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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After the punishment expert retired to his bedroom, the stranger sat for a long time in the living room, mulling over the fact that he himself was far less confident as to the outcome of the experiment than the punishment expert himself. And later, when he got up to go to his own bedroom, he was certain that when he stood by the punishment expert's bedside the following morning, the old man would still be able to see him. He had discovered the flaw that lay beneath the polished surface of the punishment, a flaw so crucial as to virtually ensure the failure of the punishment expert's experiment.

The scene the next morning confirmed the stranger's suspicions. The punishment expert lay atop his bed, face pallid with fatigue, and told the stranger that everything had gone smoothly the night before. But just as he had approached the end, he had awoken. With a tragic sweep of his hand, he threw aside his quilt to show the stranger what had happened: "I was so scared I wet the bed."

The bed was sopping wet. The stranger estimated that the punishment expert must have urinated at least ten times over the course of the night. He gazed at the punishment expert panting on the bed. He was satisfied. He didn't want the punishment expert to succeed. For his four dates, his memories, were in this frail old man's hands. The old man's death would spell eternal separation from his own past. And this was precisely why the stranger was unwilling to point out the nature and position of the flaw in the punishment that had led to his failure the night before. Thus when the punishment expert invited him to come again at the same time the following day, he merely smiled and carefully made his way out of the bedroom.

The scene on the second morning was much the way it had been on the first. The punishment expert lay prone upon his bed staring anxiously toward the stranger as he pushed open the door to the bedroom. In order to hide his sense of shame and humiliation, the punishment expert once again pushed aside his quilt to reveal that he had not only wet the bed but had also soiled it with a pile of his own shit. But the experiment had progressed in much the same manner as the night before-he had woken up at the last moment. In a voice tinged with sorrow, he said, "Come back tomorrow. I promise that I'll be dead by tomorrow."

The stranger failed to give these parting words his full attention. He gazed with pity upon the punishment expert, feeling as if he should tell him about the flaw. The flaw was simply this: after ten hours, a bullet should appear, a bullet that would shatter the punishment expert's head. The punishment expert had spent ten years perfecting the ten-hour process that would lead to his own death but had neglected to include the bullet with which the episode must inevitably culminate. At the same time, however, the stranger was all too aware of the danger of such a revelation. His past would die along with the punishment expert. And he sensed that as long as he was with the punishment expert, his past was never far away. He left the room without having revealed his secret, secure in the knowledge that the flaw would ensure that his past was not lost.

On the third morning, however, the stranger found an entirely different scene when he pushed open the door to the punishment expert's bedroom. The old man had fulfilled his promise of the day before: the punishment expert was dead. He hadn't died on the bed. Instead, his body hung from a rope about a yard away from the bed.

Confronted by this reality, the stranger felt a withered clump of weeds begin to entangle his heart. The punishment expert's death forever precluded the possibility of any kind of connection with the four memories he had once sought. To gaze upon the punishment expert now was to see the lynching of his own past. He distantly recalled March 5, 1965. And at that very same moment, he remembered the punishment expert's fury when he had spoken of death by hanging. The punishment expert had finally chosen to take his own life by means of a degraded punishment.

It wasn't until he left the room much later that he discovered a note written on the back of the door:

I HAVE REDEEMED THIS PUNISHMENT.

The punishment expert had clearly been lucid and sober as he wrote this message, for he had concluded by carefully noting the date: "March 5, 1965."

Translated by Andrew F. Jones

Mo Yan – The Cure

That afternoon, the armed work detachment posted a notice on the whitewashed wall of Ma Kuisan's home, which faced the street; it announced the following morning's executions at the usual place: the southern bridgehead of the Jiao River. All able-bodied villagers were to turn out for educational purposes. There were so many executions that year that people had lost interest in them, and the only way to draw a crowd was to make attendance mandatory.

The room was still pitch-black when Father got up to light the bean-oil lamp. After putting on his lined jacket, he woke me up and tried to get me out of bed, but it was so cold all I wanted to do was stay under the warm covers-which Father finally pulled back. "Get up," he said. "The armed work detachment likes to get their business over with early. If we're late, we'll miss our chance."

I followed Father out the gate. The eastern sky was growing light. The streets were icy cold and deserted; winds from the northwest had swept the dust clean during the night; and the gray roadway was clearly visible. My fingers and toes were so cold it felt as if they were being chewed by a cat. As we passed the Ma family compound, where the armed work detachment was quartered, we noticed a light in the window and heard the sound of a bellows. Father said softly, "Step it up. The work detachment is getting breakfast."

Father dragged me up to the top of the riverbank; from there, we could see the dark outline of the stone bridge and patches of ice in the hollows of the riverbed. I asked, "Where are we going to hide, Father?"

"Under the bridge."

It was deserted under the bridge and pitch-black, not to mention freezing cold. My scalp tingled, so I asked Father, "How come my scalp is tingling?"

"Mine, too," he said. "They've shot so many people here that the ghosts of the wronged are everywhere."

I detected the movement of furry creatures in the darkness under the bridge. "There they are!" I shouted.

"Those aren't wronged ghosts," Father said. "They're dogs that feed on the dead."

I shrank back until I bumped into the bone-chilling cold of a bridge piling. All I could think about was Grandma, whose eyes were so clouded over with cataracts she was all but blind. The sky would be completely light once the cold glare from the three western stars slanted into the space under the bridge. Father lit his pipe; the fragrant smell of tobacco quickly enveloped us. My lips were turning numb. "Father, can I go out and run around? I'm freezing."

Father's reply was "Grate your teeth. The armed work detachment shoots their prisoners when the morning sun is still red."

"Who are they shooting this morning, Father?"

"I don't know," Father said. "But we'll find out soon enough. I hope they shoot some young ones."

"Why?"

"Young people have young bodies. Better results."

There was more I wanted to ask, but Father was already losing his patience. "No more questions. Everything we say down here can be heard up there."

While we were talking, the sky turned fish-belly white. The village dogs had formed a pack and were barking loudly, but they couldn't drown out the wailing sounds of women. Father emerged from our hiding spot and stood for a moment in the riverbed, cocking his ear in the direction of the village. Now I was really getting nervous. The scavenger dogs prowling the space under the bridge were glaring at me as if they wanted to tear me limb from limb I don't know what kept me from getting out of there as fast as I could. Father returned at a crouch. I saw his lips quiver in the dim light of dawn but couldn't tell if he was cold or scared. "Did you hear anything?" I asked.

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