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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"Let's go! Old Guo's wife has fermented-bean-curd-and-oil fritters waiting for us."

They crossed the bridge, heading north, their footsteps sounding like an avalanche. The rock flooring, creaking and shifting, could have come crashing down at any moment. Or so it seemed to me.

The quiet returned.

Father nudged me. "Don't stand there like an idiot. Let's do it."

I looked around me, but nothing made sense. Even my own father seemed familiar, but I couldn't place him.

"Huh?" I'm sure that's all I managed to say: "Huh?"

"Have you forgotten?" Father said. "We're here to get a cure for your grandmother. We have to move fast, before the body snatchers show up."

The words were still echoing in my ears when I spotted seven or eight wild dogs, of a variety of colors, dragging their long shadows up off the riverbed in our direction; they were baying at us. All I could think of was how they had turned and fled at the first gunshot, accompanied by their own terrified barks.

I watched Father kick loose several bricks and fling them at the approaching dogs. They scurried out of the way. Then he took a carving knife out from under his coat and waved it in the air to threaten the dogs. Beautiful silvery arcs of light flashed around Father's dark silhouette. The dogs kept their distance for the time being. Father tightened the cord around his waist and rolled up his sleeves. "Keep an eye out for me," he said.

Like an eagle pouncing on its prey, Father dragged the women's bodies away, then rolled Ma Kuisan over so he was facing up. Then he fell to his knees and kowtowed to the body. "Second Master Ma," he intoned softly, "loyalty and filiality have their limits. I hate to do this to you."

I watched Ma Kuisan reach up and wipe his bloody face. "Zhang Qude," he had said with the trace of a smile, "you will not die in bed."

Father tried to unbutton Ma Kuisan's leather coat with one hand but was shaking too much to manage. "Hey, Second Son," I heard him say, "hold the knife for me."

I recall reaching out to take the knife from him, but he was already holding it in his mouth as he struggled with the yellow buttons down Ma Kuisan's chest. Round, golden yellow, and as big as mung beans, they were nearly impossible to separate from the cloth loops encircling them. Growing increasingly impatient, Father ripped them loose and jerked the coat open, revealing a white kid-skin lining. A satin vestlike garment had the same kind of buttons, so Father ripped them loose, too. After the vest came a red silk stomacher. I heard Father snort angrily. I have to admit that I was surprised when I saw the strangely alluring clothing the fat old man-he was over fifty-wore under his regular clothes. But Father seemed absolutely irate; he ripped the thing off the body and flung it to one side. Now at last, Ma Kuisan's rounded belly and flat chest were out in the open. Father reached out his hand but then jumped to his feet, his face the color of gold. "Second Son," he said, "tell me if he's got a heartbeat."

I recall bending over and laying my hand on the chest. It was no stronger than a rabbit's, but that heart was still beating.

"Second Master Ma," my father said, "your brains have spilled out on the ground, and even the Jade Emperor couldn't save you now, so help me be a filial son, won't you?"

Father took the knife from between his teeth and moved it up and down the chest area, trying to find the right place to cut. I saw him press down, but the skin sprang back undamaged, like a rubber tire. He pressed down again with the same result. Father fell to his knees. "Second Master Ma, I know you didn't deserve to die, but if you've got a bone to pick, it's with Chief Zhang, not me. I'm just trying to be a filial son."

Father had pressed down with the knife only twice, but already his forehead was all sweaty, the stubble on his chin white with icy moisture. The damned wild dogs were inching closer and closer to us-their eyes were red as hot coals, the fur on their necks was standing straight up, like porcupine quills, and their razor-sharp fangs were bared. I turned to Father. "Hurry, the dogs are coming."

He stood up, waved the knife above his head, and charged the wild dogs like a madman, driving them back about half the distance an arrow flies. Then he ran back, breathless, and said loudly, "Second Master, if I don't cut you open, the dogs will do it with their teeth. I think you'd rather it be me than them."

Father's jaw set, his eyes bulged. With a sense of determination, he brought his hand down; the knife cut into Ma Kuisan's chest with a slurping sound, all the way to the hilt. He jerked the knife to the side, releasing a stream of blackish blood, but the rib cage stopped his motion. "I lost my head," he said as he pulled the knife out, wiped the blade on Ma Kuisan's leather coat, gripped the handle tightly, and opened Ma Kuisan's chest.

I heard a gurgling noise and watched the knife slice through the fatty tissue beneath the skin and release the squirming, yellowish intestines into the opening, like a snake, like a mass of eels; there was a hot, fetid smell.

Fishing out the intestines by the handful, Father looked like a very agitated man: he pulled, and he tugged; he cursed, and he swore; and finally, he ran out of intestines, leaving Ma Kuisan with a hollow abdomen.

"What are you looking for, Father?" I recall asking him anxiously.

"The gall bladder. Where the hell is his gall bladder?"

Father cut through the diaphragm and fished around until he had his hand around the heart-still nice and red. Then he dug out the lungs. Finally, alongside the liver, he discovered the egg-sized gall bladder. Very carefully, he separated it from the liver with the tip of his knife, then held it in the palm of his hand to examine it. The thing was moist and slippery and, in the sunlight, had a sheen. Sort of like a piece of fine purple jade.

Father handed me the gall bladder. "Hold this carefully while I take out Luan Fengshan's gall bladder."

This time, Father performed like an experienced surgeon: deft, quick, exact. First, he cut away the hemp cord that was all Luan Fengshan could afford for a belt. Then he opened the front of his ragged coat and held the scrawny, bony chest still with his foot as he made four or five swift cuts. After that, he cleared away all the obstructions, stuck in his hand, and, as if it were the pit of an apricot, removed Luan's gall bladder.

"Let's get out of here," Father said.

We ran up the riverbank, where the dogs were fighting over the coils of intestines. Only a trace of red remained on the edges of the sun; its blinding rays fell on all exposed objects, large and small.

Grandma had advanced cataracts, according to Luo Dashan, the miracle worker. The source of her illness was heat rising from her three visceral cavities. The cure would have to be something very cold and very bitter. The physician lifted up the hem of his floor-length coat and was heading out the door when Father begged him to prescribe something.

"Hm, prescribe something…" Miracle worker Luo told Father to get a pig's gall bladder and have his mother take the squeez-ings, which should clear her eyes a little.

"How about a goat's gall bladder?" Father asked.

"Goats are fine," the physician said; "so are bears. Now if you could get your hands on a human gall bladder… ha, ha… well, I wouldn't be surprised if your mother's eyesight returned to normal."

Translated By Howard Goldblatt

Ai Bei – Green Earth Mother

Earth Mother, a mythical, benevolent Buddhist saint, is the central icon in the Potala Palace. She is said to have seven eyes, with which She can see into people's hearts. Her right leg is stretched out in symbolic suppression of anger and realization of mercy. Earth Mothers come in five colors-white, red, blue, yellow, and green-of which green is the most basic. A powerful roc with golden wings is perched atop the green Earth Mother's head; it is Her protector.

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