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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Sitting on his heels by the students' doorstep, the team leader puffed on his pipe. Then he said, in a voice that showed how deeply troubled and exasperated he was, "You guys have got to come up with an idea to get me out of this mess!"

You haven't heard what Shuanzhu told the team leader, his father, so naturally you can't understand why the team leader was so upset. The reporter had told Shuanzhu that since this was the very first time a Shanghai high school graduate had risked his life to rescue someone from a local fire, he wanted to write a story about the Crabman. He wanted to interview the Crabman and Old Chen, and he also wanted to meet with all the high school graduates, the team leader, the secretary of the Party branch, and the representative of the peasants' association. You might be saying to yourself, So they have a meeting, what's the big deal? But you must realize that in this village, the team leader was, in fact, the secretary of the Party branch, and the secretary of the Party branch was, in fact, the representative of the peasants' association. In short, all these positions were held by the same person, and this person happened to be Shuanzhu's father. The team leader was not concerned about whether the reporter held a high official rank, nor was he worried that the reporter was in a position to have him removed as Party-branch secretary or representative of the peasants' association. What concerned him, apart from having to hold meetings for a few days (for which he wouldn't earn a penny), was how in the world his one pitiful mouth would be able to spit out enough words for three different people.

For all intents and purposes, there simply was no solution to the dilemma faced by the team leader. But then again, you have to understand the temperament of these Shanghai students-they never give up in the face of adversity. "I've got it," Four Eyes said, " I'll be the representative of the peasants' association. I look old for my age."

As good as his word, he did indeed carry out the scheme. The team leader brought a white Chinese-style jacket from home and gave it to Four Eyes to wear. Four Eyes also changed his shoes for a pair of small cloth "peasant" slippers. He took off his glasses, and Abe Lincoln rubbed a few ashes on the bridge of his nose to cover up the red indentations. The Professor said he looked just right: when Four Eyes blinked, it looked like he had trachoma. The Crabman was still worried that the effect wasn't complete, so he found a towel (one of those brand-name towels from Shanghai) and tried to wrap it like a turban around Four Eyes' head. Four Eyes absolutely refused to wear it. "You're not going to make me look like a hick," he said.

The next day, the reporter came to the village, and the team leader made such a fuss you'd think somebody was getting married. Bare-bottomed toddlers shouted and squealed with excitement as they escorted him to the students' house. On the other hand, the adults, without exception, slammed their doors shut and stayed inside. The Crabman, the Professor, and Abe Lincoln sat on the bed, leaving the three stools for the reporter, the team leader, and the representative of the peasants' association. Several bold youngsters pressed close to the reporter and stared at his notebook and even rubbed the material of his clothing with their fingers. No matter how experienced and knowledgeable a reporter might be, he'd still find it difficult not to fidget in circumstances such as these. The team leader and the representative consulted briefly and decided to kick the people out and shut the door. Actually, by the time they closed the door, the villagers were already pretty fed up. "So this is a reporter," someone outside the room was heard to say. "How come he looks just as poor and hard up as a schoolteacher? Is there something we're missing? Do you think he can sing local opera?"

Whether or not the reporter could sing local opera remains unclear, but he certainly could talk! Almost all the talking that day was done by him and the representative of the peasants' association (you of course remember that this was Four Eyes); the former monopolized the first half of the discussion, and the latter dominated the second half. Every now and then, the team leader and the high school graduates somehow managed to get in a word or two. There's no need to relate the reporter's opening remarks here since everyone can more or less imagine what he said. We also don't intend to go into what Four Eyes said, for that can all be found in the editorials that came out in the revolutionary newspapers and magazines that year. What we do want to reveal is a few words that were spoken right before the meeting adjourned. After all, as experience has shown, there comes a moment in steeping tea when it tastes just right.

"Well, that's enough for today. I think I have the overall picture/' the reporter said as he closed his notebook. "But I can't help feeling the material is a little too ordinary. How should I put it? It doesn't quite have enough punch. It needs something special to catch the reader's eye."

"Something special?" asked Four Eyes. "I've been stuck in this village for some thir-thir-thirty years, and I've seen hundreds of fires put out, but I can't say I've ever seen anything special about them."

"What I meant was the second time he rushed in to the sea of flames," the reporter said, pointing to the Crabman, "all he came out with was an old quilt. I mean, don't you think that's rather anti-climactic? Don't you think it would make a flashier story if he had come out with, say, a few scrolls of Chairman Mao's writings or a sacred portrait of the chairman?"

"But an old quilt was all I brought out," the Crabman insisted. "And anyway, Old Chen's house didn't have a picture of Chairman Mao."

It's at this moment that we discover the difference between being a reporter and being a high school graduate. We can also see how someone who consciously makes use of his brain approaches problems.

"Comrade, you can stop with the T and 'my,' " the reporter said with a smile. "We are not the least bit interested in using you, as an individual, for propaganda. What's an individual, anyway? We owe all our achievements to the Party and to the people. The reason for reporting a story about you is to provide a good model, so that other high school graduates can learn from your example. The potential power of such a model is boundless! Do you follow me? Now do we want people to imitate your dragging out some old quilt, or would we rather have them emulate your undying dedication to the chairman? Why don't you think about it for a while? You can write a short statement and give it to me tomorrow, OK?"

That night, if you had rushed over to the room where the students from Shanghai lived, you'd probably have thought they Were holding an open discussion meeting. Four Eyes was sitting in front of the oil lamp, pen and paper in hand; the Crabman was standing behind him with an expectant look on his face; Abe Lincoln and the Professor were already in bed. Even though the seating arrangement was casual, they expressed their opinions with utmost seriousness.

"So do we vote for or against the reporter's proposal?" asked Four Eyes.

"Against! That man is an out-and-out liar," Abe Lincoln said firmly.

"Yes, we should vote against it. Otherwise, people will say that all I can do is show off," the Crabman said somewhat hesitantly.

"However," interrupted the Professor, "as the saying goes, When it comes to important people, not every statement can be believed, and not every act comes to fruition."

"So should we just write what happened?" Four Eyes asked.

"Of course the facts demand it," Abe Lincoln said, remaining resolute.

"But in that case, maybe he won't use the story," the Crabman said, still somewhat uncertain.

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