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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The Crabman was delighted to see them. He started boasting about what a hit he had made at the meeting, how many girls had their eyes on him, and how the district leader had come over to shake his hand, which meant either that he wanted to send him to the province-level meeting as a representative or possibly wanted to recommend him to go to college. But let us no longer dwell on the Crabman's inflated ego nor describe the way the Professor's eyes seemed to pop out of his head when he heard the word college . After all, we must not forget that our main characters came here to eat, so let us allow them first to go into the dining room.

With eyes as bright as candles, Four Eyes sized up the situation, table by table. The amount of knowledge needed for scrounging for food was immense since not only did our heroes want to eat, but they wanted to eat well. After all, how else could they accomplish their goal of having a nutritious meal to perk them up? Based upon our experience, the best choice is to sit at a table occupied by female high school graduates. You know just how sophisticated those young ladies from Shanghai can be in front of their male peers. They'll eat only a small bowl of rice and occasionally, very occasionally, daintily pick up a morsel of food. Even then, they look at the food with expressions of disdain on their faces. They say they're full even though their bowls aren't empty and may raise their eyes and sigh in amazement as they say, "Really, I don't know what's wrong, but I just don't feel like eating." Of course, who are we to pass judgment on them? Maybe they would rather starve themselves than see their male classmates return home disappointed because they haven't eaten their fill. If that were really the case, then these young girls should be praised for having been blessed with the radiant, majestic glory that emanates from maternalism and love.

All roads lead to Rome. Four Eyes' choice just happened to coincide with our own. Since he understood the rules of etiquette far better than we, he appeared unwilling to accept other people's kindness without offering some sort of payment. After all, if he was going to eat somebody's stir-fried beef, he was definitely going to give them the benefit of his knowledge. Consequently, one could hear the uninterrupted sound of jokes and laughter coming from that table. You can imagine just how adorable those girls looked as they covered their mouths and giggled. Of course, they had no time to eat, which was perfectly normal and proper. The problem arose when Four Eyes brought up the subject of the Crabman's rescuing Old Chen, a topic of conversation that the Crabman did not find funny in the least. He shot a glance at Four Eyes, in which we can detect the silent suffering of a tough young man whose pride has been seriously wounded. What's more, the flavor of this suffering seemed to be doubly intense. From this episode, we can gain a profound moral lesson: never tell jokes about a man in front of a woman.

Unfortunately, Four Eyes had never learned this lesson, and there he was at the dining room table, bringing up that same old story one more time. The Crabman put down his rice bowl and dragged Four Eyes over to the corner. With a stern look on his face, he said, "A person should be a little more tactful when he speaks. Do you understand? Everything isn't just a big joke."

"Huh? Do you mean the part about saving the portrait?" Four Eyes still hadn't begun to take it seriously. "Don't tell me you're starting to believe the newspaper report?"

"The fact that there wasn't a portrait of Chairman Mao in the room isn't my fault. Hadn't I already risked my life by rushing in there? Can you blame me because Old Chen didn't hang up a picture? If he'd wanted to hang one up, don't you think I'd have helped him? In the ordinary course of events, every house should have a picture of Chairman Mao, so it follows that logically speaking, the newspaper report was accurate."

Four Eyes shook his head so hard his glasses nearly crashed to the floor; then he just stood there for a minute as if in a daze. You could see that he was trembling inside. Then he walked away. But he had only gone about two paces when he turned around, took the letter out of his pocket, and flung it at the Crabman. Then he stalked off, making it clear that he wasn't returning to the table. The Professor and Abe Lincoln exchanged glances. Finally, Abe Lincoln trailed after Four Eyes while the Professor stayed behind with the Crabman. At this point, it's hard to say whose loss was greater. There might have been another goal to this outing for the three of them (that is, apart from the idea of eating well to perk them up). But now that Four Eyes was gone, it's hard to gauge what the chances were of actualizing the goal.

We don't know how the Crabman felt after reading the letter. I heard about what happened later from the Professor. That night, the Crabman ignored the Professor's advice against going to the restaurant in town. Neither did he listen when the Professor tried to dissuade him from drinking so much. At the table next to them were several other young high school graduates from Shanghai who worked at the commune. The Crabman started arguing with one of them over some trivial matter, which resulted in black eyes and bruised faces all around. In the process, they managed to break several bowls and plates. The man who ran the restaurant was neither sympathetic nor amused. He called in the police, who took both sides into custody. Since the Crabman was an activist representative, he was handed over to the head of high school graduates in the district, who subjected him to a half-hour lecture. Luckily for him, this brought the incident to a close. However, from then on, there was no further mention of going to a province-wide meeting or being recommended to go to college or anything of the sort.

Can you actually say you don't feel sorry for the Crabman? Don't you think that he let things get a little out of hand? When you consider what a glorious future he had as a potential college student chosen from among all the activists in the province who answered the Party's call to go up to the mountains and down to the countryside (and getting into college then was certainly more difficult than it is now), it's hard to understand how he could throw everything away because of a girl. With all that going for him, could he possibly have been worried about not finding another girlfriend? Although your questions are perfectly reasonable from both the emotional and logical points of view, somehow the Crabman was unable to get this into his head. So we can only conclude that it must have been caused by the hand of Fate. Otherwise, as Four Eyes said, everything is predetermined by one's personality. In fact, it was that night, when the Crabman returned home so crestfallen, that Four Eyes delivered his famous lecture on how personality types are predetermined.

"Humans fall into three basic personality types," he announced. "Let me give you an example. The first type is called the prude, the second type is the womanizer, and the third is the pervert. That's to say, human desires can be elevated to the theoretical level. Now I'm a true pervert, so I'm not interested in taking any action unless that action is going to confirm my theories. Crabman, you're a womanizer, and that's why you drink and get into a fight over some trivial incident. The Professor is a prude, which is why he won't get involved in things like this. You see, the entire outcome of a person's life is predetermined by his personality type."

"You didn't mention Abe Lincoln. What type is he?" asked the Professor.

"I'm not exactly sure; he's so defensive it's hard to tell. I'd guess he's either a prude or a wild rapist."

The Crabman was seething. He said, "How the hell can he be a wild rapist when I'm just a womanizer?"

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