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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Never have I felt so strongly that this painting of a sleeping lion is an inferior work. The more I look at it, the uglier it seems. Waking up from an absurd ten-year dream, I don't know whether to laugh or cry. Who would have thought that this thing was totally worthless? Although antique collecting is found among all peoples and is a very noble pastime indeed, certainly foreigners are the only ones who hang plows and wagon wheels upon their walls in an attempt to be sophisticated. Here in China, what are a mere hundred years? Back at my maternal grandmother's house, the broken dish she feeds the cat out of was made during Guangxu, and my father's father in the countryside has a flowerpot in his courtyard that is a Qing monochromatic Shiwan piece from 1851.

The poor brass lion lies tucked away somewhere in Leizhou, lost in dream.

My emotion spent, I still cannot internalize what has transpired. And what if the lion really had belonged to the Tang or the Song, or even to the Qin or the Han, what then? Everything might be different.

In my stupor, I peer at the silk again. Is that me in the picture?

I decide to hang it on the wall.

Translated By Susan Mcfadden

Wang Xiangfu – Fritter Hollow Chronicles

Opening

I have enormous respect for storytellers. I tried to teach myself how to do it once, but in the end I had to admit it was not to be. The story that follows, for instance, should be packed with entertainment value, but it isn't much of a story when I get through with it. Way back in 1990, I was all set to study the art of storytelling with Comrade New Day Tian when of all things, he was swept away in a windstorm of unprecedented ferocity. The additional costs of that windstorm to Fritter Hollow included seven old oxen, eight colts, and fifty-two goats (some say fifty-six); it also shattered the grammar school windows and sent snowy shards of glass swirling into the air. What that means, of course, is that I'll have to grope my way through the story, starting with the following opening:

In the heart of Fritter Hollow lies Fritter Village, home to a carpenter by the name of Tian, who had a son called Broad Bean. To ensure that Broad Bean would have a long life, the carpenter Tian gave him the name Broad Bean, and after a dizzying procession of springs and autumns, Broad Bean appeared as a grown man of thirty-one. Our story opens in 1992, at noon one summer day, when Broad Bean, lathered with sweat, came running breathlessly up to the village boss, Wheatie Liu, informing him that not a single person had dared enter the home of the murderer Talented Wu all morning. Since it was an abnormally hot day, Broad Bean fanned himself with his straw hat as he watched seven or eight average-sized drops of sweat line up on Wheatie Liu's forehead and drop neatly to the ground, followed by a second, virtually identical formation. But instead of looking at Broad Bean, Wheatie Liu gazed fixedly at the knife scars on his arms, which had been there for years: five on the left arm, seven on the right, red in color and very deep.

"Check it out again," Wheatie Liu said without looking up.

At twilight, two or three average-sized pale yet pretty stars appeared in the sky, sort of to the south and sort of to the west, as Broad Bean ran breathlessly into the village for the second time. "No one dared enter the home of the murderer Talented Wu all afternoon!" Broad Bean reported. This time he did not fan himself with his straw hat.

"Sit down, have a drink," Wheatie Liu said, patting the edge of the red-lacquered brick bed, his kang. Broad Bean saw a bottle and some snacks on little plates on the nearby red-lacquered table- only three plates, and what they held is not important. "You're drinking again?" Sitting cautiously on the edge of the kang, Broad Bean kept his eyes glued to Wheatie Liu.

"Why shouldn't I?" Liu said. "I'm happy!"

So Broad Bean joined him. He held out one of the little ceramic cups, which was filled noisily; they clinked cups and drained them. A noisy refill, more clinking and draining. "I'll drain his old lady!" Wheatie Liu said, opening his mouth wide. He turned thoughtful, refilled his cup, and drained it. "That murderer got off cheap!" Liu said, turning thoughtful again as he refilled his cup and drained it. This time, Broad Bean fumbled with his cup to catch up. He tossed down the wine, and the blood drained from his face. "No more for me!" he said as he leaned over the edge and heaved twice. "That murderer stinks to high heaven!" He jumped off the kang, hand over his mouth, and ran outside, where he emptied the contents of his stomach for the benefit of a black pig strolling through the yard: urrp -the stuff landed right on the pig's tail. A quick swish transferred it up to its snout, all but the little bit that soared over to the window- splat .

"So the murderer stinks that bad, does he?" Wheatie Liu asked tensely as he walked into the yard, undid his pants, and sent a stream of piss into the pigsty.

The Background

Time for some background:

Now I won't bore you with talk about what kind of mountains Fritter Hollow has or what its waters are like. Suffice it to say that Fritter Hollow has both mountains and waters, heavy on the former-a whole undulating range of them, like a string of cow patties-and you could probably walk for five or six days without reaching the end. Not much in the way of waters, however. In fact, one scrawny, twisting stream is about it.

The people here are not rice eaters-that should be obvious. The barren slopes of the mountains yield only stumpy buckwheat, stumpy oats, and stumpy millet-that and some long millet and huge quantities of mountain yams, with an occasional crop of mung beans. Naturally, you'll also find wild hemp, with its bright-blue flowers. Not much in the way of legumes and tubers: mostly yellow yams, purple yams, yellow radishes, and carrots. People are quick to admit that yellow-skinned radishes, those coarse, chunky things, are pretty awful, but they keep pushing out their red-skinned cousins, which can't gain a toehold no matter how hard they try. The other green you see sometimes is cabbage, which carefully forms itself into tight little circles, each layer of leaves wrapping itself around the treasure lying at the center, which, when the thing is sliced open, is revealed to be nothing more than a skimpy cabbage heart.

In truth, Fritter Hollow was once a bitterly barren place. Now while people often equate the word bitter with poverty, in 1992 no one was prepared to call Fritter Hollow impoverished. That is because our great and wise government decided to permit the locals to dig tunnels into the mountains, some deep and some shallow, from which black rock was extracted. Narrow, twisting asphalt roads were built, pale-faced folk from the south moved in, and that led to a surfeit of tales regarding loose behavior. Generally speaking, southerners call that black, flammable stuff coal, but in Fritter Hollow it's called charcoal; it stands to reason that the black tunnels are called charcoal pits. The discovery that the term charcoal pits was unacceptable is linked to Wheatie Liu, Fritter Hollow's village chief, which meant he had the responsibility of overseeing activities at the charcoal pits even though people could no longer call them that; when 1992 rolled around, Wheatie Liu was being called the mine boss. Which is also what people once called the murderer Talented Wu.

Who, then, is Talented Wu?

A Village Tale

In order to tell this story reasonably well, it is necessary to introduce Talented Wu, the murderer. Strictly speaking, you'd be lucky to find a single person in Fritter Hollow with anything good to say about Talented Wu. The explanation is as apparent as the cobblestones in the road. Talented Wu, the murderer, led a bunch of men over to the mountain quarries west of the village, where they dug seyen or eight tunnels without extracting a single lump of coal; not only that, he wound up owing the village the grand sum of 140,000 yuan. That does not take into account the two hard-luck fellows who were crushed to death, both of whom were posthumously admitted into the Party: one was Small Stuff Wu, who had incredibly small genitals-about the size of lima beans-hence the name Small Stuff, and the other was Greater Principle Zhou, about whom more later (although the randy things I'll have to say about him should probably be kept from any women present).

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