Gao Xingjian - One Man

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One Man's Bible is the second novel by Nobel Prize-winning author Gao Xingjian to appear in English. Following on the heels of his highly praised Soul Mountain , this later work is as candid as the first, and written with the same grace and beauty.
In a Hong Kong hotel room in 1996, Gao Xingjian's lover, Marguerite, stirs up his memories of childhood and early adult life under the shadow of Mao Zedong and the Cultural Revolution. Gao has been living in self-imposed exile in France and has traveled to this Western-influenced Chinese city-state, so close to his homeland, for the staging of one of his plays.
What follows is a fictionalized account of Gao Xingjian's life under the Communist regime. Whether in "beehive" offices in Beijing or in isolated rural towns, daily life is riddled with paranoia and fear, as revolutionaries, counterrevolutionaries, reactionaries, counterreactionaries, and government propaganda turn citizens against one another. It is a place where a single sentence spoken ten years earlier can make one an enemy of the state. Gao evokes the spiritual torture of political and intellectual repression in graphic detail, including the heartbreaking betrayals he suffers in his relationships with women and men alike.
One Man's Bible is a profound meditation on the essence of writing, on exile, on the effects of political oppression on the human spirit, and on how the human spirit can triumph.
***
One Man's Bible belongs to that sad class of books sold on the strength of their authors having won a prize. But a prize is rather a thin argument for reading it, especially in a wooden English translation. Does one want to know more about Gao Xingjian than his first novel translated into English, Soul Mountain, told? That book had just enough exotic colour to survive its translation; from its portentous title onwards, One Man's Bible has much less going for it. It needs more story, structure, people, situations, atmosphere, ideas – anything strong enough to come through the obscuring veil of alien words.
When, in 2001, Gao became the first Chinese writer to win a Nobel prize for literature, it came as a surprise. The Chinese literary bureaucrats – today's counterparts of the strange Soviet creatures in Bulgakov's The Master and Margarita – had long been pushing for one of their trusties to win. Gao was certainly not one of those, but neither was he prominent in any of the exiled literary cliques. Since being driven to leave China in the 1980s he had been living in France, writing supposedly experimental, sub-Beckettian plays with Chinese characteristics that some critics in the Chinese-speaking world thought worth discussing. These plays also suited small, subsidised European theatre companies in search of uncommercial exotica full of the timeless wisdom of the east. While still in China, Gao was best known for Bus Stop, a one-acter about people waiting for a bus that never came. What delighted audiences and infuriated the authorities when the play appeared some 20 years ago was its apparent implied message: the never-arriving bus was the wonderful future that the regime promised but could not deliver.
Soul Mountain was fiction in the form of an autobiography (or vice versa) that told a fragmented tale of a writer on the run in the wilder reaches of the Yangtze valley. The background chimed with Gao's own flight from the thought police, as well as being a celebration of "authentic" China surviving 40 years of the party state in remote and picturesque areas. There was quite a lot of sex, too.
One Man's Bible also invites us to read its central character, again an author, as an alter ego of Gao's. As he looks back from cosmopolitan exile in the present – the book was written in the late 1990s – on his life in China, this author makes much of feeling uncomfortable, and wallows in sententiousness. The book starts with a bourgeois childhood before the Communists seized power in 1949 (when the real Gao was eight or nine), moving on to his family's and his own troubles in the unending series of political campaigns that ran through the Mao era and its aftermath. Much of it deals with the cultural revolution, with our hero as participant as well as victim in a hellish process, and with how all this made him what he is now. Between the earlier life and the recent past there is a gap where Soul Mountain might fit.
Like Gao, the central figure in One Man's Bible is an exile based in France who writes fiction and drama in his own language. He enjoys the freedom not to be caught up in politics, and wonders how he came to be what he is. Invitations to events on the international cultural circuit give us scenes in Hong Kong, Sydney, New York, Perpignan and elsewhere, all of which are much the same. None of it seems to matter very much in comparison with the seriously deranged political movements of his youth which, though hindsight tells him they were wrong, he savours the discomfort of remembering.
If Soul Mountain explored China and Chineseness, One Man's Bible is all about enjoying feeling guilty, but not too guilty. It is about not being at home anywhere, not even in your own skin, and making the best of it; about the middle-aged worry over what you were when you were younger. As the central figure looks back over his life, he tries to accept the great realisation that it hasn't meant anything. Yet for all his attempts to be sophisticated, he can't help but feel disappointed at the pointlessness of life. He has not got over the Maoist urge to preach, though it is now a different sermon.
In the past 20 years, having a hard time under the Communist party dictatorship has been the stuff of a commercially flourishing genre of autobiographical writing in English by people, especially women, who have got out. Gao is not into that sort of soppy stuff. His fiction has rather more in common with a newer popular sub-genre of Chinese fiction for foreign readers: unillusioned fucklit, by younger women writers. The China his central character has left was an awful place, but one that gave him access to plenty of women's bodies. The west has given him freedom and more women for his bed, but not happiness or meaning. It has allowed him to hold forth on life and art, even if what he has to say is banal.
As a self-conscious follower of European modernism, Gao does not give us this fictional life in a chronological sequence. He assumes that readers can find their way through the cut-up narrative of the cultural revolution, picking up references as Chinese people of his generation will be able to. Yet most foreigners will simply be confused. They are more likely to follow the novel through the unending couplings with which its subject tries to fill the voids in his past and present lives. We start with a German-Jewish woman in Hong Kong, where one of his plays is being staged. There is another in France, and others collected elsewhere on his travels, as well as the various sexual partners in his earlier life in China. But on the whole, the bodies do not seem to have brains.
The ideas in One Man's Bible are commonplace, its characters are ciphers, and it is not redeemed by wit, grace or self-mockery. Its solipsism is banal. I hope we will not have to endure a third novel in this series on the splendours and miseries of being a Nobel prize-winner.
WJF Jenner is a translator and expert on Chinese writing.

