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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After the senior cadre departed, everyone quietly filed out, nobody daring to look at anyone else for fear of showing the terror in one's heart. But, back at the offices where all the lights were on, people came face to face with one another and everyone went through hurdles of confession and remorse. People all requested individual sessions, at which everyone, sobbing and weeping, reported their misdeeds to the Party. People were easily manipulated. They were softer than dough when they wanted to make themselves pure, although they were vicious when it came to exposing others. Around midnight, people were most vulnerable, wanting the comfort of their partner in bed, and it was at this particular time that the interrogations and confessions took place.

Some hours earlier, at the after-work political study session, everyone had a copy of Mao's Selected Works on the desk as they browsed through the newspapers or pretended to be doing something to fill in the two hours before they would go home, laughing and joking.

Revolution was seething in the upper echelons of the Party but hadn't yet fallen onto the heads of the masses. When the person from the political department came into the office to tell people to stay for the all-staff meeting, it was already eight o'clock at night.

Another two hours were wasted, and still there was no sign of people being assembled. Old Liu, the department chief, kept tamping more tobacco into the bowl of his pipe, and someone asked him how many more pipes he'd need to smoke. Old Liu smiled without replying, but it could be seen that he was deeply worried. Old Liu was normally not officious, and the fact that he had put up a poster about the Party committee had endeared him to everyone. However, when someone said you couldn't go wrong if you followed Old Liu, he immediately raised his pipe and corrected him, "We must follow Chairman Mao!" Everyone laughed. Right until then, it seemed that no one wanted this class struggle to erupt among colleagues in the same office. Furthermore, Old Liu was an old Party member from the time of the War of Resistance against Japan, and this was reflected in his salary and rank. And as for that curved leather chair with armrests in his department chief's office, not just anyone was entitled to it. His room that smelled of his pipe tobacco with its chocolate aroma still had a relaxed feeling.

After midnight the political cadres and the staid, expressionless Party secretaries separately ensconced themselves in their own offices. One after another, people went through the cycle of confession, remorse, crying if they wanted to, and then entered the phase of informing on one another. Big Sister Huang, in charge of receiving and dispatching documents, had her turn to speak ahead of him.

Her husband, who had worked for the Nationalist Government, had abandoned her to run off with his mistress to Taiwan. The old woman said that the Party had given her a new life and, whimpering uncontrollably, took out her handkerchief to dry her eyes and nose. She was so frightened she was crying. He did not cry, but only he knew that sweat was running down his back.

The year he started university, when he was just seventeen and virtually still a child, he attended a struggle session against rightist senior students. It was in a lecture room with stairs, and new students had to sit on the floor at the front for their initiation in political education. As a name was called, the rightist student stood up, walked to the bottom of the stairs, and, head bowed, faced everyone. Sweat on the forehead and nose, tears and mucus splashing on the floor, the student would be absolutely wretched, just like a dog floundering in water. Those who came forward were fellow students, and, one by one, they went through the emotional routine of listing their anti-Party crimes. Some time later, these rightist students who never said anything and always sat at a separate table, leaving as soon as they had eaten, disappeared from the big dining hall. No one ever mentioned them again. It was as if they had never existed.

It was not until after he graduated that he heard the expression reform through labor," there seemed to have been a taboo on any mention of it. He didn't know that his father had been investigated and sent to a reform-through-labor farm, he had only heard a few vague remarks about it from his mother. He had already left home and was in Beijing studying at university, and his mother had written about it in a letter, but as "labor training." When he returned home during summer vacation a year later, his father had returned from the farm and had been reinstated in his job but he had been smeared as a rightist. His parents kept all this from him and it was not until the Cultural Revolution, when he asked his father, that he found out that he had been implicated because of his old revolutionary maternal uncle. His father's workplace had a much higher percentage of rightists than the quota, so his father was not branded a rightist, instead he only had a salary cut and a record made in his file. His father's problem was that he had written a hundred-character piece on the news blackboard where he "spoke freely" in response to the Party's call for people to freely voice their views to help the Party improve people's work habits. At the time his father did not know that this was called "luring snakes out of their lairs."

What had happened to his father nine years earlier also happened to him. He fell into the same trap. Indeed, all he had done was put his signature on a poster. It had on it Chairman Mao's call-all of

YOU MUST CONCERN YOURSELVES WITH THE IMPORTANT AFFAIRS

of the nation-in bold-type print from the People's Daily. When he was on his way to work, someone was putting up the poster in the big hall downstairs and was soliciting signatures, so he took up a pen and signed his name. He was unaware of the motives of this anti-Party poster nor of the political motives of the person who had written it. He couldn't work it out, but he had to acknowledge that it was aimed at the Party Center. By signing his name, he lost his bearings as well as a class standpoint. Actually, he had no idea what class he belonged to-after all, he couldn't count as a member of the proletariat-and so he didn't have a clear class standpoint. If he didn't sign this poster then he would have signed a similar poster. He confessed to this. He had, without doubt, committed a political error and from that time on, it was on his file. His personal history was no longer clean.

Prior to that he had truly never thought to oppose the Party. He had no need to oppose anyone and simply hoped that people wouldn't disrupt him from dreaming. That night rudely awakened him and he could see his precarious situation: a political storm was raging everywhere and if he were to preserve himself he had to lose himself among the common people. He had to say what everyone else said and be able to show that he was the same as everyone else. He had to keep in step to lose himself among the masses, say what was stipulated by the Party, extinguish all doubts, and keep to the slogans. He had to join with colleagues in writing another poster to indicate his support for the Party Center leadership, denounce the previous poster, and admit his error, in order to avoid being labeled anti- Party.

The obedient will survive and the rebellious will perish. In the early morning, the corridors of the building were covered in new posters, there had been a change in the political climate: today was right and yesterday was wrong, people had turned into chameleons. A poster just put up by a political cadre gave him a shock.

"Renegade Liu so-and-so, you are called a renegade because you have gone against the basic principles of the Party! Renegade Liu so-and-so, you are called a renegade because you have betrayed Party secrets! Renegade Liu so-and-so, you are called a renegade because you are an opportunist and have profiteered all this time by concealing your landlord background to worm your way into the revolutionary camp! Renegade Liu so-and-so, you are called a renegade also because up to now you have sheltered your reactionary father by hiding him in your house to resist the dictatorship of the proletariat!

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