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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"Someone was knocking while you were asleep." She sounds tired.

You raise your head to look up. The sun behind the velvet drapes is shining through the gauze curtains onto the back of the sofa, a newspaper had been pushed under the door. You reach out to pick up the phone, but it stops ringing.

"Have you been awake long?" you ask.

"I feel rather hollow. You started snoring as soon as you fell asleep."

"Why didn't you give me a shove and wake me up? Didn't you sleep at all?" You caress the curves of her shoulders; her body is familiar and intimate, even the warm smell of her body.

"You were so fast asleep. Go back to sleep, you haven't had a decent sleep for two nights." Her dull eyes have dark shadows beneath them.

"Isn't it the same for you?" Your hands glide down her shoulders, grab her breasts and squeeze them hard.

"Do you still want to fuck me?" She looks at you with a wretched expression.

"What are you saying! Margarethe…" You can't understand.

"As soon as you had ejaculated, you fell fast asleep right on top of me."

"That's awful, just like an animal!"

"It's really nothing, people are animals. But what a woman needs even more is a feeling of security." She gives a weak smile.

You say you feel very relaxed when you are with her, she is very generous.

"It depends on who it is. Not everyone who wants it, gets it."

"You didn't have to say that!" You say that you are deeply touched by how kind she has been to you.

"But you will forget sooner or later," she says. "The day after tomorrow, no, it should be tomorrow-another day has gone by and it's probably already midday-I'll go back to Germany and you'll go back to Paris. We can't live together."

"We are sure to see each other again!"

"Even if we saw each other again it would only be as friends. I don't want to be your lover."

She takes your hands from her breasts.

"Why, Margarethe?"

You sit up in bed and look at her.

"You already have a woman in France, it's not likely that you don't."

Her voice is harsh and you don't know how to respond. The sun has moved from the back of the sofa to the armrests.

"What time is it?"

"I don't know."

"But surely you also have a boyfriend? You must." This is the only response you can come up with.

"I don't want to keep up this sort of sexual relationship with you, but I think we can be friends, no doubt, good friends. I didn't think it would suddenly become so complicated."

"What do you mean?"

You say that you love her.

"Don't, don't say that, I don't believe it. Men always say that when they make love with women."

"Margarethe, you are very special." You want to reassure her.

"Is it because I am a Jew, and you've never had one before? It was just a whim, you don't understand me at all."

You say you want to understand her, but that she keeps everything to herself. You have told her a great deal about yourself, but she won't open up. You remember how she kept mumbling something while you were making love.

"All you want is my flesh, not me." She shrugs.

But you say that you really want to understand her, her life, her thoughts, you want to know everything about her.

"For something to write about?"

"No, as a good friend, if I don't count as a lover."

You say she has revived many feelings in you, not just sexual feelings. Memories you thought you had forgotten have come back to life because of her.

"You just thought you had forgotten, it's just that you had not thought about them. However, pain can't be obliterated and forgotten."

She is lying on her back and her eyes are wide open. Without eye makeup, her eyes look a deeper gray-blue. Her nipples are pale red, and the aureoles an even paler red. She covers herself with the sheet and says not to look at her like that. She hates her body. She had said this while making love.

"Margarethe, you are truly beautiful and so is your body!"

You say you like the sensuous women in Klimt's paintings and that you want the sun shining on her so that you can see her more clearly.

"Don't open the curtains!" she stops you.

"Don't you like the sunlight?" you ask.

"I don't want my body to be seen in the sunlight."

"You're really unusual. You're not like a Western woman, you're more like a Chinese woman."

"That's because you don't understand me."

You say you really want to understand her, totally, not just her body, or, as she puts it, her flesh.

"That's impossible. A person can't totally understand another person, particularly if it is a man regarding a woman. And when a man thinks he has the woman, he does not need to understand her."

"Of course." You are frustrated and, holding your head in your hands, look at her and heave a sigh. "Would you like to have something to eat? We could get them to bring something to the room or we could go to the coffee shop."

"Thanks, but I don't eat in the morning."

"Are you on a diet?" you ask pointedly. "It's already midday!"

"If you want to, get them to bring something. Don't mind me," she says. "I just want to hear you talk."

This moves you. You kiss her on the forehead, then pull up your pillow, lean back, and sit next to her.

"You're very gentle," she says. "I like you, I've given you what you wanted, but I don't want to fall too deeply, I'm afraid…"

"What are you afraid of?"

"I'm afraid of longing for you."

You feel sad and stop talking. You think you should have a woman like this, maybe you should live with her.

"Go on with your story." She breaks the silence.

You say that, for the time being, you would like to listen to her talk about herself, her life, or anything. She says she does not really have anything to tell. She has not had complicated experiences like you.

"The experiences of every woman, written up, constitute a book."

"Maybe a very ordinary book."

"But with unique feelings."

You say you really want to know, particularly want to know, about her feelings, her life, her private life, and her psychological secrets. You ask her, "Were the things you said while we were making love true?"

"I couldn't have said anything. Maybe." She adds, "One day I'll tell you. I really want to communicate with you, not just sexually. I can't bear loneliness."

You say you are not afraid of loneliness and that it was through loneliness that you were not destroyed. It was this inner loneliness that protected you, but at times you longed to sink, sink, into that hole in a woman.

"That isn't sinking. To regard women as bad is a male prejudice. What is disgusting is that men use but don't love."

You are trying to get her to reveal her secrets.

"You think they love you then you find out it's a fraud. When men want women, they say wonderful things, but once they've finished, that's it. But women need to be deceived like this so that they can deceive themselves," she says. "You still only think of me as a novelty and you haven't had enough, I can tell."

"The Devil is in everyone's heart."

"But you're fairly sincere."

"Not necessarily."

She cackles with laughter.

"Now this is Margarethe!"

You also relax and start laughing.

"A prostitute?" she asks, sitting up.

"It was you who said that!"

"A slut who brought herself to your door?"

Her eyes are looking right at you, but you can't see behind those eray-blue eyes. She suddenly starts laughing so violently that her shoulders shake, and her big, pendulous pearlike breasts tremble. You say you want her again and push her down onto the pillow. The phone rings as she closes her eyes.

"Take your call. Soon you will have a new woman," she says, pushing you away.

You pick up the phone. It's a friend inviting you to Lamma Island for dinner. You say to hold on and put your hand over the mouthpiece to ask if she will come. If not, you will postpone for a day, so you will be able to spend the time with her.

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