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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"Don't go on, it's heartbreaking," she whispers into your ear.

You say you have no desire to go on.

"Why was this happening?" she asks.

"Enemies had to be found; without enemies, how could the political authorities sustain their dictatorship?"

"But that's how it was with the Nazis!" She is excited. "You should write about all this!"

You say you are not a historian, you're lucky enough to have escaped, and there's no need for you to make another sacrifice to history.

"Then write about your own experiences, your personal experiences. You should write all this up, this is valuable!"

"Historically valuable? When the many thousands of tons of archives become public, it will just be a wad of scrap paper."

"But Solzhenytsin-"

You cut her short and say you're not a fighter and you're not a flag-bearer.

"But don't you think that some day things will change?" She needs to have faith.

You say you are not a fortune-teller, and you don't live in empty hope, and you will not be lining up in the streets to welcome it. You will not be returning to China during your lifetime, and there is no need for you to waste the little life you have left.

She softly apologizes for stirring up these memories, and says that to understand your suffering is to understand you, can't you see?

You say you got out of hell and don't want to go back.

"But you need to talk about it, and, while you are, maybe you will become less uptight about it." Her voice is gentle, she wants to comfort you.

You ask if she has ever played with sparrows, or watched children at it. A string is tied to one of the sparrow's legs while the child holds the other end of the string. The sparrow flaps its wings desperately but can't fly, and is tormented until it just closes its eyes and stops moving, strangled by the string. You say that, as a child, you used to catch praying mantises. That jade-green body with its long, thin legs and two pincers raised like meat cleavers looks ferocious, but when children tie a fine thread to one of its legs, it tosses and turns a few times, and then falls to pieces. You ask if she's had such experiences.

"People aren't sparrows!" she protests.

"And, of course, they're not praying mantises either," you say.

"Nor are they heroes, and if they can't stand up to might and power, they can only flee."

The room floods with darkness so thick that it seems to be in motion.

"Press close to me." Her voice is suffused with gentleness. She's brought you pain and she's trying to comfort you.

Separated by her negligee, you embrace her soft body but can't generate lust. She caresses you, and her soft hands wander over your body, bestowing her feminine kindness upon you. You say you're mentally worked up and tense, and you close your eyes to loosen up and to feel her tenderness.

"Then talk about women," she softly teases by your ear like a solicitous lover. "Talk about her."

"Who?"

"That woman of yours, was her name Lin?"

You say she wasn't your woman, she was someone else's wife.

"Anyway, she was your lover. Did you have lots of women?"

"You should realize that in China, at that time, it was not possible to have lots of women."

You also add that Lin was your first woman. You say this, knowing that probably she will not believe you.

"Did you love her?" she asks.

You say that it was she who seduced you and that you didn't want to become involved in this sort of futile love.

"Do you still think about her?" she asks.

"Margarethe, why are you asking this?"

"I want to find out the status of women in your heart."

You say she was, of course, quite lovely. She was a recent university graduate, she was very pretty, and could even be called sexy. At that time, in China, not many dressed like her, in body-hugging dresses and mini high heels; for those times, she was quite flashy. As the daughter of a high-ranking cadre, she was in a superior position, she was arrogant and willful but totally unromantic. However, you were only able to live in your books and your fantasies, your routine work was dead-boring. There were always zealots who wanted to get into the Party in order to become bureaucrats. They organized extra Mao's Selected Works study groups for after work and hassled people to attend. Anyone who didn't attend was considered ideologically unsound. It was only after nine or ten o'clock in the evening, when you got back to your room and sat at your own desk by the light of your desk lamp, that you were able to lose yourself in reverie and write your own things: that was you. In the daytime, in that world alien to yourself, you were always in a daze and always dozed off at meetings, because you would have stayed up all night. You were nicknamed "Dream," and you even answered to "Sleepy Bug."

"Dream is a beautiful name." She's chuckling, and the sound reverberates in her robust chest.

You say it was, to some extent, a camouflage, otherwise you would have been hauled out for criticism long ago.

"Did she also call you that? Did she fall in love with you just like that?" she asks.

"Maybe."

You say of course you were fond of her, and it wasn't just pure lust. You were very wary of women who had been to university, because they all gravitated toward the light and always tried to achieve a sort of angelic purity. You knew that your own thoughts were dark, but you had been taught a lesson by your little experience of love at university. If what you raved on about in private came to be confessed by the woman in one of the thought-report sessions set up by the Party or the work unit, you, too, would have been put on the altar for sacrifice.

"But surely there were other women?"

"If you haven't lived in that environment, you wouldn't understand."

You ask whether she would want to make love with a Nazi who might expose her Jewish background.

"Don't mention the Nazis!"

"Sorry, but there is a similarity. They made use of the same psychology," you explain. "Lin, of course, wasn't like that, but she enjoyed many privileges because of her family. She didn't try to get into the Party; her parents, her family, were the Party. She didn't need to put on an act or go to report on her thinking to the Party secretary."

You say the first time she invited you to a meal was in an elegant dining room that was not open to the public. To get through the door, a pass was needed. Naturally, she paid, you didn't have a pass and didn't have the money to pay, and felt bad about it.

"I understand," she says softly.

You say Lin wanted you to take her husband's military pass so the two of you could take a room in the holiday guesthouse for high-ranking cadres and their families in the Summer Palace. She said you could pose as her husband. You said what if you were found out? She said you wouldn't be, and, if you wanted to, you could wear her husband's uniform.

"She was brave," she murmurs.

You say that you, however, were not, and this recklessness made you very anxious. Anyway, you made love with her. The first time was in her home. Her home was a huge courtyard complex occupied by her parents and the old doorkeeper who swept the yard and lit the stove. At night, they all went to bed early, and it was very quiet in the courtyard. It was she who initiated you into manhood, and, no matter what, you're grateful to her.

"That means you still love her." She props herself up on her elbows and looks at you in the dark.

"She taught me."

You reflect about it; rather than love, it was desire for her lovely body.

"What did she teach you?"

Her hair brushes against your face, and you see the faint gleam of the whites of her large eyes looking down at you.

"She took the initiative. She had just become a married woman," you say. "Anyway, at the time, I was over twenty and still a virgin.

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