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 situation is rapidly deteriorating. Should Yellow Hair turn and strike the bell, the army would come charging in and torch the hut.

Old Wu has been muttering to himself; he must have something up his sleeve. "All right, you don't know how to read, you're uneducated; it's not really your fault. But common folk have to obey the law, too. The law states that the land belongs to the nation, including the skeletons in the ground. Even if your great-grandfather had gold bricks and silver ingots buried with him, don't think you could touch it. This is no bluff. Nowadays the government is picking up people like caterpillars; the man with the chop that's round and not square-the man with the government chop-is the man who gets to point the finger. And if, when they look at your family history, they find one tiny bit of dirt, they'll push you into a bad social class, then walk you right past the hall of justice to where the firing squad is waiting."

Old Wu is a real hero, who approaches all matters from a position of strength. He threatens and coddles, mixing truth with fiction, his cause just and his message stern. I watch the stonecutters pale as they exchange glances. Silenced.

A psychological attack is best, and we won't stop until their number has been called. Old Wu shouts a command: "Return the brass lion to the ancient tomb, and handle it carefully!"

Total victory. Their troops withdraw.

The wicked still fear the law.

But is there really any law? I am not so sure. And if it did exist at one time, where is it now? In point of fact, it's there if you want it to be but disappears when you don't. At times of crisis, we offer it up as a sacrifice, but when the crisis has passed, we no longer think in such terms. To what higher court can one appeal? The Farm Headquarters political department? The Yanghuo County Revolutionary Committee? There are countless serious matters to seize hold of and promote; moreover, the people who have not been deprived of schooling are not necessarily more intelligent than the stonecutters. Foolish people can be taught. We are taught wherever we go, but no one will talk reason. Most frightening of all are the teachers who extract political elements out of the nonpolitical, revolutionizing the very life out of our bodies.

Back at the dormitory, the brass lion eats away at our gray matter, and we find it difficult to sleep at noontime. Old Wu pontificates about Shang wine cups, Zhou tripods, Qin and Han tiles. Yellow Hair does not aspire to such refined topics. I worry that we will be forced to let the truth be known and say that during the current "movement," we made a mess of this unidentified tomb, stirring up all sorts of spirits and unleashing the primal forces of nature.

Only now does Old Wu, our wise sage, wake up. "Since the world is the way it is, it's best not to publicize this incident. No one is able to communicate with heaven, and no one can frighten the authoritative scholars of history into action. Those who might are under house arrest or have been banished. Who has any authority these days? When academia itself founders, it's tough to be a scholar."

Should we bury the lion here for a few years, or should we make a switch and pretend it is still inside the tomb? Old Wu announces that he is up for family leave next month and that he would prefer to take the relic back to his hometown, where he can hide it in his house. Leave it to him to come up with this plan. Over the last couple of years, his home has been searched twice, and there is no guarantee that it won't be searched again. Besides, with him off in another part of the world and the road home long and arduous, what would his family do if that happened?

Who would have thought this matter would become so irksome? Without warning, a sleeping lion enters our stagnant-water lives, and suddenly towering waves crash upon us, and we are surrounded by whirlpools. The world is fraught with peril.

Yellow Hair has no plan of his own, but he is quick to agree with other ideas. "Don't scratch your ears and rub your temples like an old pedant," he says. "Do you think we have to stuff it back into the coffin and bury it for it to be at rest? Aren't you afraid of the stench? Any way you spread it, that precious relic can't leave this precious place; that would have disastrous consequences for the local geomancy."

We are agreed in principle but continue to debate until I have a brilliant idea. Aren't we about to put up the roof truss? We can add a few extra diagonal stays between the roof beam and the purlins, making an attic the size of a chicken coop that no one will ever notice, allowing the lion to continue its peaceful slumber.

Shouts of approval on all sides. Master Yellow Hair says he'll take care of the details. To think of the violent criticism and revolutionary struggles that will take place in the meeting hall while the brass lion, the emblem of royalty and imperial power, sits solemnly overhead, reigning over all-an interesting picture, indeed.

What lies in store now for the sleeping lion, already steeped in the vicissitudes of history? Will our own fate be linked to it? Maybe the sleeping lion will be our charm in days to come, and we'll be famous throughout the nation on account of this great achievement.

After a moment's reflection, I say, "That would be wonderful, of course, but in keeping the relic for individual fame and fortune, let's not forget what is ethically proper. For educated youths like us, the nation and the people come first; so as soon as an opportunity arises, we should turn the piece over to a museum." Old Wu quickly adds that when he visits his family next, he will make inquiries in the provincial capital.

The blood courses even more passionately through our veins. Although confined to a wasteland, we have not forgotten our duty to the motherland, and this, the thought of our spiritual loyalty, moves us greatly.

Who would have guessed that before long, our dream would be shattered? When we go out to work that afternoon, there is no sight of the outside laborers, and when we poke around in the chamber we find not only that the brass lion has not been returned but that many of the broken vessels have been carted away as well. What a band of wily foxes! We run straightaway to their lair, only to find that the place is deserted.

We stomp our feet, fuming, unable to contain our venom. Yellow Hair, especially, having never had a chance to see for himself if the object is brass or iron, is so angry that his yellow hairs are all standing on end. He vows to bring the stonecutters back, even if we have to traverse the four corners of the earth. Then it occurs to me: this place cannot be compared with the mainland, for on Hainan even if you sprouted wings, you would find it difficult to escape. The only way out is to hop on a boat at Haikou. Why not travel to the county seat and seal off the bus station-someplace where the law exists, where they won't be allowed to act as they please. If the stonecutters try to pull something funny, we can insist on seeing these officials, who will hardly be able to pardon them.

More shouts of approval. It is resolved that we will skip half a day's work and cut over to the highway to thumb a ride. The trucks that pass are mostly from the farm. Some stop, some don't. We press our way along the dusty road to the county bus station, which we carefully comb three times, then wait in ambush until the last bus finally prepares to leave, and we have nothing to show for our efforts.

Disconsolate, we make the rounds of the town. Anger fills every pore in our bodies, but we still need to eat, which in turn necessitates that several bottles of whiskey be opened. These we drink in silence. Soon, though, we begin to curse the band of thieves and then one another, for not having acted more decisively in the first place and for expecting the roving bunch of dirty thieves to have a change of conscience. The liquor and food are gone, and I hide a couple of plates to keep the tab down. Yellow Hair reaches under the table to snatch a machete from the seat of an intoxicated Li aborigine. A gentleman, Old Wu takes only half the toothpicks in the jar. We derive little pleasure from these pranks, however, for our setback has been too great.

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