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 stranger reassured him, "I don't mind if it takes two."

"But," the punishment expert said, "the punishment allows for only a single stroke."

The stranger told the punishment expert he didn't understand why he insisted on being so fussy.

"Because it would defile the integrity of the punishment," he explained.

"On the contrary," the stranger asserted; "you might actually contribute to the development of the punishment."

"But," the punishment expert quiedy explained to the stranger, "if we proceed with the experiment, your own experience would be ruined. I would hack your waist to mincemeat. Your stomach, your intestines, and your liver would just tumble to the ground like overripe apples. I wouldn't be able to put you on the glass. You would fall over instead. And all you would see as you approached the end would be a mess of wriggling earthworms and lumpy toad skin. And worse."

The punishment expert delivered his judgment with incontestable authority. There was no longer any doubt that events would begin to move in an entirely different direction. The stranger began to put his clothes back on. He had thought he would never need them again. His pants felt like oil paint as they smeared up his legs. His eyes were hooded and dark with disappointment. Through them, he could see the dark figure of the punishment expert standing by him like a distant memory.

The stranger could no longer avoid the realization: the punishment expert was powerless; the punishment expert could not reunite him with his past. And though the stranger was baffled and angered by the way in which the punishment expert had so beautifully laid waste his four dates, he was not without compassion for the punishment expert's predicament. The punishment expert suffered because he could no longer muster the strength to carry out his marvelous experiment. His own pain came as a result of being unable to reunite with his past. But they were bound together by their common suffering.

The silence that ensued was as heavy as night. It was only after they returned to the living room that they were finally able to dispel the oppressive silence that had enveloped them following the failure of the experiment. They had moved to the living room after standing motionless, enveloped by the glitter of the glass that suffused the little room. Having arrived in the living room, however, they were able once more to take up something resembling a conversation.

Soon after they had begun, the punishment expert's voice began to grow hoarse with passion. As they spoke, the punishment expert rapidly recovered his composure, despite the gravity of his defeat. For his final punishment was the best of all. His final punishment was his life's work, his masterpiece, his crowning glory. He told the stranger, "It is my own creation."

The punishment expert began to tell the stranger another story: "There is a man, strictly speaking, a scholar-a true scholar, the kind of scholar that simply doesn't exist anymore in the twentieth century. He wakes up one morning and finds several men in gray suits standing around his bed. These men lead him out of his house and push him into a car. The scholar, mystified, repeatedly asks the men where they are going. His questions are met with stony silence. He begins to grow uneasy. He stares out the car window, trying desperately to determine what is going to happen next. He watches as they pass through familiar streets, drive by a familiar stream, and finally move into uncharted territory. Soon they arrive at a grand public square. The square is big enough for twenty thousand people. In fact, there are already twenty thousand people gathered in the square. From afar, they look like so many ants. When they pull up to the edge of the square, he's pushed through the crowd and onto a platform set up at one end of the square. He gazes down at the crowd. The square looks as if it's choked with weeds. A few soldiers with rifles stand with him on the platform. They aim the muzzles of their rifles directly at his head. The scholar is terrified. But a moment later, they lower their guns. They had forgotten to load them. The scholar watches bullets glinting in the sunlight. One by one, the bullets are stuffed into the rifles' magazines. Then the rifles are leveled once more at his head. At this point, a man who looks like some kind of judge climbs up onto the platform. This man tells the scholar that he has been sentenced to death. The scholar, unaware of having committed any offense, is dumbfounded. The judge, seeing the shock ripple across his face, adds, 'Just look at the blood dripping from your hands.'

"The scholar looks down at his hands but can't find the slightest trace of blood. He extends his hands toward the judge to protest his innocence. But the judge simply moves to the side of the platform without even noticing the gesture. The scholar watches as people in the crowd stream up to the edge of the platform to give their testimony. One by one, they relate how he bequeathed his punishments to their loved ones and relatives. At first, the scholar argues passionately with those who have come forward to condemn him. He tries to make them understand that one must sacrifice everything in the name of science. He tells them that their relatives have been sacrificed in the name of science. As the procession of plaintiffs continues to stream toward the platform, however, he finally begins to realize the gravity of his predicament. His predicament is this: in a few moments, a hail of bullets will fly in the direction of his head. His head will shatter like a piece of tile. He sinks into a despair as vast as the crowd that unceasingly streams toward the platform to air its grievances. The denunciations continue for ten hours. And for ten hours, the soldiers keep their rifles trained on the scholar's head."

The punishment expert paused at this point in his narrative and commented with an enigmatic air, "The scholar, of course, is me."

He proceeded to tell the stranger that it had taken him a whole year to perfect each and every detail of the ten hours on the platform. "In the ten hours immediately following the scholar's realization that he has been sentenced to death, he falls victim to terrible psychological torment. In those ten hours, his mind becomes a whirlwind of emotion, careening from one spiritual state to another, passing through lifetimes of feeling in mere moments. One moment, he is awash in terror and abject cowardice. The next moment floods him with bravery, resolve, and indomitable courage. Seconds later, he feels a stream of urine trickling down his legs. Just as soon as he has begun to welcome the prospect of death, he starts to realize just how beautiful it is to be alive. And through the turbulent hours, each of these moments is felt just as sharply as a knife piercing his flesh."

It was clear to the stranger that this punishment was almost perfect. When the punishment expert brought his narrative to a conclusion, he clearly and unmistakably proclaimed to the stranger that "this punishment is reserved for myself."

He told the stranger that this punishment represented ten years of blood, sweat, and tears. He told the stranger that he couldn't possibly give the product of such laborious years of toil to someone else. By someone else, he was clearly indicating the stranger himself.

The stranger smiled. It was a noble smile. It was a smile that successfully hid from the punishment expert's view the doubts he harbored concerning the punishment. For he sensed that the punishment was not nearly as perfect, or as complete, as the punishment expert would have liked to think. There seemed to be a flaw that the punishment expert had overlooked.

The punishment expert rose from his seat and told the stranger that he would carry out the experiment that very evening. He hoped that the stranger would appear by his bedside in twelve hours, because by then "you'll still be able to see me, but I won't be able to see you anymore."

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