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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"That's ridiculous," said my wife. "Yesterday you lost a pair of Nikes, and today the boy's are gone. Ridiculous."

"Why make such a fuss over it?" I asked. "If Mother heard you, there'd really be trouble."

* * *

Pulling Great-Grandmother's teeth constituted a unique page in the history of my life. A drizzle was blowing that morning. You really couldn't call it rain-it was like rain and like mist but also like wind. The sky secreted a viscous historical atmosphere. The plot in our house got quickly under way. Only Great-Grandmother, who was the object of the plot, was left in the dark. We were prepared, nobody said a word. There was a sense of taking fate in our hands and of participating in the excitement of a historical mission, and there was the exhilaration of committing a crime. This is the way humanity commonly approaches history. Great-Grandmother was sitting at her window, easy as a dream, like an uneventful period in a historical record. All around her, we were motionless and silent, waiting for the signal to stand up and cast the shadow of ambush onto the ground.

Around noon, Fifth Uncle came to the house. He looked nervous and worried. Fifth Uncle called for Father. Standing under the eaves and facing Father, he said, "We can't get any anesthetic; it's too tightly controlled by the hospital."

Father's face darkened, looking like the moss on an ancient brick.

"Are we going to pull them or not?" asked Fifth Uncle.

Father said nothing. Facing Great-Grandmother's little garret, Father lowered his head and said, "Grandmother, you will just have to suffer."

It was damp everywhere. The accumulated dust swelled. For a long time, I was unable to wipe away the gray streaks from this part of my memory. All afternoon, my uncles sat in the central room, drinking. The table full of wine had been prepared for Great-Grandmother, so the old lady came downstairs especially early. She was all smiles. She couldn't see well, her eyes hidden behind an inauspicious shroud. Normally, her face wore a somewhat confused expression. As soon as Great-Grandmother sat down, my uncles toasted her. My father said, "Grandmother, you will be one hundred soon. May you outlast South Mountain and be more prosperous than the Eastern Sea."

Great-Grandmother laughed. "I can't live much longer," she said happily, holding her glass. "If I live much longer, I'll become a demon." Then she drank down the wine.

The faces of my uncles darkened, looking perplexed and alarmed. The wine glasses in their hands appeared heavy; they hesitated. Fortunately, Great-Grandmother couldn't see.

I have no recollection about the moment of silence that followed. Perhaps it was just a few minutes, or perhaps another layer of dust had settled on Great-Grandmother's shoulders-it has never been clear to me. At the end of that moment of silence, Father and his twelve brothers got up from their seats and knelt before Great-Grandmother. Her lips were slightly parted, and every tooth seemed to smile. Great-Grandmother said, "Get up, get up, my darlings, we haven't observed that custom in ages." The dark shapes of her darlings stood up. Fifth Uncle held a rope, Ninth Uncle gripped a pair of pliers, and Seventh Uncle held a redwood tray. They pounced on her and held her fast. In a few minutes, Great-Grandmother's teeth were all lying on the tray; the roots of her teeth were covered with bloody shreds of flesh. I stared at Great-Grandmother's teeth; in them, I saw humanity's direct intuition of time. It is our fear of time that makes us draw a link between teeth and their loss. Seventh Uncle handed the redwood tray to me. The thought vanished, and I can't remember much. Later, I was unable to recall what I was thinking at that time. All I remember is the swift, violent, harsh, and painful psychological experience. Later, I smelled the dynamite-the odor of the dynamite burned like ice. I was bitten by the odor.

Tenth Uncle said, "Elder Brother, I can't stop the bleeding. Should we take her to the hospital?"

Father said, "We can't. The doctor will know what happened as soon as he sees her."

Great-Grandmother had collapsed on the brick floor, her lips deeply sunken. Teeth are funny things. When they are there, they can't be seen, but as soon as they are gone, the face changes beyond recognition. Great-Grandmother's hundred-year-old blood spread around her lips and flowed more disorderedly than time. Great-Grandmother lay on the floor, breathing heavily. Her throat gurgled and creaked like oars. Her skin was slowly losing color and resembled traditional rice paper.

Ninth Uncle said, "She's fading fast."

Fifth Uncle said, "Get her some water. What are you doing standing around?"

Seventh Uncle tried several times; he lifted her head and shook it several times. It was no good, the water wouldn't go down.

At that moment, my son started crying in the west wing. I ran over and asked my wife, "What's going on? Can't you even take care of the child?"

My wife said, "If he wants to cry, what can I do? What's all that racket in there?"

I said, "It's none of your business. You are not to come out unless I call you."

While coaxing our son, my wife said, "Being in your house is like being in the eighteenth level of hell. One can barely breathe here."

I frowned and asked, "Are you finished?"

Father said, "Take down a door; the floor is too cold."

A bunch of old men scrambled to lay the very old lady on the door. I walked over and lifted her eyelids. The world of Great-Grandmother's life lay shrouded in darkness behind her cataracts. Softly, I called, "Old Ancestor, Old Ancestor." Her head slid from my elbows to my hands.

Her thirteen grandchildren all knelt at the same time. Their bowed backs made their kneeling look pious.

Great-Grandmother was laid out on the lid of her coffin. The coffin was at least thirty years old. Many familiar and unfamiliar people came to offer their condolences. They walked down the dark, dank passageway to bring funeral money and to eat a mouthful of the noodles prepared to celebrate Great-Grandmother's birthday. My father and his twelve brothers as well as the thirty-seven male members of my generation took turns burning funeral money. The ashes floated all around my house, and the smell of death from the money swirled around the people who walked through the house. The smell of death was so alive. Even the rats came out of their holes and skittered away, seeing that no one was paying attention.

Kneeling before Great-Grandmother, I felt my heart go numb. Being the son of her eldest grandson, I caught a relieved look in the eyes of my father's generation. They buried Great-Grandmother's teeth separately, eliminating the chances of her becoming a demon after death. I tried to imagine what Great-Grandmother would look like as a demon, but my imagination could not break through conventional human patterns and styles, and that left me disappointed. Several times, the flames from the burning funeral money painfully licked my fingertips. I knew that money from the underworld could burn the fingers just as the money from this world was ice-cold and thus not easily touched. Father cooked the noodles, one pot after another. Everyone from the village was there-not sure of what he or she wanted to see. Many of the people removed the paper from Great-Grandmother's face. Her mouth was ghastly looking. Death always fixes the mouth of the dead at the worst moment, making death seem hideous. People came and went, each one about the same. They came, striding over the threshold into our Ming-dynasty house; leaving, they strode over the threshold and down the ancient alleyway to leave the Ming dynasty. Everyone should have had this hallucination from the moral point of view, against which the powerful explosions were powerless.

Putting Great-Grandmother into the coffin a little early was a clear expression of how flustered my father and uncles were. The coffin housed my great-grandmother. A coffin is like a classic text that records the mysteries of life and death. My father said to us, "Hold a three-day wake for Grandmother's soul." When Father pronounced the word wake he touched the coffin. My heart jumped when I heard the word. What is a wake? In my imagination, a soul is more alive than life itself. This way of thinking left me worried, but I couldn't say it out loud, for that would spell disaster. The strip of yellow cloth from my son's clothes became a banner fluttering before my great-grandmother's soul. She relied on that vigorously waving banner to make her way with ease through the underworld where ghosts, big and small, could do nothing.

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