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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The old man understood.

The tea mellowed on the second brewing. They sat facing each other without a word or a sound.

Oh, her waist was still hourglass thin. Even at her age.

Yes, she's old now. Time flies like an arrow; everyone grows old. What's so special about growing old? How boring life would be without change.

What is there to be sorry about? What else do you have? In the end, what does anyone have? Doesn't everyone come into the world naked and leave the same way? How pleasant that the stove is so warm tonight, the tea steeped so well, and that you and I can still drink a cup together.

She took a sip of tea.

The old man took a sip of tea.

The gloomy look on the old man's face vanished, replaced by a spreading glow. He was at peace, refreshed.

They sat, and they sat, and they sat, a hint of happiness and joy occasionally flickering across their stony faces.

The dark-blue flames were no longer dancing. The coals in the stove were completely red, burning silently. The rolling steam atop the kettle turned to white smoke and curled upward.

Was that a cat or a person outside? Tiptoeing back and forth, then stopping just outside the door for a long time before walking on.

The tea weakened considerably on the third brewing. The old man stood up and paced the floor. Each piece of furniture was where it had always been; only the colors had darkened-spotlessly clean, but already the color of death. The sandalwood incense had burned out; the ashes had fallen to the floor. The smell of mildew emerged from the four corners of the room. It was the old, rotten sort of mildew that the sun could not burn off or shine through.

The old man was reminded of something. He asked, "Did this flare up again?" He pointed to his heart.

Without turning her head to look, she answered clearly, "Twice, both times in the winter, and both times I was hospitalized."

The old man said, "I had two attacks, too, also in the winter, and I was hospitalized. We're the same." The old man laughed like a child. She smiled.

"Well, I should be going," said the old man.

She rose slowly and picked up his hat. The old man leaned forward and lowered his head; she stood on tiptoes to place the hat properly on the old man's head.

Oh, her waist was still hourglass thin.

The old man put his hands on the slender waist. "I'm no longer an official. I can finally relax."

"You should be going," she said.

The old man's grasp loosened. He was secretly ashamed. Had she not stopped him so quickly he might have broken his word.

In the dark shadows, she put on her once costly woolen coat and tied a scarf over her head. Looking like a baby in swaddling clothes, she raised her wrinkled forehead and said, "Come again if you haVe time."

The old man turned back and looked at the stove, at the old-fashioned armchairs, and at the two nearly empty teacups. Then he looked into her calm, quiet, humble eyes and said, "All right."

She escorted the old man to the front door, curling up inside the doorway.

The old man stopped, turned, and waved her back inside. She stayed for a moment, then retreated; the shiny black door creaked.

In the instant before the two doors met, the old man thought he saw a single teardrop ooze through the crack.

The old man hurried back to where he had been and touched the spot where the tear had emerged; it was wet. He touched his finger to the tip of his tongue and tasted it. Salty and sweet at the same time. When he touched it again, the whole door was wet. The plum rains were still falling, softly and sadly.

The fog turned the alley vast and hazy; the fog turned the street vast and hazy; the fog turned the boulevard vast and hazy. The outlines of tall buildings were blurred; dark shadows were everywhere; lights in homes were dim as starlight. The sky and the earth fused at the horizon, misty and blurred, a ball of chaos. Even if you were a good son, how could you clear away the clouds and fog and stop the wind and rain to seek a sky you yourself loved? No, let nature take its course; nature is fair, so why must we seek things by force?

Take a step back; the sea and sky are boundless.

The old man said to the driver in an unusually calm tone, "I've made you wait too long."

Translated by Scott W. Galer

Kong Jiesheng – The Sleeping Lion

It is hot today. In this place, it is hot every day. There are no distinct seasons, so no one can ever remember what month it is. To be sure, the weeks and months bring incidents of note, but after a while even those merge and blur. In this remote corner of the world, we have forgotten even the year.

We are, in any event, dripping sweat, even a little blood. Not that a man would die here; it is only that staying alive somehow doesn't seem to be one of our major concerns.

Old Wu-Number Five-is scraping his metal pipe.

I position our homemade level.

Beads of sweat fall on the scalding trowel, hissing into steam, and the mountains quiver in the summer heat. At this latitude, the sun is eternally fierce, the day eternally long. The body's biological clock all but stops. If it weren't for the stone wall rising layer by layer, you would think today is a carbon copy of yesterday or perhaps of one day sometime last month. There are moments in this green basin when we desperately wish something would happen to dot the white expanse of time-like the night when someone who went outside to take a leak looked up to see a white spot streaking upward, receding into the heavens' canopy, finally melting into hazy silver. Presented with this rare display, we carried on for several days, pondering how these spirits augured for the future. Then when the newspaper was delivered, already many days late, we learned that our own satellite had traveled into space! Old Wu, for whom there are no mysteries, announced that the launching site was on this island of ours and that this region, being close to the equator, allowed the launch to be both swift and convenient, and on and on. We were quite proud, and our meal of dried turnips and rice seemed crunchier and tastier than ever before. All of us felt that our nation and our people had suddenly become much stronger.

The trowel taps monotonously. Under the scaffold sits a pile of sheer-white plaster. Bright, silvery clouds float overhead, effortlessly reflecting the red sun, sweeping away human shadows without a twinge of conscience. Who knows how many of these masses of steam have been wrung from our bodies?

Even men can be scorched to a crisp. I think of cursing but save my breath. With a parched throat, there is little point in swearing. Blame it all on the legendary Yi, who shot down only nine of the ten suns.

Suddenly, an explosion.

"Thunder?" I hear myself ask.

Hey, thunder god, is that you? Deafening, blinding noise.

Only then do I see the brown smoke curling slowly over the opposite ridge. What is it? "Over there," we call to one another and scramble down the wobbly scaffold.

At last, a special event to make up for the tedium. The outside laborers, having blasted open an underground tomb, are running in all directions. As if transfixed by evil magic, the men gaze from afar at the rumbling black vault with its eerie glow.

Few people take themselves less seriously than the membership of our little group. Valor wells up in me, for I have nothing to lose, and in spite of the presence of a strange, vile smell, I leap inside. There I see the sleeping lion.

It has been blown onto its side and lies among fragments of coffin planks, but I am awestruck. Heavy and icy, the brass green manifests an ageless deep sleep. The long day we once cursed has now become so short and abrupt that we lose all sense of time.

Vessels and pots are also strewn about. Neither Old Wu nor I turn them over, so completely are we seized by the simplicity and majesty of this sleeping lion.

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