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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Lin, two years older, was a fireball of lust, and she loved with a burning passion. Sometimes she was quite unreasonable, but he needed to exercise self-restraint. Lin dared to play with fire, but he had to consider the consequences. Lin had no intentions of divorcing her husband, and even if she were to raise the matter of marrying him, her parents would not approve of taking into their revolutionary family a son-in-law with an ordinary family background, who was not even a member of the Communist Youth League. Also, Lin's husband had the backing of a military family, and if the matter were taken up at the workplace, Lin would escape punishment. Disaster would fall on him alone. If such a time came, Lin would be level-headed. She would not break with her family and give up her elite status just to spend a life with him as one of the ordinary people. In addition to the marriage laws, a new regulation stipulated that workers of the state had to be twenty-six years of age before they were eligible to register for marriage. In the brand-new society, where unprecedented innovations were occurring every day, the new people loved and married for the sake of the revolution, and that was how the new plays and films of the time promoted it. The state issued tickets for performances, and attendance was compulsory.

One day, bypassing the department and section chiefs, Wang Qi's secretary asked him to report immediately to the bureau chief's office. He therefore knew it was not a work-related matter. Comrade Wang Qi, a wise and kindly middle-aged woman, was seated behind a big desk: die size of the desk denoted a cadre's rank. Comrade Wang Qi rose to her feet and closed the door to her office. This was further indication of the irregularity of the situation. He started getting nervous. However, the bureau chief got him to sit on the long sofa and drew up a leather chair for herself; she was making a deliberate show of being friendly.

"I'm a busy person." That was clearly the case. "I haven't had time to chat with university graduates like you who have recently arrived. How long have you been working here?"

He responded.

"Are you used to working here?"

He nodded.

"I've heard that you are bright, that you have become good at your work very quickly, and also that you even do some writing in your spare time."

The bureau chief knew everything, someone must be reporting to her. She then warned, "Don't let it affect your work here."

He hastened to nod. Luckily, no one knew what he wrote.

"Do you have a girlfriend?"

So this was the problem. His heart started pounding. He said no, and instantiy felt his face turn red.

"It's worth thinking about finding a suitable match." The word "suitable" was emphasized. "But it is too soon for marriage. If your revolutionary work is done well, your personal matters can be easily resolved."

The bureau chief said that they were just having a casual chat, and throughout spoke gently, but this conversation, too, was revolutionary work. She was not having an idle chat with him, and, before standing to open the door, she warned, "I have heard comments from the masses about your having too close an association with Lin. If it is just a comrade relationship because you are both working together, then it is all right, but you must be careful about the consequences. The workplace is concerned about the healthy development of young people."

The workplace was of course, the Party, and the bureau chief's asking him in for a talk naturally reflected the concern of the Party, he returned to Lin, "She is a simple woman, she is very friendly, but she lacks wisdom."

If there happened to be an incident, the responsibility would naturally fall on him. The conversation, lasting less than five minutes, ended at that point. It took place before the outbreak of the Cultural Revolution, before the bureau chief's husband was declared an anti-Party black-gang go-getter, before Comrade Wang Qi herself was declared an anti-Party element, and while she still held an important position in the workplace. Whether it was a hint, an alert, or a warning, the message was clear. The heavy palpitations in his heart and the burning sensation on his face took a long time to subside.

He resolved to break up with Lin. After work, he waited downstairs for her, and they walked out of the building together. He knew they were being watched. He needed challenge, but with such a challenge he was keenly aware of his own impotence. They walked along the road, pushing their bicycles, for some time, before he eventually told Lin about this conversation.

"So what?" Lin didn't take it seriously. "Let them say what they like."

He said probably it was nothing for her, but it would not be so in his case.

"Why?" Lin came to a stop.

"It's an unequal relationship!" he blurted.

"Why is it unequal? I don't understand."

"Because you've got everything and I've got nothing."

"But I'm willing!"

He said he did not want favors, that he was not a slave! Actually, what he wanted to say was that under the unbearable circumstances, it was impossible to have an emotionally happy life. However, at the time, he could not make himself clear.

"So, who's treating you as a slave?"

Lin came to a stop under the streetlight and glared at him. People passing by were stopping to look at them. He suggested going to Jingshan Park to talk. The park stopped selling tickets at nine-thirty and closed at ten. He said they would be out quickly, and the gate-keeper let them in. Normally, when they had a date, they would cycle to the park after work, go up the hill, and find a clump of bushes away from the path, where they could see the lights of the whole city. Lin would casually take off her panty hose, and she did this very seductively. Her panty hose were luxury goods at the time and only available in service departments for people traveling overseas; they were not available in ordinary shops. There was not enough time to go up the hill, so they stopped in the shadow of a big tree by the path not far from the gate. His intention had been to make it quite clear that their relationship was henceforth ended, but when Lin started crying, he didn't know what to do. He held her face in his hands and brushed away her tears, but she began to weep and then to sob loudly. He kissed her, and they embraced like a pair of heartbroken lovers. He could not stop himself from kissing her face, lips, neck, breasts, and belly. The siren sounded over the loudspeakers: "Comrades in the park, your attention, please!"

The park had powerful loudspeakers that made a person's eardrums reverberate. At festivals, from morning to night, they were used for broadcasting revolutionary songs; they were also used at normal times to get people out of the park at closing time.

"Comrades in the park, your attention, please. It is closing time, and the park will be immediately locked up for cleaning!"

He ripped her panty hose under her skirt, thinking it was the last time. Lin hugged him tight, she was shaking all over. However, it was not the last time, but they no longer spoke at work. Each time before parting, they had to decide the location for their next date: in the shadows where streetlights did not reach, by which wall, or under which tree. Once on the street, they would get onto their bicycles separately, and cycle ten or twenty meters apart. The greater the secrecy the greater was the feeling that it was an illicit affair, and, more and more, he sensed that the relationship would end sooner or later.

12

The telephone wakes you and you wonder if you should answer it.

"It's probably a woman, have you forgotten a date?" She is sitting propped against the pillow and turns to look down at you.

"More likely it's for some reception," you say.

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