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Gao Xingjian: One Man

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Gao Xingjian One Man

One Man: краткое содержание, описание и аннотация

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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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"With big breasts, right?"

"Of course, very big breasts. Blushing white skin and bright red lips even with no lipstick. Really sexy."

"You couldn't have known at the time!"

"You were so bright red, it was impossible not to notice."

"It was because it was too hot in the room and we'd been cycling for more than an hour."

"That night you sat quietly opposite me but didn't say much."

"I was struggling to understand what was being said. You and Peter were talking all the time, although I don't recall what about. I didn't know much Chinese at the time but I remember that night, I had a strange feeling."

You, of course, also remember that winter night, you had candles burning, which added to the warmth, and you couldn't tell if there was anyone downstairs watching your window. You had finally obtained a little apartment, a decent refuge, a home, and you had a fortress to protect yourself from the political storms outside. She sat on the carpet with her back against the bookcase. It was a clipped woollen carpet made for export, that had gone on the domestic market. Sold at a reduced price as a second-grade product, it was still expensive, exactly the amount of advance royalty you had received for your book. However, that book, which did not so much as touch on politics, stirred up a great deal of trouble for you. Her shirt collar was open and her skin was very white, and those long legs in sleek black stockings were enticing.

"Don't forget, you had a girl in your apartment. She was wearing very little and, unless I've remembered wrongly, she was barefoot."

"She was usually naked, and she was when the two of you came in the door."

"That's right, we had been sitting and drinking for some time before the girl quietly came out of the bedroom."

"You two were obviously not going to leave right away. I asked her to join us, so she put on a dress."

"She shook hands with us but didn't say a thing all night."

"Like you."

"That night was very special, I had never seen a Chinese home with that sort of atmosphere…"

"It was special because a white German girl with bright red lips had suddenly arrived…"

"And there was also a barefoot little Beijing girl who was lovely and slender…"

"Flickering candlelight…"

"We sat drinking in your warm, cozy apartment as we listened to the howling wind outside."

"It was unreal, just like it is now, and probably there are also people watching…"

You again think that the room is probably being videotaped.

"Is it still unreal?"

She clamps you with her legs and you close your eyes to experience her, hugging the fullness of her body and mumbling, "There was no need to go before morning…"

"Of course, there wasn't…" she says. "At the time, I didn't want to leave. It was a bitterly cold winter night and we had to cycle for an hour. Peter wanted to go, and you didn't try to get us to stay."

"Yes, that's right." You say that it was the same with you. You had to cycle back with her to the barracks.

"What barracks?"

You say that she was a nurse in the army hospital and she couldn't stay out overnight.

She lets go of you and asks, "Who are you talking about?"

You're talking about her army hospital being in the barracks in the outer suburbs of Beijing. She used to come every Sunday morning, and on the Monday morning before three o'clock you had to set off and cycle for more than two hours to get her back to the barracks before dawn.

Shrinking back, she pushes you away, sits up and asks, "Are you talking about that Chinese girl?"

You open your eyes and see her glaring at you. You apologize and explain that it was she who started talking about the little lover you had at the time.

"Do you long for her a lot?"

After pondering, you say, "That's in the remote past. We lost contact long ago."

"And you've had no news about her?" She sits on her haunches.

"No." You also move away from her and sit on the edge of the bed.

"Don't you want to look for her?"

You say that China is already very distant from you. She says she understands. You say you have no homeland. She says her father is German but her mother is a Jew, so she has no homeland either. But she can't get away from her memories. You ask her why not? She says she isn't like you, she's a woman. You say oh, and stop talking.

3

He needed a nest, a refuge, he needed a home where he could be away from people, where he could have privacy as an individual and not be observed. He needed a soundproof room where he could shut the door and talk loudly without being heard so that he could say whatever he wanted to say, a domain where he as an individual could voice his thoughts. He could no longer be wrapped in a cocoon like a silent larva. He had to live and to experience, be able to groan or howl as he made wild love with a woman. He had to get a space to exist, he could no longer endure those years of repression, and he needed somewhere to discharge his reawakened lust.

At the time his small partitioned room could only hold a single bed, a desk and a bookshelf, and in winter, when he put in a coal stove with a metal pipe for warmth, it was hard to move around with another person in the room. The worker and his wife having intercourse, or their baby having a pee, on the other side of the very basic partition, could be heard clearly. Two other families lived in the building and they all shared the tap and drain in the courtyard, so whenever the girl visited his small room, she was observed by the neighbors. He had to leave the door partly open as they chatted and drank tea. His wife-a woman he'd married ten years earlier and from whom he'd been separated for almost as long-had gone to the Party committee of the Writers' Association, which had in turn arranged for the street committee to report on him. The Party interfered in everything, from his thinking and his writing to his private life.

When the girl first came looking for him, she was dressed in an oversized, padded army uniform with a red collar-badge. Her face flushed, she said she'd read his fiction and had been deeply moved by it. He was on guard with this girl in an army uniform. Looking at her childlike face, he asked how old she was. She said she was studying at the army medical college and was an intern at the army barracks. She said she was seventeen that year. An age, he thought, when girls easily fall in love.

He closed the door to his room. When he kissed the girl, he had not yet received legal approval for a divorce from his wife and, fondling the girl, he held his breath. He could hear the neighbors walking in the courtyard, turning on the tap, washing clothes, washing vegetables, and emptying dirty water into the drain.

He was increasingly aware of his need to have a home, but not just so that he could possess a woman. What he wanted first of all was a roof that kept out the wind and rain, and four soundproof walls. But he did not want to marry again. Those ten years of futile, legally binding marriage were enough. He needed to be free for a while. Also, he was suspicious of women, especially young, pretty, seemingly promising girls with whom he could easily become besotted. He had been betrayed and reported more than once. At the university, he had fallen in love with a girl in the same class whose looks and voice were so sweet. But this lovely girl was ambitious, so she wrote a voluntary confession of her own thinking for the Party branch secretary, including in it his negative comments on the revolutionary novel Song of Youth, which the Communist Youth League was promoting as compulsory reading for young people. The girl had not deliberately set out to harm him, and in fact had feelings for him. The more passionate a woman, the more she had to confess her emotions to the Party: it was like the religiously devout needing to confess the secrets of their inner hearts to a priest. The Communist Youth League considered his thinking too gloomy, but the charge was not too serious, and, while he could not be admitted to the League, he was allowed to graduate. In the case of his wife, the matter was serious. If what she had reported had been substantiated with a fragment of what he had written in secret, he would have been labeled a counterrevolutionary. Ah, in those revolutionary years even women were revolutionized into lunatics and monsters.

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