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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Four Red Guards from the workplace entered the room, and Lin was among them. Lin knew he was a writer but had never seen any of his manuscripts. She was in love with him, and didn't care about his writings. She, of course, had not come because of his manuscripts, but because he had taken lots of photographs of her, not naked but in provocative poses. They had been taken before and after the two of them had illicit sex in the woods at Badaling, in the western suburbs of Beijing. If any of those were found, it would be seen at a glance that their relationship had gone past being colleagues or revolutionary comrades. Lin was a deputy-minister's daughter, and she was married. Her husband, from an old revolutionary family, was in the army, and worked in a research unit carrying out research on nothing less than rockets or some new weapons.

He had not the slightest interest in defense secrets, but was infatuated with this beautiful woman. Lin had taken the initiative, and she was the more passionate.

Lin was deliberately casual and made a loud fuss, "This room of yours is really small! There's nowhere to sit."

She had been here before, of course, when Old Tan wasn't home, and she'd be wearing a low-cut dress-he'd pull down the zipper on the back, take out her breasts and kiss them-nothing like the army outfit she wore now. Her long hair that used to be in a plait had been cut and tied with rubber bands into two short bunches, the standard hairstyle for women soldiers in the forces, as well as for the Red Guards of the present.

"How about making some tea, I'm dying of thirst!"

Lin deliberately opened the door wide and, standing in the doorway, she fanned herself with her handkerchief. Because of her doing this, the neighbors in the courtyard, peering into the back window, would not get the wrong impression that he was being searched. She made it all seem cheerful, as if they had dropped in for a visit.

He quickly made tea for everyone. The others declined, but the seriousness of the search had evaporated; besides, they all knew one another. Before the wearing of red armbands, family backgrounds were indistinguishable and everyone appeared to be equal. The leader of the Red Guards, Danian, was a hefty youth who played table tennis with him at lunchtime, and the two got on well. Daman's father was political commissar of an army division. He was wearing his father's old, much-washed, faded khaki army cap, and also an old leather army belt that was no longer regulation gear. These gave him the air of being a blood-lineage successor to the revolution.

When the Red Guards first formed at the workplace, he and other youths without a Five Red Categories background accepted the invitation to attend a meeting. It was there that Danian first revealed what he was capable of. Seated at one end of the bench of the main table, he said to those who didn't qualify to be Red Guards, "You People attending our Red Guard meeting today count in our revolutionary ranks as fellow travelers!" Danian confronted him by calling out his name-"Of course, that includes you!"-to let him know that it referred to him as well. However, having read The History of the USSR, he knew precisely what "fellow traveler" signified. If Lin had not warned him, and those manuscripts of his were found, he would certainly have been destroyed by this fellow in this surprise attack.

Danian retained his air of formality and said, "We're here to search for reactionary criminal evidence on Tan Xinren, and this has nothing to do with you. Which are your belongings? Separate them from his."

He put on a smile and said, "I've already separated my things, is there something else I can do to help?"

They all said, "This is none of your business, this is none of your business. Which is his desk?"

"That's his, the drawers aren't locked."

He pointed it out, then stood to one side. This was all he could say in defense of his roommate, Tan. But at the same time, he had drawn a line of demarcation between Tan and himself. Only later did he find out that, just as he was going downstairs to get his bicycle to hurry home, a Red Guard notice had been posted in the front hall of the workplace building: "Seize Tan Xinren with his history as a counterrevolutionary!" Old Tan, immediately isolated in the workplace building, had lost his freedom.

They pulled out Old Tan's notebooks, translation manuscripts, letters, photographs, and English-language books. Tan translated some novels from English in his spare time, mostly prorevolutionary works by writers from Asia and Africa. However, there was an English novel with a half-naked foreign woman on the cover, and this was put to one side. From under the old-newspaper lining of a drawer, they pulled out a white envelope. It was found to contain several condoms.

"The old bastard is still at this sort of thing!"

Danian took one and waved it about. Everyone laughed.

It wasn't that the people involved were amused, but that everyone was putting on an act of being pure and chaste. He and Lin also laughed but avoided one another's eyes.

Later, at the mass meeting called to criticize him, they questioned Old Tan about the woman he had an "improper sexual relationship" with. It was intimated that Old Tan was involved in a spy network, and he was forced to name the woman, a widow. Immediately, the Red Guards at the woman's work unit were notified, and her home, too, was searched. Some heartrending classical poems in Tan's drawer, probably written for this woman, constituted irrefutable evidence of "anti-Party, anti-Socialist longings for the paradise of the past."

The Red Guards found two loose bricks in the house and pried them up.

"Should I go and borrow a spade from a neighbor?"

He had deliberately asked Danian this to avoid the pain of being subjected to a search. At the same time, he wanted to play a joke: they might as well dig three feet down and make an archaeological discovery. Terror only came afterward. He borrowed a pickax from the old retired worker next door, and they began digging, filled the room with dirt and bits of brick so that there was nowhere to step, then threw down the pickax and left.

It was afterward that he found out the surveillance unit at his workplace had been informed by the street committee that the sound of a wireless transmitter was coming from their room. The person who had reported it must have been the old retired worker next door. When Old Tan and he had gone off to work, the old man, who was at home, heard the crackle of the radio they had forgotten to turn off behind the locked door. He took it to be a secret transmitter and must have thought that if he could catch the enemy it would Prove his total loyalty to the Leader and the Party. When he ran into the old codger in the courtyard after the search, the man's wrinkled old face was beaming with smiles. Disaster had thus brushed by him.

10

The lights are off, and you're lying in the dark on a bed with a woman, your bodies close to one another, and you are telling her about the Cultural Revolution. Nothing could be more futile, and only a Jewish woman with a German mind, who has learned Chinese, could possibly be interested.

"Shall I keep going?" you ask.

"I'm listening," she says.

You say there was a middle-aged woman who worked as an editor in your office. A political cadre summoned her and said there was a telephone call for her in the security office. She returned some minutes later to the office, tidied the proofs on her desk, and, looking at the expressionless faces in the office, announced that her husband had gassed himself and that she was going home to attend to things.

The head of the office was in solitary confinement, and Old Liu, the department chief, had been labeled an alien-class element who had wormed his way into the Party, so she could only request leave from those left in the office. Early the following day, she wrote a poster, clearly drawing a line of demarcation between herself and her husband who had "cut himself off from both the people and the Party."

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