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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"What's the matter?"

"Go to sleep. I'll just sit for a bit. I thought I'd be able to sleep with you here. But it isn't working."

"Maybe I can help."

I tossed away her cigarette and pulled her under the covers, and I began stroking her attentively. In order not to see her face and thereby spoil my mood, I even turned off the light. Every part of her I touched felt nice. It was like stroking an ivory sculpture. I'm normally easily excited. Yet strangely at this point, I was quite calm. The sensations somehow stopped at my fingertips and would not go higher.

"Enough, that's enough," she said harshly. With a jerk, she sat up. "You're just wasting your energy." She climbed out of bed and switched on the overhead light. She put on the jeans and shirt still damp with water stains. Then she put on her jacket.

"I'm not mad at you. Just a little restless. I have to go and take a walk." Her voice had become soft again. She put her hand into her pocket and pulled out a key. "Here's your key. I thought I could use it to make you stay. I've been alone for too long. I'm glad you came tonight. All I wanted was to have a good sleep for a change. You tried, but it didn't work. Not your fault."

"It's late. Want me to come with you?"

"No. I always walk alone. You've let me have my way in everything. I want to thank you for that. Just let me go take a walk alone now. You can either sleep here or at your own place, whatever."

I heard the door shut, then the cast-iron gate. The sound of footsteps resumed after a long hiatus. I turned my eyes toward the ceiling; it suddenly seemed to have become transparent. Against the pitch-black sky, I could see a pair of feet rise up and then come down. As though through a translucent glass, the feet came down, turning from murky to clear until I could even make out individual footprints.

The feet walked straight on. Following them, I returned to my own apartment.

In my imagination, I stroked the feet walking over my head. Yet the only thing I could really make out was the sound. It was like her voice, very soft, very young, yet not tempting. She was beautiful, both her body and her voice. Yet rather than tempting, she repelled. I was tempted by the repulsion. At this very point, I tried to respond to her repelling footsteps with my own spirit, not with my voice or with my body. I had already tried that. It didn't work.

I don't know how long it took, but I finally fell asleep. Even the wavelike noise of the cars below didn't wake me up. In my dream I was trod on by the everlasting feet, every single step treading on me. Suddenly I thought, In the whole human body, only the basest things, the feet, always leave traces on the ground. The things that never leave any traces are the head and the sexual organs.

Thus I slept on in a daze until the doorbell started ringing insistently.

9

At the door stood a middle-aged woman. She was very friendly and very gossipy. She said she was my neighbor, the owner of 602. She happened to be in the neighborhood so dropped in to have a look.

"I don't know why, but my door was open," she said. "It's happened before."

"Did you give the key to anybody?"

"No, never."

I followed her into 602. I could smell the faint scent of cigarettes. The rooms were very neat. On the desktop, there was a thin layer of dust.

I asked, "Anything missing?"

"Nothing much is kept here. Nowadays, what thief would steal a blanket? I wanted to trade this apartment. I've looked but just haven't found the right one yet."

"Why trade it?"

"It's haunted." She glanced at me and then said mysteriously, "A young couple moved into six-oh-one, your apartment, right after the building was completed. The woman was pretty, a baby face. The man was handsome, too. He could carry a bicycle all the way up to the sixth floor without even being out of breath. Then the woman went on a long business trip to Xinjiang. The man jumped out of the upstairs window."

She led me to the corridor and pointed to a spot downstairs. From way up here, no trace was visible.

"Dead?"

"Of course he was dead. Six floors. How could he survive?"

"After that, a lonely single woman moved in. She had such white skin and a soft, gentle voice. Also a baby face. She never made a sound all the time she was here. Nobody even knew if she was in there."

"No friends ever came to see her?"

"Didn't seem to." She pointed to the tunnel. "One night, real late, a tunnel clean-up crew found her."

"Dead?"

"Dead. Hit by a car. They say she slammed into the wall. Internal bleeding. Maybe the liver was punctured. Hit-and-run."

I let out a deep sigh.

"That's why I had to move out of here. This building is unlucky. Used to be a cemetery."

I invited her in. She looked around, then said she had some business to take care of. Said she'd drop in some other time. Before she left, she remarked in a small voice, "They say that every night there's the sound of footsteps on the roof. I've never spent a night here. Did you hear anything last night?"

"I was exhausted by the move and was asleep as soon as my head hit the pillow. Didn't hear a thing."

"True enough. Moving is hard work."

"Take care."

10

Over the past half year, I've paid close attention to next door but have heard nothing-except for one day when the light went on. I happily went to knock on the door. Out came a young man, then a young woman from the north. They were on their honeymoon.

Whenever it rains, the stain appears on the ground in front of the door. Rain or shine, I always avoid that particular spot. I've got used to the sound of footsteps on the roof. I feel lost if I don't hear it.

Once, I climbed onto the roof to take a look. A couple of TV antennas stood there like scarecrows. Out of the blue, I snapped the ground wire: it was very brittle. There was also a Coke can and a cigarette butt. I walked back and forth on the roof. It was big enough to hold a basketball court. Below me, not far off, cars were whizzing in and out of the tunnel. They looked tiny. The wind was strong up there.

Off in the distance, in Huangpu West, stood many tall buildings. I recognized one of them as either the Hilton or the New Jinjiang.

I stood on the roof for a long time, as though I, too, were a scarecrow.

While climbing down, I lost my footing and scraped my arm. The wound was red, with pink liquid oozing out. I opened the cast-iron gate and closed it behind me. Then I opened the door to my own apartment and closed it. I opened all the doors in my apartment: bathroom, bedroom, study, pantry, even the balcony door. I also opened all the windows.

Above the balcony, the rope was still swinging gently in the wind. Sunlight slanted through, casting its swaying shadow on the wall. My potted chrysanthemum had long since withered, leaving only the bare, brittle branches. Its shadow was also cast on the wall. The shadow, too, was dead, dead still.

I glanced downstairs. All of a sudden, I felt the urge to jump. I wanted to leave my own mark on another piece of concrete. Leave it with my head.

Jump. Just that.

I returned to my room and closed all the doors and windows. Then I sat in the armchair she had once used and poured myself a glass of beer. There was a lot of foam, which didn't go away until I finished a cigarette. The foam was this deadly white, like the tunnel entrance on a rainy day, like her neck.

While drinking the beer, I thought of a metaphor. Her ugly navel was just like the tunnel, upon which I depended for my coming and going.

I sat like that until late into the night. I knew that these few days would pass uneventfully. Then on a rainy night, I would take a walk. I would walk into the tunnel to breathe the damp foul air. I would study the grimy stains on the wall. Perhaps behind me would be the sound of footsteps on the roof. I would not look back. At this point, the doorbell rang.

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