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"When I interview, I insist on the accuracy of what I quote," she says. "Many journalists in Hong Kong will write anything. Sometimes Mainland writers get so angry that they demand corrections.

Of course, I understand their situation. Anyway, I know that you're different, even if you do come from the Mainland."

"I don't have any superiors," you say with a smile.

She says her editor in chief is very good and generally doesn't touch what she writes, and whatever she writes is published. She can't stand restrictions; after 1997-there's that 1997 again-if she can't take it, she'll just leave.

"Where will you go, if you don't mind my asking?"

She says she holds a British passport for Hong Kong residents, so she can't get residence in England. She doesn't like England anyway. She's thinking of going to America but would prefer to go to Spain.

"Why Spain and not America?"

She bites her lip, smiles, and says she had a Spanish boyfriend. She met him when she went to Spain but they have broken off. Her present boyfriend is from Hong Kong. He's an architect and he doesn't want to leave.

"It's hard getting work elsewhere," she says. "Of course, I like Hong Kong best." She says she has been to many countries and that it's fun traveling, but it would be hard living in those places. Not so in Hong Kong, she and her parents were born in Hong Kong, she is a one-hundred-percent Hong Kong person. She has also done special research on Hong Kong history, literature, and changes in cultural practices. She's thinking of writing a book.

"What would you do if you went to America?" you ask.

"Further studies. I've already corresponded with a university."

"To study for a Ph.D.?"

"To study and maybe also to look for some work."

"What about your boyfriend?"

"I might get married before leaving, or… Actually, I don't know what to do." She doesn't seem to be nearsighted but her eyes have a faraway look. "Am I interviewing you or are you interviewing me?"

She pulls herself together and puts on the tape recorder. "All fight, now please say something about your views on cultural policies after Hong Kong reverts to the Mainland, will plays in Hong Kong be affected? Such issues preoccupy the Hong Kong cultural world. You are from the Mainland, could you give your views about this?"

After the interview, you again take the ferry back to Kowloon to give instructions to the performers at the Cultural Centre Playhouse. When the play begins, you can return to the hotel to have a leisurely meal with Margarethe.

The sun is shining at an angle through the clouds onto the sea, and glistening waves lace the blue water, the cool breeze is better than the air-conditioning indoors. On Hong Kong Island on the other side of the water, the lush green mountains are densely crowded with tall buildings. As the sounds of the bustling city recede, a rhythmic clanging on the water becomes distinct. You turn and notice that the sound is coming from the construction site of the auditorium being built for the handover ceremony between Britain and China in 1997. The banging of pneumatic hammers reminds you that, at this very moment, Hong Kong is by the minute and second unstoppably becoming China. The glare of the sun on the waves makes you squint and you feel drowsy, the China that you thought you had left continues to perplex you, you must make a clean break with it. You want to go with Margarethe to that very European little street in Lan Kwai Fong, to find a bar with some jazz where you can get drunk.

