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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The taxi pulls over to the curb. In the rearview mirror, you see the driver scowling, he doesn't want to drive around in circles looking for a destination you can't name. You pay the fare and get out. High buildings soar up on both sides of the road, and for a while you can't get your bearings. You follow the road, but, oddly, there aren't many pedestrians, yet Central is usually thronging with crowds and very noisy. Also, there is not the usual traffic congestion, there aren't many cars, and the traffic is moving briskly. Afterward, you find that the shops are all shut, although the windows still have their displays on show. The tall buildings block out most of the sunlight, so it is only the middle of the road that is bright. You can't help feeling that you are daydreaming.

You recall her saying she had to get back to Frankfurt by Monday, that the company she was working for had a business meeting with its Chinese counterpart, and at this you realize that it is Sunday. On the morning of this day of rest, the usual thing is for families or friends to arrange to get together for breakfast in one of the many restaurants. For the nonstop-busy people of Hong Kong, this is a form of entertainment.

For a whole month, there have been rehearsals, performances, dinner receptions, appointments, meetings, and you have never relaxed like this, strolling around on your own in the heart of this lonely town. You are just getting to know the city, but you don't know if you will come back, just like you don't know if you will ever see her again, ever be so close to her again, pouring out your frustrations and abandoning yourself to lust.

On the last night, she got you to rape her. It was not sex play, she really had you tie her up, got you to tie up her hands, got you to beat her with a leather belt, got you to beat the body that she hated. What she wanted to convey to you was the feeling that after rape, the betrayed and alienated physical body no longer belonged to her.

You tied her wrists with her panty hose, and, holding the metal buckle of the belt, lightly struck her with the end. You laughed in the dark to let her know it was a game to give her the sadomasochistic sexual pleasure she wanted, and she also laughed.

But that was not what she wanted, what she wanted was for you to really beat her. You started to hit her harder and harder so that you could hear the sound of the leather against her flesh. Her flesh convulsed and contracted, but she didn't call out to stop. You didn't know how much she could bear, and when she called out in surprise, you immediately threw down the belt and went to caress her. She swore at you for being a fool, struggled to untie her hands and sat up. You apologized. She lay on her back in the bed, and you lay over her. Then as you felt her tears wetting your face, your own tears began to flow. You said you could not rape her and that you no longer had lust.

She said it was impossible for you to understand her suffering, the suffering of a promiscuous woman who had been raped. All you wanted was sexual enjoyment.

You said that you loved her, and, because you loved her, you could not rape her. You said you hated violence.

She also said she wanted you to cry, that when you cry you are more real. She became gentle and loving and kept stroking you, stroking you all over.

A one-hundred-percent woman, you said. No, a wanton woman, she said. You said no, she was a good woman. She said no, you didn't know, after some time you would hate her. It was impossible for her to live the life of a normal woman, because she could never be satisfied. She really wanted to have a life with you, but it was impossible. Furthermore, you would have to forgive her for this psychosis of hers. She did, in fact, want a peaceful and secure life, but no one would be able to provide her with that sort of peace and contentment. And you would not marry a woman like her, you only wanted her body for the enjoyment you wanted but had not yet found.

You said you were afraid of marriage, afraid of being controlled by a woman. You had a wife. You knew what marriage was about. For you, freedom was more precious than anything, but you couldn't help loving her. She said she could not be your lover, you obviously had a woman, and if you didn't have one you would find one. In fact, you were gentle and fairly honest-she said she had said "fairly" and that she was not exaggerating. You said she was a very lovely woman. But was she like this with all men? She said she had given much of herself to you because she liked you, and that you, too, had given her much, it was equal. She also said that she had understood men too early and already had no illusions. People were practical: she was her boss's lover, but he had to go home to his wife and children on weekends. She was his mistress and, apart from the weekends, she accompanied him on work assignments. Also, he needed her for doing business with China.

Her deep throaty voice, her voluptuousness, her frankness, were tangible and, just like her strong body, aroused your lust, inducing memories with the aftertaste of pain, but filling those memories with a sensuousness that made them bearable. Her voice continued to excite you, and it was as if she were chatting softly right next to you, giving you her warmth and the fragrance of her body. Through her, your repressed lust was released, and recounting your memories to her brought both pain and joy. You needed to talk endlessly with her as you searched for those many memories, and, while you were talking, a profusion of small forgotten details kept surfacing with increasing clarity.

The Bank of China Building, glass from top to bottom, reflects, like a mirror, the strands of white clouds in the blue sky. The sharp corner of the triangular building is knife-thin, and Hong Kong people say that it is like a meat cleaver cutting through the heart of the city and destroying the excellent feng shui of the island. The building of some finance group alongside has been fitted with some odd metal contraptions, futilely, to resist the baleful influences of the Bank of China Building. This is how Hong Kong people deal with the problem. The palatial Victorian mansion of the Legislative Council, located in the middle of a cluster of tall buildings, is quite insignificant and symbolizes an era that will soon end.

Next to the Legislative Council, crowds are milling in the square with a bronze statue. There are crowds by the fountain, under the covered walkways, the pavements and even the road. You think you have come across some meeting or demonstration. But the people are talking and laughing, food is laid out on the ground, boom boxes are playing pop songs, only dancing is missing.

Amazed at the streets of picnic groups between the tall buildings, you thread your way through them until you come to the closed doors of the Prince's Building where there is a banner with a portrait of Christ on the Cross. A priest is explaining the gospel, and the faithful are repenting in the open air. Eighty to ninety percent of the congregation are women, all with dark complexions. You suddenly realize that this is probably where the Filipino maids of rich Hong Kong families gather for recreation on Sundays. To support their families, these women work in Hong Kong so that they can send money back to the Philippines. There is a buzz of talking and laughing, but you do not understand their language and cannot hear their pain of being away from home.

How long will this situation continue? Will new immigrants from the Mainland replace the Filipino maids? When the whole world is expelling immigrants, can this place be an exception? Of course, you need not worry yourself unnecessarily, the big buildings under the blue sky and white clouds will not crumble, and Hong Kong Island will not turn into a desert. At this instant, as you make a detour and move through the crowds, you are assailed by a profound loneliness, but this is the loneliness that has always been your salvation. In any case, you are not Christ and do not have to sacrifice yourself to enlighten the world. Moreover, there is no chance of your being resurrected, so what is important is for you to live properly in this present world.

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