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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At a small stop called Goose Wings, where there was no platform, he jumped off and watched the long-distance train continue around the side of the mountain. The stationmaster waved the flag and blew the whistle, then went into the small hut by the shoulder of the road, leaving just him standing on the gravel by the side of the railway tracks.

While at university, he had come here as a volunteer laborer to dig holes and plant trees on the mountain. It was also in early spring, and the ground was still frozen. Each time he swung his pickax, he would not bring up two inches of soil, so, in a few days, his palms were covered in blood blisters. Once he was almost killed when he jumped into the bone-chilling river to recover the hemp bag containing the saplings he was to plant. He had it soaking in the river and it was swept away by the fast-flowing current. For this, he was commended, but the Communist Youth League still did not want him. He and some fellow students, all of whom had been refused membership, called one another "Old Reject." They formed a theater group and had just put on two plays when cadres of the student association at the university sought them out and spoke with them separately. They were not ordered to stop, but the theater group could no longer function, and, as a matter of course, disbanded.

They had performed Chekhov's Uncle Vanya. It had old-fashioned charm, with a sweet and kindly country girl from a small farm saying nostalgically that everything should be beautiful, with beautiful people in beautiful clothes and also with beautiful hearts; it grieved for a past that was like the old photographs he had burned.

He walked along the railway sleepers for a while, but, seeing a train coming from the distance, he went down the shoulder of the road and headed for the rock-covered riverbed. The water in the Yongding River was clear, unless it was swollen with rain or the sluices of the government dam upstream had been shut off.

He had brought Lin here and taken photographs. Lin had a beautiful figure, and she stood barefoot in the water with her skirt scooped up in her arms. Afterward, among the bushes on the mountain, they picnicked, kissed, and made love. He regretted not having photographed her nude as she lay in the grass, but all that was now beyond his reach.

What else could he do? What else was there to do? There was no need for him to go back to his office desk to arrange those virtually identical propaganda documents as he was meant to, as no one was in charge of him. Also, there was no need for him to rebel: that strange righteous indignation, too, had passed. For several months, he had headed the assault on the opposition, but now the thrill and excitement had completely vanished, or, rather, he had tired, had had enough of it. He should bravely retreat while he still could; there was no need for him to play the role of a hero.

He took off his shoes and socks, and walked barefoot in the clear icy current. As the water gently trickled in shining broken ripples and sparkled in the sunlight, he suddenly started thinking clearly. He should go to see his father because he had not received a letter from home for a long time, and he should also take the opportunity, when no one would notice, to travel south to clarify this business in his file about his father having "hidden a gun."

He rushed back to the city by early afternoon, went home to get his bankbook, cycled to withdraw money before the bank closed, then went to Qianmen Railway Station to buy a ticket for that night. He returned home to lock his bicycle in his room, and, carrying the satchel he normally took to work, he boarded the express train south at eleven o'clock.

Father and son had not seen one another for two years, and, when he suddenly turned up, his father was overjoyed. His father went off to the free market and bought fresh fish and live shrimp, and went to the kitchen to gut the fish. When his mother died, his father became morose and seldom spoke, but now he was a different person, doing the cooking, cheerful and talking a lot. Then came his father's concerns about politics, and he kept asking questions about the Party and the national leaders who had vanished from the papers. Not wanting to upset his father straight away, he sat at the table, drinking, and talked about things that couldn't be read in the newspapers. He told his father there was an internal struggle going on in the highest echelons of the Party, but that it was something about which ordinary people would not be able to find out anything. His father said he knew, he knew; in the provinces and the cities, it was the same. His father also said that he had joined the rebels and that the head of the personnel department, who had denounced a string of people, had been overthrown. He held back for a while but felt he had to warn his father.

"Father, you mustn't forget the lesson of the anti-rightist period-"

"I did not oppose the Party! I only raised some views about a particular person's work!"

His father became agitated. His hand began to shake, and he spilled the liquor from his cup onto the table.

"You're not young, and you have problems with your personal history, you can't join such groups! You don't have the right to take part in such campaigns!" He was also very agitated. He had never spoken in that tone of voice to his father before.

"Why can't I?" His father slammed his cup on the table. "There's nothing wrong with my history, I didn't join with reactionaries, I have no political problems! That year, the Party called upon people to speak out, and I simply said that the wall between the masses should be torn down. I was referring to that person's work style. I did not say a word against the Party. It was his revenge! I said this at the meeting, and many people were present, they all heard and can testify to this! That blackboard document of mine with more than a hundred characters had been requested by their Party branch!"

"Father, you're too naive-" he went to argue, but his father cut him short.

"I don't need you to lecture to me! Just because you've done a bit of study! Your mother overindulged you, she spoiled you rotten!"

After his father had calmed down, he had to ask him. "Father, did you ever have any guns?"

His father was stunned. It was as if he had been struck on the head. Slowly his head drooped, and he stopped talking.

"Someone has divulged that my file has this problem," he explained. "I made this trip to see if you were all right. Is there any truth in the matter?"

"Your mother was too honest…" his father mumbled.

In other words, it was true. His heart went cold.

"It was a year or two after Liberation. Census forms were issued for people to fill out, and there was a column for weapons. It was your mother's fault, she was asking for trouble, she insisted that I honestly write down that I had sold a gun to a friend…"

"What year was this?" he asked, glaring. His father had become the object of his interrogation.

"It was a long time ago, during the War of Resistance. It was still the Republican Period, before you were even born…"

People all testified like this, they had to, he thought. However, the matter of the gun was already an incontestable fact, and he had to struggle to pull himself together and to curb his anger. He could not interrogate his father, so he said quietly, "Father, I'm not blaming you, but where is this gun?"

"I passed it on to a colleague at the bank. Your mother said she couldn't understand why I was keeping the thing, but I had it for protection, because of the social unrest in those times. She said I wouldn't know where to aim it, and what if it went off by accident? So, I sold it to a colleague at the bank!" His father laughed.

But this was not a laughing matter, and he said sternly, "But it is recorded in my file that you had hidden a gun."

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