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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"Cram it back in!" the old devil Kiddie Wu urged the people crowding round, but how in the world were they to do that?

Back in the pigpen, Wheatie Liu's wife had soiled herself; she could neither stand nor speak, and as she sat amid the muck and blood, she heard the shouts of someone running around the yard in a panic: "The former village chief has killed the current one!"

Wheatie Liu

Wheatie Liu had an older brother named Millet; his younger brothers were Rice and Beans. Most place and personal names in Fritter Hollow have something to do with food. If, for instance, someone is called Hundred Cereals, pretty soon there'll be someone named Thousand Cereals, then Ten Thousand Cereals; since the people of Fritter Hollow have no concept of million, the next in the series will be Heavenly Cereals, reaching the apex-until, that is, a rival family has a newborn baby whom they promptly name Gobble Cereals! Heavenly Cereals' family accepts the challenge, and the battle is engaged-fisticuffs, brandishing lit torches, and the like; few ever go so far as to pick up a knife and actually commit murder, as Talented Wu did.

Wheatie Liu was so fit that Talented Wu's attacks did not prove fatal, surprising no one. He even continued as village chief. No problem. Or hardly any. For three days after the death of Talented Wu, Wheatie Liu fell seriously ill. He'd never been sick a day in his life prior to 1992, as nearly as anyone could recall-not even a headache or a high fever. What could this mean?

Matters Relating to Wheatie Liu

Like most villages, Fritter Hollow boasted a school, which was located in a local temple, whose clay idols, painted or not, had long since disappeared. The school was charged with teaching the local tots how to read some basic words, such as attend school and finish school, cow and sheep, boy and girl ; how to write New Year's couplets, like "The earth is our mother" and "Nature rewards hard work"; and how to make banners for house-raisings that say RAISE THE ROOF BEAM FOR ETERNAL GOOD FORTUNE. There was a time when everyone had to know how to write "Fight selfishness, repudiate revisionism" and "Serve the people," but no one studied those things anymore.

Besides the school, Fritter Hollow had a country store, also like all villages, which had once been called a purchasing co-op; but now that name had fallen out of favor, and it was simply called the country store. Behind the country store, which was situated neither too far east nor too far south, stood a scrawny old tree of medium height, covered by fat red wriggling caterpillars known as hairy worms; actually, the name doesn't fit since they never grow real hair. Some people cook them over an open fire and eat them. Like all country stores, this one boasted a counter, some wooden shelves for stock, and blackened vats filled with soy sauce and vinegar. The shelves were lined with colorful canned goods and narrow-necked liquor bottles; ready-to-eat snacks and simple cotton goods were available plus, of course, hard candies. In the past, none of this stuff would have sold, but the coal mines changed that, and now it nearly flew out the door.

Every country store must have a proprietor; Fritter Hollow's proprietor had a scar on his neck, so everyone called him Scarface; a bit wide of the mark, perhaps, but Scarneck sounded funny, so Scarface it was. A man of thirty-five, Scarface was unusually fat. When there were no customers, he could normally be found sleeping atop the store counter. But on this particular day, he was running around busily, taking care of a steady stream of customers, until finally he asked one of them what was going on and learned that Wheatie Liu had fallen ill.

The first to buy canned goods and snacks to take along when calling on Wheatie Liu were men from the mines. They drifted in, made their purchases, and drifted out. Then came the villagers, who also drifted in, made their purchases, and drifted out. They came, and they came, and by nightfall the shelves were empty.

Broad Bean, the final customer of the day, was carrying a flashlight.

"Why so damned late? I've got nothing to sell," Scarface said.

"Who all's going?" Broad Bean could have kicked himself for being so late and letting the others buy up everything.

"People these days are all fucked up," Scarface blurted out. "Smell that," he continued, sniffing the air. "The guy's been dead for days now, and nobody's doing anything about it."

"Why don't you bring it up with Wheatie Liu?" Broad Bean said, flashing his light back and forth across Scarface's face. Back and forth, then straight in his eyes, then back and forth again. "Got the nerve?" Broad Bean asked.

A Conversation of Sorts

In twenty or thirty years' time, when members of the next generation of Fritter Hollow's inhabitants look back on their glorious history, they may well talk about the time Wheatie Liu took ill and received 500 gifts of canned food. If that's all they say, of course, the word history is being ill served, so I must break in with a more revealing look at what happened that time Wheatie Liu took ill.

A conversation was recorded between Broad Bean and Wheatie Liu as the latter sat on his own kang, leaning up against a colorful backrest; the sides of the brick bed were decorated with depictions of colorful pomegranates, peonies, plum blossoms, watermelons, rabbits, bananas, pears, peanuts, apricots, and of course, magpies and goldfish.

Wheatie Liu had been enjoying a leisurely smoke when Broad Bean entered; the table, the kang, and the windowsill were all but covered with canned goods and packaged treats brought by well-wishers. It was a lovely sight, but to Broad Bean the real significance was the number of visitors it represented.

"Are you sick?" Broad Bean walked up and observed Wheatie Liu, who just smiled.

Here we must be reminded that Broad Bean's full name was

Broad Bean Tian and that Wheatie Liu's wife's name was Bean Sprout Tian, which tells you all you need to know about the relationship between Wheatie Liu and Broad Bean.

"Me, sick? No fucking way!" Wheatie Liu scooted up next to Broad Bean and whispered, "I just wanted to see if people would treat my death as meaningless, like they did with that other guy."

"How could anybody compare that murderer to you?" Broad Bean stared wide-eyed.

"What about that murderer?"

"Well, maggots are starting to wriggle into his yard," Broad Bean said with a shudder.

"It's still not time." Wheatie Liu smiled again. "Let him stink," he continued as he looked at the red scars on his arms.

Broad Bean held his tongue and studied his fingernails, first the left hand, then the right.

"Count them, see how many there are." Wheatie Liu, his eyes mere slits from the broad grin, pointed to the colorful array of canned goods. "See for yourself. I told people not to come, but they came anyway, didn't they?"

Broad Bean started counting, from the table all the way to the windowsill. "Three hundred and twenty-seven," he said.

"Now count the ones inside."

Surprised that there were more in the other room, Broad Bean froze for a moment before going in to see for himself. "A hundred and seventy-three," he said as he reentered the room.

"Go tell Scarface I want to see him," Wheatie Liu said. "It's business." He tossed a cigarette to Broad Bean.

That's as far as I need to go with this conversation. While I can't comment on its broader significance, on the surface at least we have learned that Wheatie Liu wasn't sick at all; and that is the beginning of yet another story. I've thought about whether I ought to see where this story takes us. I could, for example, say:

Fritter Hollow once had a village chief named Wheatie Liu, an upright, fair-minded, and handsome individual. One day, he took ill and was visited by a steady stream of well-wishers, young and old, male and female, all bearing gifts of canned food and prepared snacks, nearly wearing out his threshold. They wished him a speedy recovery. Fritter Hollow's accountant, Broad Bean Tian, dropped by, discovering to his surprise that Wheatie Liu wasn't really sick at all. This gave rise to an intricate tale. Listen up, for this is what happened…

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