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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It is he that you must allow to emerge from your memory, that child, that youth, that immature man, that daydreaming survivor, that arrogant fellow, and that scoundrel who gradually became crafty. That you of the past had a conscience, and, while vestiges of kindness remained, he was wicked, and you must not make excuses or repent for him. As you observe and listen to him, you naturally feel an irrepressible sorrow, but you must not let this emotion lead to vagueness or a drifting off into sentimentalism. While observing and examining him unmasked, you must turn him into fiction, a character that is unrelated to you and has qualities yet to be discovered. It is then that writing is interesting and creative, and can stimulate curiosity and the desire to explore.

You do not play the role of judge, and you should not regard him as a victim. In this way, the fervor and the suffering that are destructive to art make way for observation and examination. Of interest is not your judgment or his righteous indignation, your sorrow or his suffering, but, rather, the process of this inquiry.

During the Cultural Revolution, big posters and slogans covered all walls and filled the streets. Slogans covered all the lampposts and were even written on roadways. With more fanfare than at the grand ceremonies for National Day, from early morning to late at night, pamphlets fluttered in the air, as cars with big loudspeakers shuttled back and forth broadcasting songs to extoll Mao's Sayings. Party leaders of various ranks, who previously stood on the viewing platform to review the people, now wore paper hats as they were escorted by the rebelling masses onto open trucks and paraded in public. Some wore tall paper hats that would blow off in the wind, so that both hands were needed to hold them down, while others simply wore an overturned wastepaper basket from the office. But, in all cases, the person wore a placard on the chest bearing his or her name in black characters with a big red "X" through it. When the Cultural Revolution began in the early summer of 1966, middle-school children criticized and attacked principals and teachers like this. Then, by early autumn, Red Guards were hauling out people belonging to the Five Black Categories and attacking them in the same way. By midwinter that year, the old revolutionaries of the

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Party, whose very profession was class struggle, were targeted for attack by the Red Guards. All this followed Mao's blueprint for mobilizing peasant movements, and had been devised by the Great Leader when, starting out from Hunan province, he had absolutely nothing.

Wu Tao was on the dais in the auditorium. Big Li was trying to push his head down, but he was quite stubborn. He had his dignity and, angry about being unjustly treated, refused to lower his head. Big Li punched him, right in his fat belly, and Wu Tao doubled over with pain, his face purple, but he did not raise his head again.

Sitting in the place formerly occupied by Wu Tao, on the dais covered with red tablecloths, he presided over all the denunciation meetings convened by the joint mass organizations. He was confronted by increasingly violent behavior, and he seemed to be sitting on top of a volcano. If he tried to exercise any restraint, he would be forced off the dais in exactly the same way. At the meeting, people's emotions ran high. One by one, each Party committee member was called to stand at the front of the dais, learned how to bow his head, and reported on Wu Tao's words and actions. All their instructions had been from higher up, each admitted errors, and each admitted the same things, but not a single sentence was their own. Chen, the tall, slim deputy secretary of the Party committee, whose stooped gaunt figure made him look like a dried shrimp, had a bright idea and added in his report that Wu Tao had recently told core members of the Party committee: "Chairman Mao doesn't need us anymore."

Emotions at the meeting boiled over again and everyone started shouting, "Destruction to anyone who opposes Chairman Mao!"

He detected grief in the shouting of the slogans "Down with Wu Tao" and "Long live Chairman Mao." It was coming from the inner depths of Wu Tao; it sounded familiar, and he remembered that the senior cadre at Zhongnanhai had been resentful like this before he had discarded Wu Tao. However, coming from Wu Tao's own lips, that resentment had turned to grief.

As chair of the meeting, he had to appear harsh, even while knowing that this slight amount of grief and resentment could hardly be defined as opposing the Great Leader. The scoundrel had to be thoroughly crushed. If restored to power, Wu would have no qualms about having him branded a counterrevolutionary for chairing the meeting.

The meeting passed a resolution, and Wu Tao was ordered to hand over the Party meeting minutes and his work notes. After the meeting, he, Tang, and Little Yu got into the black Jimu limousine reserved for the exclusive use of the Party secretary, and set off immediately to carry out a search of Wu Tao's house, taking Wu Tao himself along with them.

He wanted this to be less traumatic, so, without using strong-arm tactics, he got the old man to open each of the drawers and the bookcase containing stacks of documents. Tang and Yu were rummaging through a wardrobe and ordered the old man to hand over the keys to the suitcases.

"They are only old clothes," the old man grumbled in protest.

"Then why are you afraid of having them searched? What if they contain black documents on the masses?" Tang, hands on his hips and looking very cocky, obviously enjoyed carrying out the search.

The old man went into the dining room to get his wife to fetch the keys. It was dinnertime, food was on the table, and the door was open. Wu's wife was there with a small child, their granddaughter, and she stayed inside throughout, deliberately chatting with the little granddaughter. The thought crossed his mind that maybe something important was hidden in the dining room, but he immediately banished the thought. To avoid having to face them, he did not enter the dining room.

Only two months earlier, Red Guards had searched his own room. One Sunday soon after, someone knocked on his door, and, standing outside, was a pretty girl with a fair complexion. The sun shining at that angle made her eyes sparkle and the hair around her ears shine. She said she was the landlord's daughter from the adjoining courtyard, and had come to collect the rent for her family. He had never gone there but knew that Old Tan and the landlord were old friends.

The girl stood at the doorway, took the money he handed her, frowned, and, glancing inside, said, "The furniture inside, the table and that old sofa, belongs to my family and will be removed in due time."

He said he could help her shift the furniture right away. She made no response, but, before she turned and went down the steps, her bright eyes swept coldly across him with obvious hostility. He thought the girl must have wrongly assumed that he had reported on Old Tan so that he could take over his lodgings. A few weeks passed, but the girl did not come to collect rent or to remove the furniture. It was only when the old man from next door came to collect rent for the housing department of the street committee that he found out all private real estate had become public property. He did not bother to find out what had happened to the landlord, but the cold look the girl had given him remained fixed in his mind.

He avoided seeing Wu's wife and the little granddaughter. Even though the child was small, she would remember and would continue hating him for a long time.

Tang brought out one suitcase at a time. Unlocking them, Wu Tao said they contained his daughter's and her child's clothing. When he saw the bras and dresses, he suddenly felt embarrassed, recalling how it was when the Red Guards found condoms while searching through Old Tan's things in the room they shared. He waved them to stop. Tang was searching the sofa, pulling up the cushions, feeling down between the armrests, and demonstrating the expertise of someone who suddenly had been delegated the responsibility of carrying out a search. However, he was anxious to end the search and had parceled up bundles of letters, documents, and notebooks.

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