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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Father said, "Great-Grandmother's bad luck can be turned to good." Father was better at dealing with the affairs of the underworld than with those of this one. All members of the older generation are like that.

The most shocking event occurred at midnight. On that blue night filled with the odor of dynamite, my house fell into an utter life-and-death confusion. We held a wake according to Father's orders. Great-Grandmother's coffin was placed in the central hall on two supports. I slept under the coffin; a soy-oil lamp flickered weakly in front of the coffin all night. A number of white candles dozed amid long coils of incense. Uncooked noodles, steamed bread, and cubes of tofu and bean jelly were covered with lead-colored ash. The sound of a pile driver could be heard outside, vigorous as a cow but a little breathless. My ancient home seemed in decline, filled with an atmosphere of death. Just after midnight, nearly everyone holding the wake fell asleep. A few of my uncles were sitting around a small square table, their eyes shining with a green light. They were playing mah-jongg. Each piece they placed on the table sounded as heavy as a coffin.

"Two."

"Eight ten-thousands."

"Match."

My ears were filled with the shouting that followed as they played. Dreams like bats fluttered at dusk, their bodies flitting nervously. I don't know if I slept or not. I'm not sure. Those days when I slept, I seemed to be awake, and when I was awake, I seemed to be asleep. And the dreams I dreamed-half the time I couldn't tell what was real and what wasn't. I heard Seventh Uncle say, "Last game. After we finish this hand, let them take over." Then came the sound of shuffling mah-jongg tiles like a summer rain falling on Lake Taihu stones. Hearing these sounds, I was as if in a trance, but I clearly heard the sounds that followed. Betokened by the gods, I heard a sharp sound coming strangely from the edge of heaven. I propped myself up and barely missed hitting my head on the bottom of the coffin. I smelled the strange odor of the coffin and heard the sound of fingernails on the wood. I shook my head. It was completely quiet. Apparently, they heard something. We exchanged a look of terror. We clearly heard the sounds coming from the coffin, which functioned like a bass drum, amplifying the criticism and dissatisfaction of Great-Grandmother's fingernails against the coffin. My hands went slack, a number of my uncles looked at me, and their eyes shone to their biological limits. The scratching of her fingernails on the coffin was weak but frenzied, like the sharp, doomed cries of a rat in the mouth of a cat. Full of death's fervor, Great-Grandmother must have opened her cataract-covered eyes in the darkness and, at the same time, opened her toothless mouth. Great-Grandmother longed for light and space. Great-Grandmother's tiny three-inch bound feet-her golden lotuses- must have burst with energy as they kicked out twice, decisively opening a crack behind us as a cold wind blew in from eight hundred miles around.

Fifth Uncle said, "Open it up. Hurry! Open it up." Actually, Fifth Uncle didn't express himself in such a clear manner-his tongue was stiff as salted meat.

At first, Third Uncle didn't utter a word. Then he said, "Why weren't her fingernails clipped?"

We suddenly remembered Great-Grandmother's pointed gray nails. This threatening material became the most frightening part of a future countryside legend. We all held our breath, all our energy focused on listening. The sounds grew weaker and weaker, the pauses longer and longer. Finally, dead silence. To this day, I still believe that Great-Grandmother's left index finger was sticking up. We all knew she had her reasons for not prying with her nails, but we still waited a long time.

After the funeral procession, Great-Grandmother's descendants strode over the torches. In the field, the torches formed a wall between life and death. No, that's not accurate. After you've stepped past the torches, you've crossed over the screen between life and death. Flames blazed between each person's legs, and purplish smoke fled into the sky, where it formed a variety of hieroglyphs like difficult-to-decipher prophecies left by the ancients. All I know is that half were written on sheepskin, the other half in the sky.

Entering the passageway at home, we just had to pause. I said, "Let's take a look at Great-Grandmother's garret."

Father said, "Everyone else stay put. He and I will go up alone."

We opened the door, and a cold wind from the last century spread its long hair and long nails toward us. Her garret was devoid of furniture, save for a bed and a dressing table. Father and I were at a loss. Our curiosity was like a free-falling body in reality.

Father said, "Shoes. Your son's little red shoes." I stepped forward. My son's red shoes were under her bed, toes pointing toward the bed plank. I also saw my old, beat-up Nikes. Behind my Nikes, arranged in order of age, were a pair of green army shoes, a pair of cotton shoes, a pair of cotton slippers, and a pair of wooden clogs. I noticed that the shoes, which were laid out in a spiral, seemed to gaze at one another with a light-footed expression. Confident yet ridiculous. It was at that moment that the illusion occurred. I saw the arrival of the ranks of my clan in a long spiral procession. They greeted me in our local dialect and the inherited manner of our clan. Like time, they were toothless, their eyes clouded with cataracts.

Father said, "What's this? What's going on here?"

I was on the point of asking my father the same question. But hearing his voice, I held my tongue.

Translated By John Balcom

Yang Zhengguang – Moonlight Over the Field of Ghosts

Dou Bao was awakened by a full bladder. Throwing off his ripped and torn quilt, he sat bare bottomed on the edge of the kang, two spindly legs feeling the ground for his sandals. When he found them, he shoved his feet in and shuffled out the door of the cave. Dou Bao never bothered to bring a chamber pot to bed at night, not even in the winter. He just relieved himself as soon as he cleared the doorway. Since it was summer, he walked a little farther, until he was standing in front of the levee. The moon was bare bottomed, too. He raised his head, and in the quiet of the night he heard his piss flow in a rivulet down the side of the levee.

He shuddered, then shook himself. As he turned around, he spotted someone sitting on the rock in front of the cave. In the bright light of the bare-bottomed moon, he could see that it was his daughter, Dou Gua. She sat there so silently, resting her head in her hands, that her body seemed to have grown out of the rock. Dou Bao's face twitched.

He shuffled past his daughter. He lit the oil lamp, then climbed back onto the kang to put on his clothes. He reached for his pipe on the stovetop connected to the kang and settled back with his legs crossed. He knocked the bowl of his pipe against the stove twice, and his daughter entered the room.

Dou Gua rested her backside on the edge of the kang but didn't look at Dou Bao. Puffing away on his pipe, Dou Bao soon finished a bowl of tobacco, and still Dou Gua hadn't spoken. He refilled his pipe, the long stem tilting stiffly upward, as if to say, Fine, go ahead and just sit there. Sit until dawn if you want. But…

"He's dead," Dou Gua announced.

Dou Bao's face twitched a second time. The stem of his pipe seemed to go limp, almost drop off, but quickly tilted upward again.

"He followed me to the Field of Ghosts. I hit him with a rock. It caught him on the forehead, and he went down. He must be dead," she said. "He was still on the ground when I left. I killed him."

Dou Gua thought she heard a swish. The whip that Dou Bao used to herd sheep hung behind the door, its thong snaking quietly down the mud wall. She knew by experience that that was how it sounded when it skimmed past her ear; she felt a muscle on her back jump. Actually, nothing moved. The oil lamp had crackled, sending off a spark and causing the shadow of the whip on the wall to flicker.

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