's place first and then to Wild Goose Pagoda, because at her dormitory I saw a big padlock on the door. I knocked at the next-door neighbor's, but no one even knew who she was. When I said I'd been here a half month ago to see her, the neighbors suggested I go to the dean's office to check the personnel files. Check the files, or trust my memory? I decided on the latter.

When I got back to Beijing, would I tell my friends about Xiao Tong, or keep it to myself? I decided on the former. So I told a friend about what happened with Xiao Tong. He smiled. Xiao Tong had been back in Beijing for over three months, he said; he saw her almost every day. He could take me to her right away, too, since she was still around. Really? Terrific. It looked as if I'd really done a good turn-I'd deceived my own memory, or maybe my memory had deceived me. In any case, I didn't care to talk about it anymore. I started in telling my friend about my experience on the trip back from Xi'an, how I had had to stand up on the train for twelve hours straight. He interrupted-which number train had I taken? "Number one twenty-six, of course." He smiled again, almost laughed this time: "Then you've come from Nanjing." He was right. I must have taken the plane back to Beijing!

But that sensation of standing on the train still lingered in my legs.

As soon as the train pulled up to the platform, I used my usual trick of flashing a journalist's ID and an interview-approval letter until I located the head conductor. To get a sleeper, you have to move in fast-you can't wait until after you've claimed a hard seat in third class. Unless you've made reservations four days ahead of time or waited five hours in line, this is the only chance there is to get some sleep on the trip. The head conductor very civilly led me to the dining-car corridor, pointed to a ten-centimeter-wide ledge along the wall, and said, "Sorry, but that's the best I can do-the sleepers are full. How about the third-class seats?…" I looked over and realized that I had no choice but to sit on the little ledge. The adjacent hard-seat car was impassable-this train was more of a city bus, what with people pressed up against one another so tightly that even turning around was impossible. The head conductor took me toward the door leading into the next car and, after making me promise three times not to let anyone into the dining car from the hard-seat section, let me have the spot. I promised and sat down. It felt like sitting on the rim of a toilet. I'd boarded the train at ten in the evening. It was due in Beijing at seven-thirty the following morning. For nine and a half hours, I would have to sit here, stuck in the position of someone taking a crap.

Half an hour after the train started moving, I went to see the head conductor again. He let me know that he'd already explained how things stood, that sleepers were out of the question that night, although something might be available tomorrow morning (which would be two hours before reaching Beijing). I said, "Then how about giving me a hard seat?" He said that would be more difficult than getting a sleeper. ("We can't pull someone out of his seat to make room for you. Take a look around, and if you see one, take it.") The third time I went to talk to the head conductor, he guided me out of the dining car, took his keys, and "clack," locked the dining-car door. I was left for good with the people standing in the hard-seat car.

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