7

Boom! Boom! Pneumatic hammers again and again, unhurried, spaced at three- or four-second intervals. The great, glorious, correct Party! More correct, more glorious, greater than God! Forever correct! Forever glorious! Forever great!

"Comrades, I'm here representing Chairman Mao and the Party Center!"

The senior cadre had a medium build and a broad ruddy face. He spoke with a Sichuan accent, looked to be in good health, and his speech and movements indicated that he'd led troops and fought battles. The Cultural Revolution had just begun and the senior cadres still in power-from Mao's wife Jiang Qing to Premier Zhou Enlai and Mao Zedong himself-all wore military uniforms. The senior cadre, accompanied by the workplace Party secretary, sat erect on the dais that was covered with red tablecloths in the auditorium.

He noted the soldiers and political cadres guarding the side doors and the back door to the meeting.

It was almost midnight. The whole workplace with its more than a thousand staff, group after group, assembled in the auditorium.

No empty seats were left, and gradually even the aisles had filled with people sitting in them. A soldier-turned-political-cadre, also wearing an old army uniform, conducted the singing. "Sailing the Seas Depends on the Helmsman" was sung daily by the troops in the ranks, but these literary people and administrative cadres couldn't sing the straining high notes of this paean. "The East Is Red" was set to a folk song everyone knew, but even that was a shambles when it was sung.

"I support my comrades in opening fire on the black gang opposing the Party, Socialism, and Mao Zedong Thought!"

The meeting instantly erupted into the shouting of slogans. He couldn't tell who started the shouting and was caught off guard, but he also involuntarily raised his arm. The slogan-shouting wasn't uniform, and the voice of the senior cadre boomed through the amplifier even more loudly and immediately drowned out any stragglers.

"I support my comrades in opening fire on all Ox Demons and Snake Spirits! Now, please note that I say all Ox Demons and Snake Spirits, all of those reactionary scoundrels skulking in dark corners waiting to jump out and act brazenly as soon as the climate is right.

Chairman Mao put it well: 'Those reactionaries simply aren't going to be overthrown unless you strike them down!'"

At this, all around, people stood up and, with raised fists, began shouting loudly.

"Down with all Ox Demons and Snake Spirits!"

"Long live Chairman Mao!"

"Long live!"

"Long, long live!"

This time, the slogans rose and subsided in waves, which became more uniform and forceful. After this had been repeated a few times, the whole gathering was shouting uniformly, like an all-engulfing wave, like an unstoppable tide that instilled terror in people's hearts. He no longer dared to look around and, for the first time, perceived that these familiar slogans possessed a menacing power. Chairman Mao was not far away in Heaven, was not an idol that could be stored away, Chairman Mao had supreme power. He had to keep up with the shouting and he had to shout clearly and, moreover, absolutely without any hesitation.

"I just don't believe it! So many intellectuals have been crammed into this workplace of yours; can everyone assembled here really be so revolutionary? I'm not saying it's not good to have knowledge, I didn't say that. I'm talking about those two-faced counterrevolutionaries. In their writings, they use our revolutionary slogans, they put up the red flag to oppose the red flag, they say one thing but mean something else! I reckon, they would not have the guts to openly jump out to present themselves as counterrevolutionaries. Are there any such people at this gathering? Would any of you dare to stand up and say you oppose the Communist Party, oppose Mao Zedong Thought, and oppose Socialism? If there is, I invite you to come onto the dais to speak!"

The gathering fell silent, breathing virtually stopped, and the air congealed. If someone had dropped a needle, it would have been heard.

"But it is after all the world of the dictatorship of the proletariat! So they are forced to assume a disguise, take up our revolutionary slogans, and, with a shake, transform themselves. Wasn't I just now talking about groping for fish in muddy waters? While we are engaged in the Great Proletarian Cultural Revolution, they are out there fanning up evil winds and lighting malicious fires, colluding with people in high positions and jumping down to work on the people below. They are intent on wrecking every level of our Party in the workplace and are making out that we are a sinister gang. They are wicked and crafty! Comrades, you must be vigilant! Look around yourselves carefully and haul out all those enemies, scheming careerists, and despicable worms inside and outside the Party who have infiltrated our ranks!"

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