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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"I went with her early on Sunday morning, and she had to get back to the song-and-dance troupe by ten o'clock that night for roll call. It was army regulation. We had to change buses on the way and were waiting by the bus-stop sign. It had been dark for some time, it was raining, and there wasn't anyone else around. She said she was still bleeding down there, and as I put my arms around her the two of us wept miserably. Afterward, we separated, just like that. Can this be expressed in writing?" Luo asked. "Where is this new life?"

Luo said he couldn't help being decadent. He had womanized in the two years he spent fishing. When the men on the island went out to fish on the high seas, there was no way of knowing if they would be back. He was a young boy just out of school, there was an abundance of sex-crazed women in the fishing village, and that was how it all started. There was nothing romantic to it, and, after he had had his fling, he knew that it was really fucking boring. There was no one he could have a conversation with, so he chose to come back and sell vegetables.

"What gave you the idea of being a fisherman?" he asked Luo.

"I had no choice, I had to find something to do. At the time, like you, I wanted to go to a prestigious university to study literature. Don't you know why I failed?" Luo asked.

"You were the most outstanding in the whole class and acknowledged as a poet by your fellow students. It didn't occur to me that you would fail," he said.

"It was all because of that fuckin' poetry," Luo said. "The year of the university entrance examination was just before the antirightist campaign. Hadn't they called upon people to speak out? The provincial publications got some young writers to take part in a meeting where they were encouraged to speak their minds. I joined with some other young writers and said that there were too many restrictions on topics. Poetry was poetry, why did it have to be divided into industrial themes, agricultural themes, and lives of young people? I also said that they had published my worst poems with the best lines deleted. Because of those comments, they sent in a report to the school. The principal had me in for a talk, and it was only then that I found out I was in trouble. I don't know what happened to the others. I was the youngest, and I had spoken less than the others. At least, I was able to come back to sell vegetables."

Afterward, he bought three tickets to the movies. He waited at the door of the theater until the show was due to start, when Little Five turned up running and out of breath. She said Luo had to go on night duty at the vegetable stall and couldn't come. He wasn't sure if it was Luo's intention to push Little Five onto him, but as soon as they went inside the darkened theater, he took Little Five's hand and they sat down in a couple of seats on the side. He had no idea what the movie was about and only recalled that he was holding the girl's soft hand all the time and that his hot palm was sweating.

He thought that as all the boys had felt the girl, why shouldn't he? Before that, he had never touched a girl. Love for him was something totally different.

At senior middle school, he fell in love with a girl from a lower grade and got to speak with her at the New Year school dance. Right through the night, whether they were playing at solving riddles written on lanterns or some other game, he kept close to that girl in a red pinafore with black flowers. In the hazy light of dawn, or maybe in the reflected light of the streetlights on the snow, he followed the girl as she walked home with some other girls. They were laughing and looking back at him from time to time, and he knew they were talking about him.

He did not think that he, too, could casually touch a girl. When he came out of the theater with Little Five, he deliberately avoided the main street and went into an alley, all the time holding her hand. The girl went along with him, looking at her shoes as she walked, and, now and then, kicking stones on the road. At a corner unlit by the streetlights, he took Little Five's arm and tried to draw her to him. She shook her head and looked at him wide-eyed.

"You men are all bad."

He said he wasn't like that and only wanted to kiss her.

"Why?" she asked with a frown, as the whites of her eyes showed.

He let go of her and said he had never kissed a girl before. Little Five said she'd have to think about it.

His hands fell to his sides, and he hung his head. He did not expect to hear Little Five say, "Then go ahead and kiss me."

He touched her tightly closed lips and immediately withdrew. Little Five closed her eyes, her lips relaxed, and he kissed her again. This time, her lips were thick and soft. He touched her firm breasts through her loose-fitting clothes, and the girl murmured, "Don't hurt me…"

His hand found its way inside her clothes and roamed over her swelling breasts. But he did not dare and had not considered having sex with a girl he did not love. He did not yet know about lust, but he could tell that the girl was really passionate. Afterward, at the university, he received a letter from Little Five. It was a simple letter asking whether he would be back for the summer vacation.

That summer he didn't return. It was the great famine that followed in the wake of the Great Leap Forward. During the summer vacation, university students were required to do voluntary labor, digging holes to plant trees in the Western Hills of Beijing. Everyone was swollen from hunger but nevertheless obliged to donate the whole vacation to carrying out these futile "good deeds." He regretted that he had not been able to sink into total depravity when he was fooling around with Little Five that summer vacation, and he secretly wanted to be totally decadent.

16

In the taxi on the way to the airport, you and Margarethe hardly speak. It seems that everything has already been said, and the taxi is not the place for anything left unsaid.

At the entrance to the immigration barrier, she gives you a gentle hug-as she says you are just friends-her lips touch your cheek, then, without looking back, she goes in.

You had noticed the dark rings around her eyes, and even though she was wearing makeup, you guessed that her face must have been much paler. The two of you had not slept for three days and three nights, no, four days and three nights. From the first night after the play, you were up all night until the next morning, and then from night until the next day, and after that another night. Right now it should be the morning of the fourth day. It had been three days and nights of making love over and over again, striving to dig and suck in the other party, and you, too, were exhausted. It was a bout of sudden frenzied passion, then the temperate farewell of ordinary friends who did not know when they would meet again.

Outside the airport, you come into the brilliant sunshine and steaming heat. There is a long queue at the taxi ramp, and you are extremely tired. When you get into the taxi and the driver asks where you want to go, you hesitate, then simply say "Central," the hub of the bustling city. You do not want to go straight to the hotel, to that empty bed. Her bare body is already linked to the room, the bed, and your thoughts. You have grown used to talking with her, and the words of your inner mind, when you are talking to yourself, always address her, what you say is for her to hear. She has deeply penetrated your feelings and thoughts. When you took possession of her body, she took possession of both your body and mind.

"Where do you want to go in Central?" The driver can tell that you are from the Mainland and he asks you in hesitant Mandarin.

You have dozed off in the taxi, and, opening your eyes, ask, "Is this Central?"

"Yes. What street do you want?"

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