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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"She, the girl," you say, "maybe she accepted and wanted it, maybe she was jealous of you-"

"No, of course it's impossible for you to understand that look! I'm talking about the way that girl looked me over. I hated myself, not just that girl. It was only through her eyes that I was able to see myself, and I hated him and also my body that had prematurely become a woman's."

Left speechless, you light a cigarette. Outside the big window, the city lights illuminate the night sky, and the gray-white nebula seems to be speeding. The lights in the front section of the lounge have been turned off, only the lights over your table in the rear section are still on.

"Should we leave?" you ask, glancing at the bit of scotch left in her glass.

She drains her glass and smiles at you; you can tell she is a bit tipsy. You raise your glass and empty it, saying that it is to wish her well on her journey.

Back in the room, removing the clasp and loosening her hair, she says, "Do you still want to fuck me?"

You don't quite know how to reply and, somewhat in a daze, sit by the table in the round-backed chair.

"If you really want to…" she murmurs as the corners of her mouth turn down. She takes off her clothes in silence, her bra, her black panty hose and underpants, then lies there on her back staring at you. Her face has a drunken and yet childish look. You don't make a move, you would not be able to fuck her, and somehow you pity her. You must force yourself to be mean, as you coldly question her further.

"Did he ever give you money?"

"Who are you talking about?"

"The artist, weren't you his model?"

"The first few times, but I didn't take it."

"And later?"

"Do you want to know everything?" There is a bitter edge to her voice.

"Of course," you say.

"You know too much already," she says weakly. "I have to keep a bit to myself… Since my mother died I have never returned to Venice."

You have no idea how much of what she has told you is true, or how much she hasn't told you. You say that she is a very intelligent woman, to console and soothe her.

"What's the use of being intelligent?"

She is weaving a net to snare you. What she wants is love, and what you want is freedom. You have paid too high a price for the small freedom of controlling your own freedom, but it is really hard for you to leave her. She compels you, not just to enter her physically, but also to enter deep into the secret recesses of her mind. You look at her voluptuous body, but she gets up and abruptly turns to you.

"Just sit there and don't move! Just sit there and talk."

"Until morning?" you ask.

"As long as you've got something to say, say it, I'm listening!"

Her voice is commanding, yet imploring and radiating loveliness, intangible softness. You say you want to feel her reactions, otherwise you would be talking to a vacuum, you would not know when she had fallen asleep, and would feel let down.

"All right, you take off your clothes, too! Just make love with your eyes!"

Chuckling to herself, she props a pillow behind her back against the headboard and, legs crossed, sits facing you. You take off your clothes but are unsure about going across to her.

"Just sit in the chair, don't come near!" she commands.

You obey, and you confront one another naked.

"I want to look at you and feel you like this," she says.

You say that this is like exposing yourself to her.

"What's wrong with that? A man's body is sexy in the same way, don't feel so aggrieved." At this, her lips curl up and she looks wickedly pleased with herself.

"Revenge? Compensation? Is that what you want?" You say this to mock her, this must be what she wants.

"No, don't think so badly of me…" Her voice suddenly seems to be wrapped in a layer of downy feathers. "You're very gentle," she says with sadness in her voice. "You're an idealist, you're still living in dreams, your own dreams."

You say no. You only live in this instant of time, you no longer believe in lies about the future. You need to be able to live in reality.

"Have you never used violence on a woman?"

You think for a while, then say no. Of course, sex and violence are inevitably linked, but that's another matter. The other party has to be willing and accepting. You have never raped anyone. You ask her whether the men she has had were rough.

"Not necessarily… It's best if you talked about something else."

She turns away and leans on the pillow. You can't see her expression. You say that you have experienced the feeling of being raped, of being raped by the political authorities, and it has clogged up your heart. You can understand her, and can understand the anxiety, frustration, and oppression that she can't rid herself of. Rape is not a sex game. It was the same for you, and it was only long afterward, after obtaining the freedom to speak out, that you realized it had been a form of rape. You had been subjected to the will of others, had to make confessions, had to say what others wanted you to say. It was crucial to protect your inner mind, your faith in your inner mind, otherwise you would have been crushed.

"I'm terribly lonely," she says.

You say you understand her, want to go over to comfort her, but are afraid she might wrongly think that you just want to use her.

"No, you don't understand, it's impossible for a man to understand…" Her voice is tinged with sadness.

You can't help saying that you love her, that, at least at this instant in time, you have really fallen in love with her.

"Don't say that it is love. It's so easy saying it, every man can blurt it out."

"Then what shall I say?"

"Say whatever you like…"

"What if I say you're a prostitute?" you ask.

"Who craves excitement and carnal lust?" she says miserably.

She says she is not a sex object. She hopes she will live in your heart, genuinely communicate with your inner heart, and not simply be used by you. She knows that it's hard, almost futile, but she still hopes that it will be like this.

15

He recalled that, as a youngster, he once read a fairy tale, the author and tide of which he had since forgotten. The story went like this: there was this kingdom, where everyone wore a bright mirror on the chest, and the smallest wicked thought would reflect in the mirror. Everything was revealed, and everyone could see it, so no one dared to be even slightly wicked, because there would be nowhere to hide, and the person would be driven from the kingdom. It therefore became a kingdom of pure people. The protagonist entered this kingdom of ultimate purity, maybe he stumbled upon it-he didn't remember too clearly. Anyway, the protagonist also had a mirror on his chest, but in it was a flesh-and- blood heart. An outcry went up among the masses-he was terrified when he read this. He could not remember what happened to the protagonist, but the story left him feeling shocked and uneasy. At the time, he was still a child and did not have any really wicked thoughts, but he couldn't help feeling scared, although of what, he had no idea. As he became an adult, such feelings gradually paled into oblivion; he already had hopes of becoming a new person and, moreover, of living a peaceful life in which he would be able to sleep soundly, without nightmares.

The first to talk to him about women was his schoolmate Luo, a precocious boy who was a few years older. While Luo was a senior in middle school, several of his poems had been published in a magazine, earning him the title of poet among his classmates. He greatly admired Luo. However, after failing the university entrance exams, Luo worked off his frustration by going alone to the school basketball court. There, he would strip to the waist and, sweating all over in the hot summer sun, jump and shoot baskets. Luo didn't seem to be upset about failing and said he was off to fish in the Zhoushan Archipelago. This convinced him that Luo was a born poet.

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