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 male figure climbed onto the roof of number 18. From a distance, it looked like a repairman. It was Shu Nong's father. Since the neighbors all called him Old Shu, that's what we'll call him here. To members of my family, Old Shu was special. I remember him as a short, stocky man who was either a construction worker or a pipe fitter. Whichever, he was good with his hands. If someone's plumbing leaked or the electric meter was broken, the lady of the house would say, "Go find Old Shu." He wasn't much to look at, but the women on Fragrant Cedar Street liked him. In retrospect, I'd have to say Old Shu was a ladies' man, of which Fragrant Cedar Street boasted several, one of whom, as I say, was Old Shu. That's how I see it, anyhow.

Let's say that some women doing their knitting see Old Shu on the roof of number 18. They start gossiping about his amorous escapades, mostly about how he and Qiu Yumei do this, that, and the other. I recall going into a condiments shop once and overhearing the soy sauce lady tell the woman who sold pickled vegetables, "Old Shu is the father of the two Lin girls! And look how that trashy Qiu Yumei struts around!" The condiments shop was often the source of shocking talk like that. Qiu Yumei was walking past just then but didn't hear them.

If you believed the women's brassy gossip, one look at Lin Hanzhen's father would strengthen your conviction. What did Old Lin do for a living? you ask. Let's say it's a summer day at sunset, and a man is playing chess in the doorway of the handkerchief maker's. That will be Old Lin, who plays there every day. Sometimes Hanzhen or Hanli brings his dinner and lays it next to the chessboard. Old Lin wears thick glasses for his nearsightedness. He has no special talents, but once after losing a chess game, he popped the cannon piece into his mouth and would have swallowed it if Hanli hadn't pried open his mouth and plucked it out. She knocked over the chessboard, earning herself a slap in the face. "You want to keep playing?" she complained tearfully with a stomp of her foot. "I should have let you swallow that piece!"

Old Lin retorted, "I'll swallow whatever I want to swallow, and you can just butt out!"

People watching the game laughed. They got a kick out of Old Lin's temper. They also got a kick out of Hanli, because she was so pretty and had such a good heart. The neighbors were unanimous in their appraisal of the sisters: they liked Hanli and disliked Hanzhen., Now all the players in our drama have made an appearance, all but Shu Gong and his mother, that is. There isn't much to be said about the woman in the Shu family. Craven and easily intimidated, she padded like a mouse around the downstairs of number 18, cooking meals and washing clothes, and I have virtually no recollection of her. Shu Gong, on the other hand, is very important, since for a time he was an object of veneration among young people on Fragrant Cedar Street.

Shu Gong had a black mustache, an upside-down V sort of like Stalin's.

Shu Gong had delicate features and always wore a pair of white Shanghai-made high-top sneakers.

Shu Gong had been in a gang fight at the limestone quarry with some kids from the west side, and he had had a love affair. Guess who he had the affair with.

Hanli.

In retrospect, I can see that the two families at number 18 had a very interesting relationship.

Shu Gong and Shu Nong shared a bed at first and fought night after night. Shu Gong would come roaring out of a sound sleep and kick Shu Nong: "You wet the bed again, you wet the goddamned bed!" Shu Nong would lie there not making a sound, eyes open as he listened for the prowling steps and night screeches of the cat on the roof. He got used to being kicked and slugged by his brother since he knew he had it coming. He always wet the bed, and Shu Gong's side was always clean as a whistle. Besides, he was no match for Shu Gong in a fight. Knowing how reckless it would be to stand up to his brother, Shu Nong let strategy be his watchword. He recalled the wise comment someone made after being beaten up one day on the stone bridge: a true gentleman gets revenge, even if it takes ten years. Shu Nong understood exactly what that meant. So one night after Shu Gong had kicked and slugged him again, he said very deliberately, "A true gentleman gets revenge, even if it takes ten years."

"What did you say?" Shu Gong, who thought he was hearing things, crawled over and patted Shu Nong's face. "Did you say something about revenge?" He smirked. "You little shit, what do you know about revenge?"

His brother's lips flashed in the darkness like two squirming maggots. He repeated the comment.

Shu Gong clapped his hand over his brother's mouth. "Shut that stinky mouth of yours, and go to sleep," he said, then found a dry spot in bed and lay back down.

Shu Nong was still mumbling. He was saying, "Shu Gong, I'm going to kill you."

Shu Gong had another chuckle over that. "Want me to go get the cleaver?"

"Not now," Shu Nong replied. "Some other day. Just don't turn your back."

Years later, Shu Gong could still see Shu Nong's pale lips flashing in the dark like a couple of squirming maggots. But back then, he could no longer endure sharing a bed with Shu Nong, so he told his parents, "Buy me a bed of my own, or I'll stay with a friend and forget about coming home."

Old Shu was momentarily speechless. "I see you've grown up," he said as he lifted his son's arm to look at his armpit. "OK, it's starting to grow. I'll buy you a real spring bed tomorrow."

After that, Shu Nong slept alone. He was still fourteen.

At the age of fourteen, Shu Nong began sleeping alone. He vowed on his first night away from his brother never to wet the bed again. Let's say that it's an autumn night forgotten by all concerned and that Shu Nong's dejection is like a floating leaf somewhere down south. He lies wide awake in the darkness, listening to the surpassing stillness outside his window on Fragrant Cedar Street, broken occasionally by a truck rumbling down the street, which makes his bed shake slightly. It's a boring street, Shu Nong thinks, and growing up on it is even more so. His thoughts fly all over the place until he gets sleepy, but as he curls up for the night, Shu Gong's bed begins to creak and keeps on creaking for a long time. "What are you doing?"

"None of your business. Go to sleep, so you can wet your bed," Shu Gong snaps back spitefully.

"I'm not wetting my bed anymore." Shu Nong sits up straight. "I can't wet it if I don't sleep!"

No response from Shu Gong, who is by now snoring loudly. The sound disgusts Shu Nong, who thinks Shu Gong is more boring than anything, an SOB just begging to get his lumps. Shu Nong looks out the window and hears a cat spring from the windowsill up to the roof. He sees the cat's dark-green eyes, flashing like a pair of tiny lamps. No one pays any attention to the cat, which is free to prance off anywhere in the world it likes. To Shu Nong, being feline seems more interesting than being human.

That is how Shu Nong viewed the world at fourteen: being feline is more interesting than being human.

If the moon is out that night, Shu Nong is likely to see his father climbing up the rainspout. Suddenly, he sees someone climbing expertly up the rainspout next to the window like a gigantic house lizard. Shu Nong experiences a moment of fear before sticking his head out the window and grabbing a leg.

"What do you think you're doing?" That is exactly how long it takes him to discover it is his father, Old Shu, who thumps his son on the head with the sandal in his hand. "Be a good boy, and shut up. I'm going up to fix the gutter."

"Is it leaking?"

"Like a sieve. But I'll take care of it."

Shu Nong says, "I'll go with you."

With a sigh of exasperation, Old Shu shins down to the win-dowsill, squats in his bare feet, and wraps his hands around Shu Nong's neck. "Get back to bed, and go to sleep," Old Shu says. "You saw nothing, unless you want me to throttle you. And don't think I won't do it, you understand?"

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