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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Great-Grandmother said, "They've all left us." I knew she was referring to our neighbors of old. "Your great-grandfather told me that our days as neighbors were limited," she said. When Great-Grandmother spoke, her perfect mouthful of teeth shone like fossils. "When this house was built, the Chong Zhen emperor had not yet ascended the throne." When she finished speaking, she heaved a long sigh and said nothing more for the rest of the night. Piercing my ears and her silence, that long sigh was like the light of a comet falling back across the ages to the Ming dynasty.

I saw our house moving in the fluid of time, and the shore upon which the arcing waves broke was Great-Grandmother's teeth. That's really weird.

After seeing Great-Grandmother back to her garret, Father said, "You've been on the road all day, better go to bed early If there is anything to do, it can wait till tomorrow. You two sleep in your mother's and my bed." When he finished speaking, Father opened the lattice door to the east wing. I remembered that Great-Grandmother's coffin had always been stored there and that every year Father applied another coat of black lacquer tinged with red For decades, the coffin had calmly followed the revolutions of the earth around the sun with Great-Grandmother, both exchanging positions of responsibility, looking forward to each other. They had a mutual understanding that each would give the other its or her significance and eternal ending.

"Where are you going to sleep?" I asked Father.

"In your great-grandmother's coffin," said Father.

My wife gave me a nervous look. Unsure, she refrained from talking. Father quietly closed the door, and the east wing quickly became black as the giant pupil of an eye.

Once in bed, my wife said, "Why does he sleep in a coffin?"

"It doesn't matter, we're all one family. Dead or alive, we're all together."

"The living can't live with the dead, no matter what," said my wife.

To comfort her, I said, "That's the way our family does things. There's nothing unusual about sleeping in a coffin; sometimes we even fight over who gets to sleep in it. I had an older brother and an older sister who died young. Great-Grandmother wouldn't permit them to be buried outside, so we buried them under the bed."

My wife sat up immediately. "Where?"

"Under the bed." I tapped on the wooden planks of the bed with my foot, making a hollow sound. "Right under this board."

My wife's eyes shone with fear. She clutched my arm and said, "Why did your family do that?"

"It's not just our family," I said. "Every family is the same."

My wife held me tightly by the waist. "I'm scared," she said. "I'm scared to death."

* * *

I called you home for Great-Grandmother's sake."

"Is she going to die soon?" I asked.

Silently, Father shook his head. "If only that were the case," said Father. "I don't care what anyone says, all I wish is for the old lady to die."

I asked him what was the matter and how he could say such a thing.

Father lowered his head and said nothing. Father's silence reminded me of Great-Grandmother at another time.

"In another ten days or so, your great-grandmother will be one hundred years old," said Father. It looked as though Great-Grandmother had become a wooden cangue on him. Father lifted his head, looked at me, and asked, "Did you see her mouthful of teeth?"

I didn't understand Father. I couldn't figure out what he was driving at.

Father tugged at the cuff of my Western-style suit and, lowering his voice, said, "If a person lives to a hundred and still has all her teeth, she'll become a demon after she dies."

"How can that be?" I asked.

"Why shouldn't it?" asked my father.

"Who ever saw anyone become a demon?"

"Did anyone ever not see a person become a demon?"

How could that be possible? I asked myself. My back seemed to go numb and felt all prickly. I saw in Father's eyes the same look I had seen in my wife's. She was afraid of death, but my father was afraid of life.

Explosions were heard all around our house. Several dynasties were reduced to rubble and dust in the strong smell of dynamite. The state of relative rest between buildings and debris is what the history books call a dynasty. The workers had done their utmost to ensure that a building would last. Later, people would complain, "What's the point of making it so solid? Dynasties are like buildings and teeth-they grow, and they crumble." The smell of dynamite is like incense in a Buddhist country-it alters the mystery present in the redeemer's posture.

My son walked haltingly around the courtyard. Holding on to the same small redwood stool that I had held on to when I was a child, he played by himself in a corner of the courtyard. He was absorbed in playing with a bamboo chopstick. After two hours, he was drooling and humming a hymn only God could understand. Great-Grandmother stood in another corner of the courtyard, eyeing my son and listening to him sing. It must have been because of him that she hadn't gone upstairs. Great-Grandmother approached my son, and they conversed with a natural affinity in a language not understood by other human beings. On their faces played an essential correspondence given to man by Nature, echoing each other like sunrise and sunset, relying on each other's heartbeats to transmit spring, summer, fall, and winter, making of humanity the most wonderful quintessence of the universe. They talked. There was no interpreter. It was the way the wind understood the sound of the leaves, or the way water guessed the direction of the waves, or the way light saw the mirror, or the way one pupil could contain another.

"They seem to be having fun. What are they playing?" my wife asked.

Great-Grandmother turned and said to me, "When I die, take a piece of cloth from your son, wrap some of his hair in it, and sew it into the cuff of my sleeve."

"What is all this talk about death? You're still young."

"Don't forget," said Great-Grandmother.

"All right," I replied.

"It doesn't matter how long you live-as soon as you open your eyes, it's time to close them," Great-Grandmother said, smiling. "If you talk about long life, then it will be among the shadows. Remember-a piece of cloth. Don't forget."

Great-Grandmother's hundredth birthday was slowly drawing nearer. My house was shrouded in fear like the dust that silently covered the table and porcelain.

That night, Father's twelve brothers gathered at our house. I sat to one side. In my imagination, Great-Grandmother's teeth emitted a sound like breaking ice. The men smoked quietly. In their preoccupation was the solemn atmosphere of having arrived at a juncture in history. No one spoke. At a silent juncture in history, the first conclusion is the direct equivalent to the outcome of history. This is our accustomed way of doing things. At that moment, a rumble was heard outside. The sound reminded me that the road home had sent me back to the Ming dynasty, which caused me to tremble even more.

Finally, Father lifted his head in the smoke and said firmly, "Pull them." He turned to look at me. His look made me feel that I couldn't bear the weight of history. I smiled. But even I didn't know what I was smiling about. On many important occasions, I wore a foolish smile, my heart empty as the wind. I suspect that many of those present saw my foolish smile.

After things had quieted down, my wife complained, "Why are things such a mess? Why is your family such a mess? The boy's hands are always twitching."

"He'll be fine soon," I said. "He'll be fine in a couple of days. He'll calm down soon."

"I can't find the boy's shoes," my wife said.

"How could they disappear? Who'd want such little shoes?" I asked.

My wife said she couldn't find his red shoes. I looked everywhere. A little impatiently, I said, "If they're gone, they're gone. Just buy another pair tomorrow."

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