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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Lin did not get on her bicycle as in the past to take the cue and head off, cycling some distance in front, to a secret rendezvous. In any case, the Cultural Revolution had closed down all the parks at night. They walked for a while, pushing their bicycles, without saying anything. The walls along the road were now covered with university rebel Red Guard slogans naming members of the Political Bureau of the Party Center, and the Deputy Premier. These new slogans blotted out the old slogans by blood-lineage Red Guards that had called for the sweeping away of Ox Demons and Snake Spirits.

YU QIULI MUST BOW HIS HEAD TO ACKNOWLEDGE HIS CRIMES

BEFORE THE REVOLUTIONARY MASSES!

TAN ZHENLIN, YOUR FUNERAL BELL IS TOLLING!

Lin had removed her red armband and wrapped her head and face with a long gray scarf. She tried her best to cover herself, to make herself inconspicuous, and, mingling with pedestrians wearing gray and blue padded coats on the street, her graceful figure was no longer prominent. All restaurants had closed for the day, so there was nowhere to go; anyway, it seemed, there was nothing to talk about. The two of them walked with their bicycles in the cold wind, with a clear distance in between. Thrown up by gusts of wind and grit, fragments of posters drifted about under the streetlights.

He was stirred by the solemnity of the impending all-out fight for justice, but could not help feeling miserable, because his love affair with Lin was on the brink of ending. He wanted to restore his relationship with Lin but how could he broach the topic and how could he make it a relationship between equals so that he was not simply the recipient of Lin's love? He asked about Lin's parents, expressing his concern, but Lin walked on in silence without answering. He could not find the words to get through to her.

"There seems to be a problem with your father's history." It was Lin who first spoke.

"What problem?" he said, alarmed.

"I'm just alerting you," Lin said flatly.

"He's never taken part in a political party or group!" he protested immediately, out of a basic instinct for self-preservation.

"It seems as if…" she cut herself short.

"It seems as if what?" he asked, stopping in his tracks.

"That's all I've heard."

Lin kept pushing her bicycle without looking at him. She thought of herself as being superior, she was alerting him, showing concern for him, she was concerned that he might do something crazy. She was protecting him, but he could tell that it was no longer love. It was as if he had concealed his family background from her, and her concern was spoiled by her doubts. He tried to explain: "Before Liberation, my father was section chief in a bank and a steamship company, then he was a journalist with a private commercial newspaper. What's wrong with that?"

What instantly came to his mind was the small cloth-covered booklet of Mao's On New Democracy, which his father hid with the silver coins in the shoebox under the five-drawer chest when he was a child, but he said nothing, it was useless. He felt wronged, primarily because his father was not him.

"They say your father was senior staff-"

"So what? He was still hired staff and lost his job before Liberation. He has never been a capitalist and has never represented the capitalists!"

He was furious, but instantly he felt weak. He knew he would not be able to regain Lin's trust.

Lin made no response.

He put his foot on the bicycle-stop in front of a poster freshly pasted up, stood there, and asked, "What else is there? Who's saying this?"

Lin steadied her bicycle and, averting her eyes, looked down to say, "Don't ask, just be aware of it."

The youngsters in front of them collected their buckets of paste and ink, got on their bicycles, and left. The posters they had just written were still dripping with ink.

"So you've been avoiding me because of this?" he asked loudly.

"Of course not." Lin still did not look at him but quiedy added, "It was you who wanted to break off the relationship."

"I miss you, I really miss you!"

He spoke loudly but felt weak and helpless.

"Forget it, it's impossible…" Lin said softly, avoiding his eyes. She turned, pushing her bicycle to go off.

He grabbed the handlebars of her bicycle, but Lin put her head down and said, "Don't be like that, let me go, I'm just telling you that there is a problem with your father's history-"

"Who said this? People in the political section? Or was it Danian?" he kept asking, unable to contain his fury.

Lin straightened up and turned away to look at the cars on the road and the endless stream of bicycles on both sides.

"My father wasn't declared a rightist-" He wanted to argue, but that, too, was something he wanted to forget. He remembered his mother saying that it was all over and in the past. That was when his mother was alive, he was still at university and had gone home for the New Year.

"No, not that problem…" Lin turned her handlebars and put a foot on the pedal.

"Then what problem is it?" He grabbed her handlebars again.

"They say he had hidden a gun…" She bit her lip, got on her bicycle, and pedaled away hard.

There was an explosion in his brain and he seemed to see Lin speed by with tears in her eyes; maybe he was seeing things or maybe he was just feeling sorry for himself. Cycling away with her head wrapped in the scarf, Lin merged with the others on bicycles and, as scraps of paper and dust flew into the air beneath the streetlights, soon it was impossible to make her out. It was probably at that point that he reeled and stumbled against the poster that had just been pasted on the wall, and got ink and paste on his sleeve, and, as a result, he firmly remembered how it was when he and Lin parted.

His mind had seized up and he was in a quandary. He did not get on his bicycle right away because the weight of the words "hidden a gun" had made his head spin. When he came to his senses and thought about the implications of these words, he knew he had no option but to go all the way with rebelling.

Their band of twenty or so charged into the hutong at the side of Zhongnanhai. At the red gate bristling with sentries, they demanded that the senior cadre representing the Party Center come to their workplace both to acknowledge culpability and to exonerate cadres and masses declared anti-Party. When they entered the office, the old revolutionary who held the rank of general before taking command of this important position actually received them, unlike the noncommittal and reticent senior cadres of their workplace who just hid away in their offices. The man had an extraordinary presence, and remained seated, majestic and dignified, on the high-backed leather chair behind the desk in that very spacious office.

"I won't get up to greet you, I've had too many meetings with the masses. When I was taking part in the revolution and mass campaigns, who knows where you lot of youngsters were? Of course, I am not promoting seniority simply because I am much older than all of you." The senior cadre was the first to speak. His voice was loud without being pompous, but his attitude and tone sounded as if he was speaking at a meeting.

"You young people want to rebel, and that's excellent! But I have had a little more experience. I have rebelled and carried out revolution against others, and others have done the same to me, and I have committed errors. Errors in what I said has upset some comrades and made them angry. I have already apologized to my comrades, what else do you want? Are you incapable of committing errors? Are you always correct? I would never dare say that of myself. It is only Chairman Mao who is always correct! And there can be no doubts about that! Who among you is not capable of committing errors? Ha-ha!"

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