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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"Then do you need to suffer?" you ask.

"It's not a question of need. The pain actually exists."

"So, do you want to take all of humankind's sufferings upon yourself? Or at least the sufferings of the Jewish race?" you respond.

"No, that race ceased to exist a long time ago, it has scattered all over the world. I am simply a Jew."

"Isn't that better? It's more like a person."

She needs to affirm her background, and what can you say to that?

What you want is precisely to remove the China label from yourself.

You don't play the role of Christ, and don't take the weight of the cross of the race upon yourself, and you're lucky enough not to have been crushed to death. She's too immature to discuss politics and too intelligent to be a woman. Of course, you don't say the last two things out loud.

A few trendy Hong Kong teenagers arrive. Some of them have their hair tied in ponytails, but they are all men. The tall blond waitress seats them at the table next to yours. One of them says something to the woman, but the music is too loud, and she has to bend down. After listening, she smiles, showing her white teeth that glow in the fluorescent lights, and then moves another small, round table: apparently others are coming. A male couple, gently stroking each other's hands, is ordering drinks.

"After 1997, will they still let homosexuals meet publicly like this?" she moves close and asks in your ear.

"In China, it's not just a matter of not being able to meet publicly. If homosexuals are discovered, they are rounded up as vagrants and sent off to labor camps, or even executed." You had seen some Cultural Revolution cases in internal publications from the Public Security Office.

She moves away and leans back but doesn't say anything. The music is very loud.

"Shall we go out for a walk in the street?" you suggest.

She pushes away the almost empty glass and stands up. Both of you go out the door. The little street, a blaze of neon lights, is thronging with people. There are bars one after another, as well as some elegant cake shops and small restaurants.

"Will this bar still exist?" She is obviously asking about after 1997.

"Who knows? It's all business, as long as they can make a profit.

The people here are like that, they don't have the guilt complex of the Germans," you say.

"Do you think all Germans have a guilt complex? After the Tiananmen events of 1989, the Germans kept doing business with China."

"Do you mind if we don't discuss politics?" you ask.

"But you can't escape politics," she says.

"Could we escape for a little while?" you ask her very politely and with the hint of a smile.

She looks at you, laughs, and says, "All right, let's have something to eat. I'm a little hungry."

"Chinese food or Western food?"

"Chinese food, of course. I like Hong Kong, it's always so full of life, and the food is good and cheap."

You take her into a small, brightly lit restaurant, crowded and noisy with customers. She addresses the fat waiter in Chinese, and you order some local dishes and a bottle of Shaoxing rice liquor. The waiter brings a bottle of Huadiao in a pot of hot water, puts down the pot as well as two cups, each containing a pickled plum. He says with a chuckle, "This young woman's Chinese is really-" He puts a thumb up and says, "Wonderful! Wonderful!"

She's pleased and says to you, "Germany is too lonely. I like it in China. In Germany, there is so much snow in winter, and, going home, there is hardly anyone on the streets, they're all shut up in their houses. Of course, the houses are large and not like they are in China, and there aren't the problems you've mentioned. I live on the top floor in Frankfurt, and it's the whole floor. If you come, you can stay at my place, there'll be a room for you."

"Won't I be in your room?"

"We're just friends," she says.

When you come out of the restaurant, there's a puddle on the road, so you walk to the right and she to the left, and the two of you walk with a distance between you. Your relationships with women have never been smooth, you always hit a snag and are left stranded. Probably nothing can help you. Getting someone into bed is easy, but understanding the person is difficult, and there are only ever chance encounters that provide temporary relief from the loneliness.

"I don't want to go back to the hotel right away, let's take a walk," she says.

Behind big front windows, the bar by the footpath is dimly lit and people are sitting around small tables with candles.

"Shall we go in?" you ask. "Or would you like to go somewhere by the sea where it will be more romantic?"

"I was born in Venice, so I grew up by the sea," she replies.

"Then you should count as Italian. That's a beautiful city, always bright and sunny."

You want to ease the tension and say that you have been to Piazza San Marco. At midnight, the bars and restaurants on both sides of the square were crowded, and musicians were playing in the open air on the side near the sea. You remember they were playing Ravel's Bolero and it drifted through the night scene. The girls in the square bought fluorescent bands from peddlers and wore them on their wrists, around their necks, in their hair, so green lights were moving everywhere. Beneath the stone bridges going out to sea, couples sat or lay in gondolas, some with little lanterns on their tall prows, and, rowed slowly by the boatmen, they glided toward the black, smooth surface of the sea. Hong Kong lacks this elegance but it is a paradise for food, drink, and commodities.

"All that's for the tourists," she says. "Did you go as a tourist?"

"I couldn't afford to be a tourist. I had been invited by an Italian writers' organization. I thought at the time it would be good to settle in Venice and find myself an Italian woman."

"It's a dead city with no vitality, which relies on tourists to keep going, it has no life," she cuts in.

"Still, people there lead happy lives."

You say that when you got back to the hotel, it was well after midnight, and no one was on the streets. In front of the hotel, two Italian girls were amusing themselves by dancing around a tape recorder on the ground. You watched them for quite some time; they were really happy and even tried to get you to talk and laugh with them.

They were talking in Italian, and, even though you couldn't understand them, you could tell they were not tourists.

"Just as well you couldn't understand them, they were just baiting you," she says coldly, "they were a couple of prostitutes."

"Probably," you say, thinking back, "but they seemed passionate and very lovely."

"Italians are all passionate, but it's hard to say if those women were lovely."

"Aren't you being overly critical?" you say.

"You didn't hire them?" she asks instead.

"I wouldn't have had the money," you say.

"I'm not a prostitute," she says.

You say it was she who started talking about Italy.

"I've never been back."

"Then let's stop talking about Italy."

You look at her and feel dejected.

You return to the hotel and go to your room.

"How about if we don't make love?" she says.

"All right, but the double bed can't be separated."

You don't make a move.

"We can each sleep on our sides of the bed and we can sit up to talk."

"Talk until morning?"

"Haven't you ever slept with a woman without touching her?"

"Of course, with my former wife."

"That doesn't count, that was because you no longer loved her."

"It wasn't only a case of not loving her, I was also afraid she'd expose-"

"Your relationships with other women?"

"At the time it was impossible to have other women. I was afraid she'd expose my reactionary thinking."

"It was also because she didn't love you."

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