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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Pothook was the only individual who drank every day and could afford to do it. His younger brother, Panhook, a ranking official in their native province, sent him twenty or thirty yuan every month-he spent it on drink.

Pothook was not one to eat anything with his wine, which he drank warm. He had a unique method for warming his wine: he made a little pocket in the crotch of his pants, where he tucked away the wine bottle after every couple of swigs.

Pothook liked to share his wine. "Come on, take a fucking swig for your grandpa here." He'd then suck in his breath, making a hollow in his wrinkled belly so he could reach down into his crotch to bring out the bottle. It would be nice and warm. Besides the smell of wine, the bottle carried other odors, rank enough that some refused the offer. But others, less fastidious, hoisted the bottle like a bugle and- glug glug -took a healthy swig. Pothook, his eyes crinkled in a smile, would cock his head to watch, his mouth opening and closing as if the liquid were pouring down his own throat.

As soon as Pothook was drunk, he staggered off toward the graveyard, muttering the same two lines from a folk song:

When I think of you in the daytime, I climb the wall to you; When I think of you late at night, there's nothing I can do.

Once he reached the graveyard, he lay spreadeagled atop a large stone to sleep it off. Weather permitting, he would strip naked, exposing his skin to ants and an assortment of bugs.

"Go on, go down to the graveyard, and carry Grandpa Pothook back. We can't let him catch cold," one of the older generation would say to one of the younger ones, who would take four or five friends along.

When he had sobered up a bit, they would start teasing him: "Do the tiger hop for us, Grandpa Pothook!"

And he'd reply, "I'm too old for that sort of stuff."

"You're not too old," they would say as they wove a tail out of tall grass.

Pothook would hold the rope in the crack of his ass and begin hopping all over the place. Instead of falling out, the tail would smack loudly against the scrawny thing hanging between his legs. That had everybody in stitches.

Now they were carrying him back once again, but this time Grandpa Pothook uttered only a single comment before passing out for the last time: "Bury me in Widow Three's grave."

Never expecting him to say something like this, everyone who heard him stared blankly into space.

Translated By Howard Goldblatt

Can Xue – The Summons

When Old Mu Xi woke up, he found himself lying on a small wooden boat afloat on a pitch-dark river. The silent river was very dirty and so wide that he couldn't see the banks. Nor were there any other boats in sight. The setting sun declined in the extreme west like a tiny red button falling into the black waters of eternity.

Old Mu Xi sat up and stretched, remembering he once had looked forward to this day for a long time, and now it had come, yet in the interim he had managed to forget about it. He looked around and found that the river was not flowing and his little boat was motionless. Furthermore, the boat had no oar on board. Once in a while, a breath of ill wind from nowhere dusted his face as lightly as if it were both there and not there. The little boat would move some distance in the breeze before stopping again. Old Mu Xi thought to himself, Turns out there's not much going on here.

Suddenly out of nowhere, a faint call could be heard: "Old Mu… Xi! Old…"

Old Mu Xi gasped and was dumbstruck, yet the call resounded in his ear. As he heard that baleful voice, his vision began to blur, and his whole body became extremely old and feeble. He struggled, trying for the last time to pronounce a syllable: "Zhuo," he said, then dropped to the deck of the little boat like a piece of firewood, his glazed eyes turned up to the gray-black sky. He was sinking back into memory.

More than a decade before, Old Mu Xi had inherited a sum of money, which he and a friend used for investments. Together, they bought a piece of uncultivated land, where they decided to grow corn. They set to work immediately, but the heavens seemed to be against them. Four years running, they harvested almost nothing because of bad weather. Mu Xi and his friend encouraged each other and continued to work hard. Finally in the fifth year, they were rewarded with a bumper crop. Just before the harvest, Old Mu Xi's friend suddenly suggested a distribution plan, insisting he should get three-fourths of the crop. He also criticized Old Mu Xi for his lazy way of working. He even hinted that the money Mu Xi had used to buy the land came from questionable sources.

All of this struck like a lightning bolt. During the ensuing quarrel, all the villagers took the side of Mu Xi's friend. Old Mu Xi knew that the villagers sided with his partner because he himself was a widower and without family. In the countryside, a widower was an ill-fated figure. Ultimately, Old Mu Xi watched his friend claim all of the harvest and also threaten Mu Xi not to get close to this piece of land-since the harvest belonged to him, the land naturally was his also. All the villagers supported Old Mu Xi's friend.

After several sleepless nights, Old Mu Xi killed his friend with a sickle and began his prolonged life as a fugitive.

He always chose to travel on mountain paths, especially those that ran through dense, primitive forests. He was not afraid of losing his way. As a matter of fact, so much the better if he lost his way, because then nobody could find him. Over several months of rain and wind, he gradually developed a pair of iron soles and an animal's stomach-now he could survive by eating leaves. During that period, the shadow of horror forever hung over him, forcing him to flee frantically. Surprisingly, the animals in the forests never harmed him. Instead, they all went their own way and coexisted without any trouble.

One evening when he had just emerged from a forest, he vaguely heard a gong. He thought it was sounded by people trying to catch him, so he quickly hid in the bushes. The people passed him by, however, laughing and talking. They turned out to be a troupe of acrobats traveling by night.

Perhaps people had already forgotten about the murder he had committed. Perhaps nobody in the village had ever thought of either reporting or capturing him. Perhaps the mountain forest he was in at the moment was far, far away from his hometown. It could be anything. But not once had Old Mu Xi pondered these possibilities. He considered what he had done to be so serious that he didn't believe there could be any pardon. Holding such a belief, he walked hurriedly through the bushes, his body scratched bloody. This character trait was destructive, driving Old Mu Xi to hide out and separate himself from other people.

Several years of dining on the wind and drinking the morning dew passed. Long thick hair grew on Old Mu Xi's body. His clothes had been worn out for some time, and long brown hair sneaked its way out through the holes. One day when he was taking a bath in the river, he was startled to see the reflection of his body. After careful thought, he felt greatly relieved: from then on, he no longer wore clothes. When he met up with people, he didn't feel so frightened because he figured nobody could recognize him. But in his stubborn mind, he refused to accept the possibility that he might get away with his crime. By now, he had become set in this way of thinking.

Life in the forest was extremely monotonous. He couldn't get used to eating meat, particularly raw meat, so he never caught small animals. His daily task was to find tender tree leaves to eat, and he disliked staying in one place-his imagination needed constant refreshing-so he was constantly on the move, picking leaves along the way to keep up his strength. He frequently encountered people as he went; without exception, they screamed and ran away, and at that moment he would feel an unreasonable satisfaction.

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