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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" 'Look not upon something that is not proper; act not upon something that is not correct,' " quoted the Professor. "Who cares whether or not he uses the story?"

"I've got a plan that might satisfy everyone," Four Eyes said as he picked up his pad of paper. "Listen to this: 'After I helped Old Chen the pensioner out of his house, I remembered his portrait of Chairman Mao. Of course it would have been impossible to leave that bright and glorious portrait in the fire. So, burning with righteous fervor, I charged back into the sea of flames. The thick smoke stung my eyes so badly that tears blurred my vision; the tongues of fire leaped toward me, but driven by ardent loyalty, I summoned up the courage to forge ahead. When I felt the wall, I looked up and-it was as if a weight pressing up against my heart suddenly fell to the ground-there was no portrait on the wall! I grabbed a quilt from the bed and rushed out of the room.' " Four Eyes was triumphantly smug as he looked around at his three friends. "What do you think?" he asked. "A case of going in like a lion and out like a lamb. You must admit it's a lot more lively."

"But can I really say that?" The Crabman was still somewhat hesitant.

"What's wrong with it? I ask you, if at that moment there really had been a sacred portrait of the chairman in the fire, would you have carried it out with you?"

"Probably, I would have."

"So why are you being such a stick-in-the-mud? Be a little more positive. When it comes right down to it, would you have taken it or not?"

"Most likely, I would have."

"Well, then, I rest my case."

Consequently, this was the statement they gave to the reporter. And so once more, we have proof that these students from Shanghai were not in the habit of being overcome by difficulties.

After the reporter returned to his district, many days passed without incident. And since the villagers spent their days fiercely hoeing the fields of corn and sorghum, they apparently forgot the matter. But the Crabman hadn't forgotten. After all, for him, it had been a personal experience, so his feelings about the subject were quite different from the gossip passed back and forth by mere observers. He sent letter after letter to Shanghai in which he boasted of his achievement to friends and relatives. The Professor could see him consulting the statement Four Eyes had written for him as he wrote these letters.

One day, Four Eyes and the others caught the Crabman completely off guard. He had just finished writing a letter and was standing near the kitchen stove, sealing the envelope with some sticky rice. As you know, some people feel elated after they have accomplished some task at hand. Take, for example, the way the team leader acted each time he got a haircut: he'd get a blissful look on his face, close his eyes, and hum a few bars of his favorite opera. The Crabman said, "Well, for guys like us, whoever has a girlfriend in Shanghai -"

"Whether she's got a job or not," Four Eyes interjected.

Abe Lincoln took up where Four Eyes left off, "A guy like that-"

Now the Professor chimed in, looking quite pleased with himself: "… is truly great!"

The Crabman, who still had the word Shanghai on his lips, registered a shocked look.

On their way to work, Abe Lincoln asked Four Eyes about the underlying meaning in the Crabman's comment.

"It's black and white," Four Eyes explained. "When he says, 'For guys like us, whoever has a girlfriend in Shanghai,' he means he has a girlfriend in Shanghai. 'Whether she's got a job or not' means his girlfriend doesn't have a job. She just hangs around the house, living off her family. In short, it means he thinks he's one great guy. I can read him like a book!"

Four Eyes might have analyzed the man's thoughts a little more thoroughly (maybe he was thinking of doing just that), but at that precise moment someone was running down the path, shouting. It was Shuanzhu, running like a scared rabbit. With one hand, he was holding his book bag tightly against his chest; with the other, he was waving a wad of-no, wait a minute, it was newspapers. If you'd seen the way he looked, you'd have thought he was a paper-boy shouting out the latest hot-news item.

There's no need to tell you, since you've all guessed by now, what was written up in that newspaper. Four Eyes picked up a copy, opened it, and there on the front page was a banner printed in red: LOYAL HEART SEEN IN BLAZING FLAMES OF ROARING FIRE: SHANGHAI HIGH SCHOOL GRADUATE RISKS LIFE TO SAVE POOR PEASANT. Why, you didn't even have to read the article. Just looking at the color of the print was enough to make you think of red flames!

The contents of the article were more or less the same as the first draft that Four Eyes had come up with. To be more precise, the first part was exactly the same; just the ending was a little different. Phrases like "burning with righteous fervor," "charged back into the sea of flames," "the thick smoke stung my eyes," "tears blurred my vision," and "ardent loyalty" had all been left in. They had just been changed from the first person to the third person. But there was an added twist after the part that recorded his courageous advance. The article read: "He felt the wall, very carefully lifted the portrait down, and stuffed it under his jacket, pressing it close to his fervently burning heart. Next he turned around, yelled out, 'Long live Chairman Mao,' then rushed out of the building." Sometimes there is no such thing as compromise. Either the "east wind will prevail over the west," as Chairman Mao said, or the west wind will prevail over the east. How could Four Eyes fail to understand this fundamental concept? If you could take a minute to look at our characters now, you'd see that the Professor was scratching his head, Abe Lincoln was muttering something, Four Eyes was wide-eyed and tongue-tied, while our hero, the Crabman, had just plunked his butt down on the muddy ground as if somebody had kicked him in the shins.

Actually, the Crabman was afraid that the villagers would revile him for being such an egomaniac, and for the time being he didn't even dare raise his head. But regardless of what had happened, nobody was going to say anything disagreeable (didn't we already tell you the villagers said they'd seen just about everything?). After dinner, the team leader brought the newspaper over and sat on his heels by the doorstep. Once again, the Crabman was overcome by a sense of guilt and slipped away to hide behind the mosquito netting. Actually, he'd jumped to the wrong conclusion; the team leader had come there to ask one of the students to mark in red the passages in the article that referred to him. You see, since he couldn't read, he didn't know which parts featured him. As Abe Lincoln picked up a pen, he discovered that there really were quite a number of passages to be marked. Of course, the Crabman's exploits were inseparable from the topic of reeducating the poor and lower-middle peasants; so at each mention of poor and lower-middle peasants, how could the article not refer to the Party secretary, the team leader, and the representative of the peasants' association? Four Eyes asked the team leader why he hadn't told Shuanzhu simply to underline the relevant passages for him. The team leader threw down his pipe and swore, "That damned kid! I haven't seen a trace of him since dinner." Actually, we shouldn't blame Little Shuanzhu. Just think, from the time he finished hoeing the field until after dinner, he had already read the entire article to his father twenty times.

Henceforth, there were two famous people in our village. One was the team leader-he tucked that newspaper with all the red marking into his pant pocket, right next to his beloved pipe and his house keys, and took it with him wherever he went. Whenever he ran into a cadre from the production brigade at the commune or someone he was close to-a friend or a relative or even just the neighborhood street vendor-he would take out the article and show him the passages that were marked. And what would he do? He'd silently sit off to one side with a big grin on his face and smugly puff on his pipe.

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