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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He took notes rapidly and tried not to miss a single sentence. He made it no secret that, right then and there, he was hoping for the day when he would seek a tooth for a tooth. That bald-headed, prematurely senile Tang so-and-so was making a speech, getting himself more and more excited by quoting venerable Mao's exhortations to fight against the enemy. He put down his pen and looked up to glare at this joker. Tang's hand, clutching his little red book, started shaking, probably a habit he couldn't control, and getting more and more flustered, sprayed spittle as he spoke. In fact, Tang's behavior came from fear. With his landlord family background, he could not join any of the people's organizations, and he was merely taking the opportunity to put on an act to score some good points for himself.

He had no choice but to pick on a weakling like this, someone who was terrified and just trying to survive. He swore, put the cap back on his pen, announced he was not taking part in this sort of meeting until his problem was clarified, and forthwith left. Apart from the few company and platoon cadres dispatched by the army officer, most of the hundred or so present were from his old rebel faction and, for the time being, the atmosphere was not right for launching a criticism against him. He had risked taking a stance to allow his faction to steady itself, but, of course, he knew this would not be able to stop him from being charged with a raft of crimes. He had to flee the cadre school before the net closed around him.

At dusk, he went off on his own to a distant village, leaving the precincts of the cadre school within that endless long line of cement posts tied with barbed wire.

Alongside the village was a kiln for slaking lime. He approached the kiln where he saw some peasants douse kerosene on the stack of coal inside and light it. Soon thick smoke was billowing out. They sealed up the opening of the kiln, let off a string of crackers, and left.

He hung around for a while and saw that no one had followed him from the cadre school.

It was gradually getting late, the sun was a ball of orange, and the rows of huts on the farm had already become blurred. He walked toward the setting sun, passed ridges of corn fields that had not yet started to turn green again, and kept going. Some sparse, withered plants grew on the white saline land, and the soil underfoot became loose and soft. Before him were stretches of swamp. Wild geese called in the limp, yellow reeds as the sun turned crimson to set somewhere further off along this ancient watercourse of the Yellow River. In the darkening mist, it was all mud underfoot, and there was nowhere he could sit down. He lit a cigarette and thought about where he could seek refuge.

His feet were sinking into the mud. He had smoked one cigarette. His only option was to have a peasant family take him in. It would mean revoking his city residential permit and having to live the rest of his life as a peasant, and this had to be done before he was declared the enemy. But he did not know anyone living in any village. He thought hard, and suddenly remembered that his classmate at middle school, the orphan Rong, had been among the first batch of urban educated youth to go off to "establish new socialist villages" ten years earlier. Afterward, Rong had settled in a small county town in the mountains. Through this classmate, maybe he would be able to find some place to go.

When he got back to the dormitory, everyone was busy having a wash and getting ready for bed. The old and the weak were worn out and were already lying down. Without bothering to go to the well to fetch water for a wash, he crawled into bed. There was no time to waste. That night he would have to go to the county town to send a telegram to Rong. It was forty kilometers there and back, and it would be impossible to get back before dawn. He would first have to sneak off to a village outside the farm to borrow a bicycle from Huang, a cadre who worked in his platoon. Workers such as Huang, with elderly relatives and children, were settled in the homes of peasants in nearby villages.

After the last person lay down and the lights went out, he waited until there was a rhythmic sound of snoring. In the dark, the old cadre next to him tossed and turned, making the chaff mattress rustle; probably he could not get warm enough and couldn't fall asleep. He quietly told the old man he had diarrhea and was going to the lavatory. The underlying message was that should the night warden ask where he was, that was how to get rid of the man. He didn't think the old man would betray him: prior to the announcement that he was to be investigated, he was the leader of his work squad and he always gave the old man the lightest chores. He had the old man repairing loose hoes and guarding the drying square to make sure neighboring peasants didn't come with a sack to casually fill it with grain, then run off. The old man was a revolutionary from the Yan'an period and had a doctor's certificate for high blood pressure. However, when his faction was targeted in the movement, his military credentials weren't recognized and he, too, was sent here to the cadre school.

Dogs were barking everywhere in the village. Huang opened the door with his padded jacket slung over his shoulders. His wife was on the earthen kang under the bedcovers, and his little girl, awakened by the knocking, was crying. He hastily explained his desperate predicament and promised to get the bicycle back before daybreak. He said that he definitely would not implicate them.

Rain had not fallen for a long time on the dirt road into the county town. It was thick with dust and so uneven that the bicycle was shaking all the time. A wind started up, blowing dust and grit right into his face. He was choking and could hardly breathe-oh, the wind and grit that March night in early spring…

While at middle school, he and Rong, this classmate from whom he was seeking help, used to discuss the meaning of life together. This began with a bottle of ink. Rong had been taken in by an elderly widow without any children, and lived nearby. So, after school, Rong often came over to his place and they would do their homework, then listen to music. Rong played the two-stringed erhu well, and was crazy about the violin, but there was no question of his buying one. Rong could not even afford to buy one of the very cheap tickets for special student movies during the summer holiday break. He once bought an extra ticket for Rong, but Rong kept making excuses. He couldn't understand, but when he said the ticket would be wasted, Rong finally explained that if he saw one he would want to see another, and he would become addicted. However, Rong did not refuse to come to his house to play his violin.

One day, after finishing their homework, they listened to a record. It was Tchaikovsky's Violin Quartet in G Major, and Rong was enraptured. He remembered clearly that they were silent for a long while. Suddenly, he said he wanted Rong to know that the ink in the bottle on the table was not blue. Rong said, to be more accurate, it was ink-blue. But, he argued with Rong, when people saw this color and said it was blue or ink-blue, it established an agreement or a convention that gave it a common name, but, in fact, the color seen by each person was not necessarily the same. Rong disagreed, saying that however either one of them saw it, the color didn't change. The color, of course, did not change, but whether or not the color seen in the eyes of each person was the same, no one could know. Rong said there had to be an explanation. What was communicated was simply the term "blue," or "ink-blue," and, in fact, the visual perception conveyed by the same word was different. Rong asked what was the color of the ink in the bottle? He said who knows? Rong was silent for a while and then said he found it all a bit scary.

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