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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A pretty common opening, if you ask me. What do you think? I realize that my readers are concerned about why Wheatie Liu would feign illness following the death of Talented Wu. So here goes.

Yet Another Conversation

In Fritter Hollow, July is the best month to eat corn. On one particular night, Broad Bean's wife, Jade Beauty Wu, sweat oozing from every pore in her body, was boiling a pot of corn. Broad Bean was eating fragrant kernels right off a cob, using both hands. As he munched away, he told his wife to light a coil of mosquito incense. She walked over to the kang and lit one. "That guy pocketed seven or eight hundred just by getting sick," she muttered for the umpteenth time. His patience long since worn thin, Broad Bean reached out and poked her a couple of times on one of those fleshy spots of hers. "Fuck you!" he said.

Broad Bean's wife giggled. Picking up the mosquito coil, she walked over and set it down on the windowsill, then leaned her head back to sniff the air. "What a stink! If fucking doesn't kill me, the stink will."

Broad Bean also leaned his head back, then gagged and turned to run outside; before he got there, he puked all over the floor.

"You're supposed to do that in the pigpen," his wife said. "Who do you expect to eat it in the house? Your father?".

"Fuck you! I'll feed it to your mother if I feel like it! What if somebody heard you?" Broad Bean wiped his mouth. "I think I'm going to do it again."

His wife went outside and returned with the family pig in tow to clean up Broad Bean's yellow mess, but the animal turned its nose up at it.

"Fuck you, you old sow!" Broad Bean kicked the pig. "You're more pampered than Wheatie Liu!"

"That Wheatie Liu is no one to fool with," Broad Bean's wife said from the side. "I guess everyone's scared to make a phone call to the district office."

"Not so loud. Why don't you go?" Broad Bean said. "Take a look outside, make sure there's nobody around."

Telephone

Fritter Hollow had a telephone, but hardly anyone ever used it. Countryfolk don't need such things; if they have something to say, that's what fences are for. If the district office called, it was always to talk to someone in charge about tying off tubes or wearing diaphragms or fertilizer costs or planting trees or water conservation. So there isn't much to say about telephones. The only reason they ever came into the lives of the citizens of Fritter Hollow was because of the episode when Talented Wu cut Wheatie Liu seventeen times, an incident that resulted in the loss of one of Maple Leaf's eyes. Big Eye Liu at the district clinic later had this to say: "You didn't think of making a phone call? If you'd called the clinic, would she be blind in one eye today?" Now that caused a real stir among the people.

In the final analysis, residents of Fritter Hollow thought about many things in their day-to-day lives: plows, hoes, axes, spades, picks, baskets, hampers, creels, carrying poles, wicker ornaments, pickle vats, manure sacks, rats, insects, dogs, pigs, donkeys, cows, cats, mules, goats, sheep, peppers, aniseed, salt, vinegar, children, women, eating, sex, and more; but they never thought about telephones. Until August 2, 1992, that is. That was five days after the death of Talented Wu, and Greater Principle Zhou's younger brother, Lesser Principle, suddenly thought about the telephone. "Why doesn't somebody call the epidemic-prevention station?"

Greater Principle Zhou spread himself across the counter and said to Scarface, "Let the epidemic-prevention people come over and collect the body of that fucker Talented Wu."

"Who will make the call?" Scarface asked as he handed over the telephone. "You?"

Greater Principle Zhou clammed up at that and rolled his eyes. "You want me to offend Wheatie Liu?" He spat in disgust.

No one else advocated telephoning the district office either, even though the stench from the ripening corpse was getting to them all, and they were dabbing wine on their upper lips to counteract it. Whose idea that was no one knows, but soon everyone was doing it; even the notoriously henpecked Kiddie Wu managed to talk his wife into giving him some wine, which he then guzzled down, having suffered a long dry spell.

How Do I Wrap This Up?

Comrade New Day Tian once said that telling a story is a bit like weaving a basket: hard to start and hard to wrap up. But my stories seem to start out all right; it's wrapping them up that I have trouble with. This story about Fritter Hollow is a case in point; I have no idea how to end it. But I'll give it a try:

Neither Broad Bean Tian nor Scarface went straight home that day, since Wheatie Liu seemed to be softening his position a bit. They talked and they cajoled until Wheatie Liu decided to go with the current; he gave the OK to bury Talented Wu and put his own vengeance to rest. Broad Bean Tian and Scarface wasted no time getting on with the preparations, heading immediately for Talented Wu's home, where they were greeted with the revolting sight of a steady stream of maggots crawling out the door…

Sorry, I can't do it. That ending simply doesn't work since in point of fact, it was Wheatie Liu who summoned Broad Bean Tian, and not as I have given it above. This, then, is how the tale is supposed to end:

Without warning, Wheatie Liu summoned Broad Bean to his home. Seated all nice and proper, he smiled and said, "Call the fucking epidemic-prevention station, and have them dispose of that murderer!"

Broad Bean could hardly believe his ears. "You want me to call the district?" he asked with staring eyes.

"That's right."

It was another scorcher that day, and Broad Bean's shirt was soaked through by the time he reached the country store, where several men were drinking. They were quickly let in on the news that Wheatie Liu had told Broad Bean to phone the district.

Lime

Before I take up the matter of lime, I need to deal with the aftermath of Broad Bean's telephone call to the district. The very next day, two very ordinary individuals-one tall, the other short, but enough of that-came to the village; when they strode into Talented Wu's courtyard, they drew the attention of Fritter Hollow villagers, who followed behind them-at some distance-to see what they would do inside the house of Talented Wu, the murderer. Everyone had pretty much stayed clear of the place over the past six days, but now a few people rested against the compound wall just in time to see the two district personnel come charging out of the house, ashen faced, and run straight to the medium-sized tree outside his yard, where they emptied the contents of their stomachs.

"What are those chickens doing in the yard?" someone asked.

"Eating maggots!" one of the district personnel replied. He had been vomiting so energetically that tears clouded his eyes.

Repulsion quickly showed on the villagers' faces.

"We have to spread some lime," the man said, "and put something under our noses."

Just before dark, Fritter Hollow villagers saw the two men from the district epidemic-prevention station enter Talented Wu's house and spread lime all over the floor; it showed up very white in the fading light of dusk but was quickly marked up by chicken tracks.

That evening, villagers repeatedly chased chickens out of the yard, sending the squawking birds flying over the wall in the direction of the tree.

How about that, enough of an ending for you?

No? Then, how about this (briefly):

The day after the epidemic-prevention personnel spread lime in and around the house was yet another scorcher. The villagers, having learned that Wheatie Liu had said it was OK to put Talented Wu into the ground, rushed over to watch, turning it into a festive occasion and raising clouds of dust. There they saw Wheatie Liu, in his straw hat, walk over to the shade of the tree in the company of the two district personnel; people at the rear of the crowd were too far away to hear what was being said but not too far away to see the strangers put on rubber gloves and spread a sheet of plastic on the ground, then dip their gauze masks in strong wine.

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