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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"A wild rapist is simply one type of womanizer. Most men are perverts of one kind or another. It's like class distinctions. There are a few at the two extremes, with the vast majority falling somewhere in between," Four Eyes was quick to explain.

* * *

The next day was another scorcher. Even the early-morning sun was so hot that everyone was panting from the heat. By the time the sun came out, the air was so suffocating that the ground seemed to tremble and the straw on the roofs softened into clumps The two factors needed for combustion to occur were once again present; a single spark from a chimney might produce another story that would move you to song and tears. It was at this point that Abe Lincoln displayed a sign of that "wild" quality in keeping with his personality type (we really don't have the courage to repeat the particular indelicate term used earlier). He ran into the team leader's house, insisting that he immediately send someone to repair the leak in the chimney. "Otherwise, if a fire starts," he said, pointing to the roof, "I can promise you that as sure as two times two is four, it's going to be your house that goes up in flames next!" The team leader, who had been sitting on his heels by the doorstep, proceeded to give Abe Lincoln a sound dressing-down. "To talk like that in a farming village is counterrevolutionary. Why, it's even more reactionary than being counterrevolutionary!" Nonetheless, after lunch, he went over to Old Chen's and rounded up a couple of workers to replace the stovepipe for the students.

Since it was such a hot day, they didn't go to work until quite late in the afternoon. When Four Eyes woke up, sunlight had flooded the room. One particular patch of light was already boring its way into the door across from him. Two mud walls away, the team leader gave an earth-shattering yawn.

Four Eyes said, "Now for guys like us, whoever has a girlfriend, whether or not she's-"

The Crabman interrupted him: "I swear on that sacred portrait that I struggled so long and hard over that if anyone ever says that again, I'll smash his face in. I'm giving you fair warning, so don't anybody accuse me of turning against a friend."

"That reminds me of a poem," the Professor said as he sat up in bed.

"If you're planning to recite from a book or something, please spare us," said Abe Lincoln.

"It's nothing like that; it's not from a book. Listen: 'On such a calm and peaceful day, how sweet it is to play hooky.''

The sound of the team leader's whistle split the long silence.

When a story begins to repeat itself, it's time to end it. But don't be in such a hurry, be patient for a couple of minutes longer, for we still have a short epilogue. That afternoon, the final touches were put on Old Chen's house. The last thing the team leader did was plaster the mud on the ridge of the roof and, for effect, place two gray bricks at an angle on the very top. After he came down from the roof, Old Chen began to set off firecrackers and gleefully passed out cigarettes. The house turned out pretty well. The straw was smoothed out flat and even, the hay for the eaves was clipped off all nice and tidy. The newly broken-off wheat stalks shone like strands of platinum. The team leader took a look inside the house and nodded his head in satisfaction. "It looks OK, doesn't it?" he said. "It's just lacking one thing." He unbuttoned his tunic and took out a sacred portrait of Chairman Mao that had been tucked away close to his heart. As he placed the portrait in the Crabman's hands, he said in a voice full of compassion, "Go hang it up. It was you who rescued it; now it should be you who hangs it up again."

While the Crabman was hanging the portrait, his hands were trembling. There was a moment when he was actually on the verge of tears, but he quickly rubbed his eyes and looked up at the straw room divider, acting as if a speck of dust or something had flown into his eye. We know he must have been feeling that he had somehow lost face (it appears that for the most part, all this was predetermined by personality type). But once again, he was wrong: no one laughed at him, not even Four Eyes. In fact, quite the contrary- Four Eyes told him later that this was the single most emotional and moving scene the production team had experienced in over three years.

Translated by Madeline K. Spring

Yu Hua – The Past and the Punishments

On a summer night in 1990 in his muggy apartment, the stranger opened and read a telegram of unknown origin. Then he sank into deep reverie. The telegram consisted of just two words-return quickly-and indicated neither the name nor the address of the sender. The stranger, filing through the mists of several decades of memory, saw an intricate network of roads begin to unfold before him. And in this intricate network, only one road could bring the slightest of smiles to the stranger's lips. Early the next morning, the lacquer-black shadow of the stranger began to glide down that serpentine road like an earthworm.

Clearly, in the intricacy of the network that constituted the stranger's past, one memory, as fine as a strand of hair, had remained extraordinarily clear. March 5, 1965. A simple string of digits, arrayed in a specific and suggestive order, had determined the direction in which the stranger had begun to move. But in reality, at the same time that the stranger had decided upon his course, he had also failed to discover that his forward motion was blocked by yet another group of recollections. And because he had been standing at a remove from the bright mirror on his wall, he had been unaware of the ambiguity that had plagued his faint smile in the moments after he had deciphered the telegram. Instead, he had felt only stubborn self-confidence. It was precisely because of this excessive faith in himself that the procedural error that was to occur later on became unavoidable.

Several days later, the stranger arrived at a small town called Mist. It was here that the procedural error became apparent. The rror was revealed to him by the punishment expert.

Imagine for a moment the stranger's face and posture as he walked through Mist. Besieged by several different strata of memory, he had been left virtually incapable of perceiving his immediate surroundings with any sort of clarity or accuracy. When the punishment specialist caught sight of the stranger for the first time, his heart cried out like a trumpet. The stranger entered the punishment specialist's field of vision like a lost child.

When the stranger walked past a gray, two-story building, the punishment specialist blocked his forward movement with an exaggerated grin. "You've come."

The punishment expert's tone sent a shock through the stranger's body. Although the stranger could hardly credit his own suspicions, it certainly seemed as if this man were hinting at the existence of a certain memory as he stood before him, his white hair gleaming.

The punishment expert continued, "I've waited for a long time."

This statement did nothing to help the stranger determine what role the man might have played in his past, if any at all. Perhaps he was simply a mote of dust floating across the vast expanse of his memory. The stranger sidestepped past the old man and continued on his way toward March 5, 1965.

Just as the punishment expert had hoped, however, the stranger failed to continue on toward March 5, 1965. Instead, a short and simple dialogue took place between the two men. And because of the punishment expert's warning-which was issued casually and without premeditation-the stranger began to understand his predicament. He discovered that his present course* would not lead him to the desired destination. And thus he turned in the opposite direction. But the fact of the matter was that March 5, 1965, was receding farther and farther from him.

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