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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During the Cultural Revolution, people were "rebelling," whereas before that people were "making revolution." However, after the end of the Cultural Revolution, people avoided talking about rebelling, or simply forgot that part of history. Everyone has become a victim of that great catastrophe known as the Cultural Revolution and has forgotten that before disaster fell upon their own heads, they, too, were to some extent the assailants. The history of the Cultural Revolution is thus being continually revised. It is best that you do not try to write a history, but only to look back upon your own experiences.

At the time, he was impulsive and stupid, and the bitterness of having been duped was like swallowing rat poison. If it had been swallowed, then vomiting should have been able to get rid of it. In theory, it was simple, but repeated vomiting still couldn't completely get rid of it.

Righteous indignation and political gambles, tragedy and farce, heroes and clowns, were created through people being manipulated. Blah! Blah! The high-sounding righteous words, discussion, and vilification, all proclaimed the words of the Party. People lost their own voices, became puppets, and could not escape the big hand behind, which controlled them.

Now, when you hear impassioned speeches, you secretly smile. Slogans calling for revolution and rebellion give you goose bumps, and as soon as heroes or fighters appear, you quickly step aside. All that fervor and righteous indignation should be fed to dogs. You should have fled that arena for baiting animals to tear at one another long ago. It is not for you. Your domain lies only between paper and Pen, writing not as a tool in the hands of others, but simply to speak to yourself.

You strive to collect memories. The reason he went crazy at that time was probably because the illusions he believed in had been shattered, and the imaginary world of books had become taboo. Also, he was young, had nowhere to dissipate his energy, and couldn't find a woman for his body and soul. Sexually frustrated, he simply stirred the water in mud puddles.

The Utopia of the new society, like the new people, was a rewriting of a legend. Now, when you hear people lamenting the destruction of their ideals, you think to yourself that it was a good thing they were destroyed. And whenever you hear anyone loudly proclaiming ideals, you think it is some quack peddling dog-skin bandages again. If someone prattles on and tries to convert you, or preaches to you, you quickly say sure, sure, see you some other time, and, with luck, slip away.

You no longer engage in polemics and prefer to go off to have a beer. Life is irrational; so, must a rationale be formulated for human existence before people can be people? No, you simply narrate, use language to reconstruct the he of that time. From this time and this place you return to that time and that place, using your state of mind at this time and this place to tell of him at that time and that place. Probably this is the significance of this investigation of yours.

He originally had no enemies, so why was it necessary to find them? It is only now that you realize that if there still are enemies, they are dead-and-buried shadows left in your heart by Old Man Mao. And you simply have to walk away from them. There is no need to tilt at shadows, to fritter away the little life that you still have.

Now you are without "isms." A person without "isms" is more like a person. An insect or a plant is without "isms." You, too, have a life and will no longer be manipulated by any "isms," and you prefer to be an onlooker living on the fringes of society. Unavoidably, there will be perspectives, views and tendencies, but, finally, no particular "isms." This is the difference between the you of the present and the he that you are investigating.

19

The first battle between Red Guards broke out in the main courtyard of the workplace. In the middle of the day, when people were coming out of the building to go to the dining room, a Red Guard from outside came and put up a poster on the courtyard wall. He was stopped by a security guard. Some Red Guards from the work-place came and tore down the poster.

The cocky youth with glasses was surrounded on all sides, but he loudly protested, "Why can't I put it up? Putting up posters has been authorized by Chairman Mao!"

"That's Liu Ping's son trying to overturn the verdict on his father, don't let him get up to mischief!"

A security guard motioned to the gathering crowd and said, "Don't crowd around here, go off and eat!"

"My father's innocent! Comrades!" Shoving aside the guard, the youth held his head high to address the crowd. "Your Party committee has changed the general direction of the struggle away from Chairman Mao's revolutionary line, don't let them hoodwink you! If they aren't up to something underhanded, why are they scared of posters?"

Danian squeezed his way out of the crowd of silent onlookers and said to some Red Guards of the workplace, "Don't let this stinker pose as a Red Guard, take off his armband!"

Holding high his arm with the armband and protecting the arm-band with his other hand, the youth went on to shout, "Comrade Red Guards! Your general direction is wrong! Boot out the Party committee and make revolution, don't be accomplices of the capitalists! All of you comrades who want to make revolution, go look inside the university campuses, they are proletarian rebel territories. You are still under the White Terror out here-"

The youth was pushed back against the wall. He turned to the crowd of onlookers for help but no one dared to come to his rescue.

"Who is your comrade? You turtle grandson of the fuckin' landlord class, how dare you pose as a Red Guard? Take it off!" Danian ordered.

A scuffle broke out for the armband. The youth was strong but could not fend off several people tackling him. First his glasses flew to the ground and were instantly trampled, then his armband was pulled off. This self-assured, confident successor to the revolution was now propped against the wall, cowering, his arms protecting his head. Then, falling on his haunches, he began to wail uncontrollably and was instantly transformed into a miserable pup.

Old Liu was also dragged out, tottering and stumbling, from the building and denounced in the courtyard. But he was an old revolutionary who had experienced a lot in life and did not buckle like his son. Holding his head high, he tried to speak, but, immediately, Red Guards pushed his head to the ground so that his face was covered in dirt and he could do nothing but keep his head down.

Squashed in the crowd, he witnessed in silence what had happened, and in his heart he chose to rebel. He slipped out during worktime and went around the university campuses in the western part of the city. At Peking University, which was thronging with people, among the posters covering the buildings and walls, he saw one by Mao Zedong: "Bombard Their Headquarters-My Poster." When he got back to his workplace office, he was still fired up. Late that night, when nobody was around, he wrote a poster. He did not wait for people to come in for work to collect signatures. He was afraid that by morning, when he was more clear-headed, he might not have the courage. So he had to put up the poster in the middle of the night, while he was still fired up. The masses had to heroically speak out to overturn the verdicts on people branded as anti- Party.

In the empty corridor of the building, some old posters rustled in a draught; this sense of loneliness was probably necessary to support heroic action. The impulse for justice sprang from a sense of tragedy, and he had been thrust into the gambling den, although at the time it was hard to say whether he wanted to gamble. In any case, he thought he had seen an opening and there was something of gambling with life in being a hero.

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