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 outside laborers keep their trade secrets to themselves. Their blasts produce scarcely any reverberations, the sound waves seemingly swallowed up into deep crevices. Every year when we expand our frontiers by opening up the mountains, we try to appropriate a small quantity of dynamite to throw at fish in the river, in the hope of varying our otherwise vegetarian diet. Damnably, control is tight, one stick to a ditch, and without this stuff there is no hope of snaring even a bit offish scale.

They do not use sticks of dynamite; heaven knows what alchemy they perform. Do you think you can glean their secrets? They pretend not to understand what you say and refuse to let an outsider observe them at work. Even stranger is the imported marvel called directional blasting, of which we have heard vague mention. Who would have guessed that the Leizhou natives mastered this technique long ago, for they are able to set off silent blasts that are devoid of flying chips, and they do so in seeming disregard of their own mortality. Worthy indeed to be the descendants of the men who invented gunpowder. Although this technique is primitive, the clan has passed down its secret for years, perfecting it with each successive generation.

The riddle of their existence is particularly elusive.

Even the concept of outside laborer is tarnished and suspiciously independent of the established social order. In our civilized nation, the relatively advanced notions of isms and social classes dictatorships and party lines permeate the hearts and minds of even women and children.

What could have befallen the homeland of these nomads? Was there a restoration? A coup? Is their fee divided up according to work points, or do they split it evenly? Such a casual approach to compensation flies in the face of political economics.

Our brains are routinely washed, our tails routinely lopped off. But as we listen to nightly lessons on political struggle, we can hear in the distance the pounding of rocks, and we feel sorrowful and alone. When we aspire to conquer the mountains and rivers and then remember that we are stuck in this anthill of a meeting room, we have new regard for our comrades in the wilderness who continue the revolutionary struggle apace.

But then comes our epiphany: in a land so vast, with a population so great, some things just shouldn't be too conscientious. The people from Leizhou are capable of overturning anything and yet seek only to keep their families from starving. Their stomachs are not thinking organs. They do not concern themselves with philosophy.

And so it is as if we were living in different worlds: our philosophies conflict, our political lines differ, yet we coexist in peace.

Sleeping brass lion!

Well water and river water wage war before the ancestral graves.

"Who's in charge here?" We rush into their self-contained hut. Old Wu towers above the group, his voice ringing out, his query threatening.

No response. The scorching white rays of noon creep in to reflect detached wooden faces.

We take a look around, but of course the brass lion is nowhere in sight. We have never seen anything like this: woks on stone, bedding on stone, with no cushioning pads. The bed planks shine where sweat has polished them. The hammer handle of hard bamboo, which they replace daily, has been split into kindling and flickers and sputters as the cassava roasts.

I once thought that we were wanderers, unencumbered with material possessions, going nakedly about our life's business. But these fellows are the true nomads, a fact that somehow serves to deepen my awareness of their ability to endure hardship. When I realize that people can survive under such extreme conditions, our own incessant complaints seem rather petty. But no matter how pathetic the stonecutters look, I'll not relent, even if they begin to chew on cassava bark. So I shout out, "Hey, we're talking to you!"

"Don't pretend you can't hear us!" Old Wu chimes in forcefully.

It is like advancing upon a steadfast and impenetrable stone wall, which causes the invading enemy to crumble in despair. Pity that their knack of self-preservation does not fool us: we understand each other only too well.

Yellow Hair is furious: "Up your mother's… Don't play dumb with me. Hand over the brass lion right now!"

They respond by smoking a long bamboo water pipe, which gurgles loudly as it is passed from one sinewy hand to the next. A secret signal, perhaps? After one round, the black faces still do not appear contented; on the contrary, they now seem savage.

I decide a change of tactics is in order. "Do you know what that mound of dirt is? A national treasure! Aren't you Chinese?" Wasted breath, playing a zither for a cow. They're Chinese, but they're pretending not to understand Chinese. Damn them!

The cassava is done, but it could cook until it was burned to a crisp, and we'd still be at a standoff. How could these obedient citizens have become so greedy and contemptible so suddenly? Is it that they're too poor and they want to make some money? They had to have heard Yellow Hair's insults and challenges, yet their gaunt faces remain unmoved. Their bulging biceps twitch dangerously, signaling nervousness and anger, as if to say that no matter what country or region they are from, they are still human beings, not beasts of burden to be abused.

Old Wu, who normally thrives on conflict, is silent.

Who is the flying dragon of strength here? We are. Who is the snake accustomed to this turf? Again, we are. It is not they who can hurt us but the other way around. Except that it would appear we can't do much. What-beat them to death and boil them for dinner? Very well, the countryfolk's stubbornness and tenacity have not gone unnoticed. Now we must come to grips with this type of warfare.

"Surely, at least one of you must have had some schooling? You must know what a historical relic is. You can't eat it, and you can't do anything with it, so what's the point of keeping it? Are you hoping to make a couple of yuan? I'll give it to you straight: this piece of brass is a priceless treasure; it has no price, understand? When something is so valuable that its value cannot be reckoned, you won't be able to dispose of it. If you try, the Public Security Bureau will get wind of it and will clap handcuffs on you in no time flat."

This seems to have had an effect. One of the younger members of the group looks uncomfortable, glances at his fellow workers. But as long as they continue to act dumb like this, it's still rats pulling a turtle-there's no place to get a handhold.

My remarks arouse Yellow Hair, who lets forth a barrage of patriotic invective and then announces that we have already reported the situation to Farm Headquarters and that the security section is sending someone out to guard the grave. "Know how the security section makes its living? Don't wait to see the coffin before you start crying."

Good old Yellow Hair, every word worth its weight in gold.

With this exchange, the cassava gets really burned, and the stonecutters finally open their mouths. Leizhou-style Mandarin is pretty awful, every syllable harsh and palatal, and the grammar is a mess. But their message is clear: they were the ones to blast open the unclaimed tomb, and finders are keepers.

What an infuriating band of rogues. We'll see who first discovered this national treasure. Why, if Old Wu and I hadn't come onto the scene, they would have been scared out of their wits and probably would have set off firecrackers and burned paper money to drive away the evil spirits.

"Watch what you say. Whose turf is this, anyway?" My face grows stern.

Fearless leader Yellow Hair is undaunted. "This is a case of piling earth on top of the emperor's head. What nerve! Leizhou men, go back home, and dig up your own ancestral graves!"

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