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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"Long live the Red Terror!" The Red Guard patrol riding in formation on their new Eternal brand bicycles shouted this slogan all the way along Chang'an Avenue.

They had also interrogated him. It was about ten o'clock at night, and he had just cycled past the front of the Diaoyutai State Guesthouse with its armed sentries. Up ahead, under the bright streetlight, were a few motorbikes with sidecars. The road was blocked by a line of youths in military uniforms, wearing red silk armbands with the black inscription: BEIJING RED GUARD UNITED ACTION COMMITTEE.

"Get off!"

He braked suddenly and almost fell off his bicycle.

"What background?"

"Professional."

"What work?"

He named his workplace.

"Have you got your work permit?"

Luckily, he had it on him, and he took it out to show them.

Another person on a bicycle was stopped, a youth with a flat-top haircut, at the time a self-deprecating sign for "offspring of dogs."

"You should be at home so late at night!"

They let him pass. He had just got on his bicycle when he heard the youth with the flat-top haircut behind mumble a few words and then being beaten until he was howling. He didn't dare to look back.

For several days on end, from late at night until early morning, he was in front of the stove and his eyes were red from the heat. During the day, he had to force himself to be wide awake to deal with the dangers that could crop up at any time. When the last pile of notebooks was burned, he stirred the ashes into a paste to make sure no traces remained, then poured a plate of leftover vegetables and half a bowl of noodles on top. Totally exhausted and unable to keep his eyelids open, he lay on the bed fully clothed but could not fall asleep. He recalled that at home there was still an old photograph that could stir up trouble. It was a group photograph of the War of Resistance National Salvation Theater Troupe of the YMCA, which his mother had joined when she was young. They were all wearing military uniforms that must have been presented to members of the troupe when they went to express their appreciation to officers and soldiers in the War of Resistance: the military caps had badges with the Nationalist insignia. If this photograph were seized it would definitely create problems, even if his mother had died some time ago.

He didn't know whether his father had dealt with the photograph, but it was unsafe to write to alert him.

Among the manuscripts destroyed was a novel he had given a prominent elderly writer to read, hoping for a recommendation or, at least, approval of it. He did not expect that the old man would be stony-faced and without a word of encouragement to the younger generation. Finally, with a grave expression, the old writer sternly warned him: "Think carefully before committing anything to writing! Don't submit manuscripts casually. You don't understand the dangers of the written word."

He did not immediately understand. At dusk one day, in early summer, June, when the Cultural Revolution had just started, he went to the old man's home to ask for news about what was happening. As soon as he came in, the old man quickly closed the door and, staring at him, asked in a hushed voice, "Did anyone see you come in?"

"There's no one in the courtyard," he said.

The old man was not like the old cadres; nevertheless, when he instructed young people, he was forever saying our Party this and our Nation that. He was, after all, a famous person with revolutionary credentials. He spoke with a vigorous voice, and what he said was always measured and lucid. But now his voice had suddenly turned reedy, and trembled deep down in his throat as he said, "I'm a black-gang element, don't come here again. You're young, don't get involved. You've never been through the experience of struggles within the Party-"

The old man wouldn't let him finish his greetings, and, nervously opening the door a crack, peeped out and said, "Keep it for later, wait until all this passes, keep it for later, you don't know about the Yan'an Rectification Movement."

"What was the Yan'an Rectification Movement like?" he went on to stupidly ask.

"I'll tell you later, leave quickly, leave quickly!"

All this took place in less than a minute. One minute earlier he thought the struggles within the Party were somewhere far away, it had not crossed his mind that they were right in front of him.

Ten years later, he heard that the old man had been released from prison. By then, he too had returned from the countryside and was back in Beijing, so he went to see him. The old man was reduced to skin and bones, and one of his legs had been broken; he was propped up in a reclining chair and had a black Persian cat on his lap. A walking stick stood by the armrest.

"A cat's life is actually better than a human's."

The old man's lips parted in what seemed to be a smile, revealing the few front teeth he had left. As he stroked the old cat, his beady eyes in their sunken sockets glinted strangely, just like a cat's. The old man did not talk to him about his experiences in prison. It was not until he visited him in hospital, shortly before his death, that he said his greatest regret in life was that he had joined the Party.

Back then, when he left the old man's house, he thought about those manuscripts of his. They had nothing to do with the Party, but they could get him into trouble. Still, he hadn't decided to burn them, so he carried them on his back in a big bag to the home of Big Lu, a friend he'd made while in hospital with dysentery. Big Lu, born and bred in Beijing, had a big build and taught geography in a middle school. Trying to impress a pretty young woman, Big Lu got him to draft a series of love letters. Then, by the time Big Lu's newly wedded wife found out he'd been an accessory in the letter writing, she was already irreversibly married to Big Lu, so there was a special friendship between the three of them. Big Lu lived with his parents, and they had an apartment with a courtyard all to themselves, so it wasn't hard to hide a bag of things.

At the height of summer, August, the Red Guard movement started. Big Lu's wife suddenly phoned him at the office and arranged to meet him at noon in a shop that sold milk drinks and Western-style cakes. He thought the couple must have had an argument, so he hurried on his bicycle to the cake shop. The old shop sign had been taken down and replaced with a new one, with the slogan: SERVING THE WORKERS, PEASANTS, AND SOLDIERS. Inside the shop, above the seats, was a long slogan scrawled in black characters across the wall: OUT WITH ALL STINKING CAPITALIST OFFSPRING!

At first, the "destruction of the four olds" by the Red Guards, which had started in the middle schools, seemed to be children having a ruckus. However, the Great Leader's public letter addressed to them, affirming that "it is right to rebel," incited the young teenagers to violent action. Anyway, not being a stinking capitalist offspring, he went in. They were selling milk drinks, as usual, but before he had found somewhere to sit, Big Lu's wife came in, took his arm as if she were his girlfriend, and said, "I'm not hungry yet, let's go for a walk, there's something I have to buy."

When they had left the cake shop and were on the street, she quietly told him that Big Lu had been so intimidated by the Red Guards at the school that he had shaved his own head in advance. This was because his family owned their apartment. They did not count as capitalists, but even as petty entrepreneurs, they could be searched at any time by the Red Guards. She asked him to quickly take away that bag of his from the coal shed in the courtyard.

It was Lin who saved him. Early in the morning, soon after getting into work, Lin walked by several times in the corridor. His desk faced the corridor and he saw that Lin was signaling him. He came out of the office and followed Lin down to the end of the corridor, where there was a bend before the stairwell. As no one was coming, they stopped there. Lin quickly told him to hurry home to fix up his things, because the Red Guards from the workplace were about to set out to search the belongings of his roommate, Old Tan. He rushed down the stairs, cycled hard, and got back to his room in a lather of sweat. He piled all his own things onto his own bed and beside it. He also went through the drawers of Old Tan's desk. He found an old, pre-Liberation photograph of Old Tan, taken at university with a group of students. Everyone was in student uniform, wearing caps with the twelve-point white-sun insignia of the Nationalist Party. He rolled it into a little ball, went out of the courtyard, and tossed it into the deep pit of the public lavatory on the street. When he got back to the courtyard, the car from the workplace had already arrived.

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