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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"What will all of you do?" you ask.

"That day, don't go anywhere else. Just come here to eat seafood with me," Dongping says with a joyless smile. He seems to be very generous, not as rough as he used to be, and he has become wiser.

People stop joking and the music suddenly seems to be louder, and who knows what season Vivaldi has reached.

"It doesn't matter!" the American says in a loud voice.

"What doesn't matter?" his girlfriend retorts. She then rebuffs him, "You can never make yourself understood when you speak Chinese!"

After dinner, the American takes out a piece of opium the size of a fingernail to share around, but the two of you must catch the last boat back. Dongping says there is plenty of room, and the two of you can stay the night, then go for a swim in the morning. Margarethe says she is tired, and also that she will be flying out at midday tomorrow. Dongping escorts the two of you onto the ferry and, when it departs, he is left alone on the wharf, holding both hands high, and waving. You say to Margarethe that you were close friends in Beijing and had suffered together. He is a rare friend. He doesn't know any foreign languages and can't go anywhere. The police raided his home in Beijing. He often had parties with music and dancing, but the neighbors thought that there were indecent activities going on and reported him to the police. Afterward, through various strategies, he got to Hong Kong. This trip to Hong Kong is to say good-bye to him.

"It's hard making a living anywhere," Margarethe says sadly. You lean against one another by the railing on deck. The sea breeze is cool.

"Do you really have to leave tomorrow? Can't you stay one more day?" you ask.

"I'm not as free as you are."

The wind blows spray into your faces. Once again you confront a farewell, maybe this is an important moment for you. It seems that your relationship should not come to an end just like that, but you do not want to make promises, and simply say, "Freedom is in one's own hands."

"It's easy for you to say that, but, unlike you, I have a boss." She has turned cold again, like the sea wind. Above the sea is pitch-black darkness, the specks of bright light on the island have vanished.

"Talk about something interesting." Sensing she has upset you, she adds, "You talk and I'll listen."

"What shall I talk about, the March wind?" You talk nonsense and restore a nonchalance to your voice.

You sense her shrugging her shoulders, and she says it's cold. The two of you go back into the cabin. She says she's tired, and you look at your watch; there is still half an hour before reaching Hong Kong Island. You say she can lean on your shoulder and have a nap. You are also overcome by weariness.

13

March wind. Why March? And why wind? In March, on the North China plains, it is still very cold. Endless stretches of muddy marshlands and alkaline flats on the ancient riverbed of the Yellow River have been reclaimed for farmland by reform-through-labor prisoners. If there was no drought, the millet sown in winter would result in a harvest of the same amount of seed after the beginning of spring. In accordance with the newly promulgated highest instructions of the highest leadership, these prison farms were converted into May Seventh Cadre Schools, and the original prisoners and military police were sent to the desolate uninhabited highlands of Qinghai province. Hence the farms came to be farmed by purged bureaucrats and workers from the Red Capital.

"The May Seventh Cadre School is not a haven from the winds of class struggle!" The army officer from Beijing had come to convey this instruction. This time it was a purge of the May Sixteenth counterrevolutionary group that had infiltrated every nook and cranny night down to mass organizations. Anyone who was investigated would instantly be considered a practicing counterrevolutionary. The very first time he was confronted, soon after the initial period of the movement to sweep away Ox Demons and Snake Spirits, he was so frightened that he made a confession on the spot. But now he had become a fox and was capable of biting back. He, too, could bare his sharp fangs and put on a mean pose. He was not going to wait for a pack of hunting dogs to pounce on him. Life, if this could be called life, had thus taught him to be an animal. At most, he was a fox surrounded by hunters, and, if he made a false move, he would be torn to shreds.

After several years of chaotic warfare over what was right one day and wrong the next, a whole series of crimes could be listed for anyone who had to be purged. As soon as a person was investigated, problems were sure to be found, and if a person had problems he would be declared the enemy. This was known as fighting to the death in the class struggle. As the army officer had named him as the main target of investigation, all that remained was for the masses to get fired up so that they would direct their fire at him. He was fully aware of this process and, before the masses were fired up, he had to bide his time.

Right up to the day before the commanding officer announced that he was to be investigated, the masses were still laughing with him. The masses lived with him and, in the same dining hall, drank the same corn gruel and ate the same unleavened mixed-grain buns with him. They slept together on the cement floor of the granary on a mattress padded with straw. The row upon row of communal mattresses were forty centimeters in width per person-no more, no less-measured with a tape measure, whether one was a high-ranking cadre or an odd-job worker, fat or thin, old or sick. However, the men and the women were separated. Husbands and wives without young children to take care of couldn't stay in the same place. Everything was organized in military formation-squad, platoon, company, battalion-and everyone came under the leadership of the commanding officer. At six o'clock in the morning, the bugle call got people up, and they had twenty minutes to brush their teeth and have a wash. They then stood before the portrait of the Great Leader on the wall to seek "morning instructions," sang songs from Mao's Sayings and, holding high the little red book, shouted out "long live" three times before going to the dining room to drink gruel. Assembly followed, and Mao's Selected Works were recited for half an hour before people shouldered their hoes and pickaxes to work on the land. Everyone had the same fate. What was the point of all this endless fighting?

The day he was taken off work to write a confession, it was as if he had the plague and everyone was afraid of catching it. No one dared to talk to him. He didn't know what they were investigating, so when he saw a close friend heading for the mud-walled lavatory, he followed him in, undid his trousers and, pretending to urinate, said in a low voice: "Why are they investigating me?"

The friend gave a dry cough and, putting down his head as if he were totally engrossed in shitting, didn't look up. There was nothing for him to do but leave. It turned out that even when he went to the lavatory he was being spied on. The joker who had received the letter to implement the investigation on him was outside the mud wall, pretending to be deep in thought.

A meeting to "help" him was held on the cement drying ground. To help was to use mass pressure to force a person to admit to mistakes, and mistakes were the same as crimes. The masses were like a pack of dogs slinking off to bite as the whip directed, thereby ensuring that they themselves would not be lashed. He was familiar with this infallible key to mobilizing the masses.

The scheduled speeches became more intense and vicious. Each speech was prefaced by quoting from the little red book that was used as a cross-reference for a person's words and actions. He put his notebook on the table and made it clear he was taking notes. This was the signal he wanted to give: he had taken a stance, and he was recording everything. When the day came and things changed, he was not going to forgive anyone. The past years of constantly changing political movements had turned people into revolutionary gamblers and scoundrels. The winner was a hero and the loser was the enemy.

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