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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"If you want to come and investigate further-" the old man said.

"That won't be necessary," he cut the old man short. He no longer felt the same as he did prior to this visit: there was no sense in blaming either this old man or his father.

"I'm already nearing the end of my life. Just finish listening to me," the old man insisted.

"The thing no longer exists, does it? Surely it has totally rusted away?" He stared at the old man.

The old man's mouth opened wide, showing a few sparse teeth, as he burst into loud laughter. A tear fell from his droopy eyelid.

The old man and his wife began preparing food and suggested that he stay for a meal. But, saying he had to get back to the city to return his bicycle then catch the night train, he firmly declined.

Uncle Fang saw him out of the building to the main road. Waving him off, he said to convey regards to his father, then said, "Take care! Take care!"

He got on his bicycle. When he looked back and could no longer see the old man, he suddenly thought: I've gone to all this trouble, but what fiickin' use is it going to be?

26

So you can, in fact, turn back to look at him, that unfilial son of a doomed family, a family that was not destitute but by no means rich, a family that was in-between being proletarian and capitalist. Born in the old world but growing up in the new society, he somewhat superstitiously believed in revolution, then from half-believing and half-doubting, he rebelled. However, he grew weary of the futility of rebelling, then discovered that it was nothing more than a toy cooked up by politics, so he refused to be a foot soldier or make any more sacrifices. But escape was not an option. He was forced to don a mask and somehow got along by losing himself in the crowd.

Thus he became a member of the two-faced faction, and wore a mask that he put on when he went out, like putting up an umbrella when it rained. Back home, behind the closed door, where he wouldn't be seen, he took off the mask to have a break. Worn too long, the mask would stick to the face, fuse with the flesh and the nerves, and he would not be able to remove it. It should be noted that this condition was prevalent everywhere around him.

His real face only came into existence later on, when, finally, he Was able to take off the mask. But taking it off was not an easy matter, because the face and the facial nerves had become stiff from wearing the mask, and it took much effort to laugh with joy or to grimace with pain.

He was probably born a rebel; not a rebel with a clear objective, direction, or ideology, but simply one with a basic instinct for self-preservation. Later on, when he realized that his act of rebellion was being orchestrated, it was already too late.

From then on, he was devoid of ideals, but he did not want others to spend time thinking them up for him. He would not be able to pay for them, and he was afraid of being duped again. He no longer daydreamed, so he did not need to use fancy words to deceive others or himself. He no longer entertained any illusions whatsoever about people and the world.

He did not want comrades, and did not want to make plans with anyone to achieve goals, so there was no need to seize power. All that was too painful, and the endless struggles were psychologically draining. It was a blessing to be able to avoid big families and organized groups.

He refused to smash the old order but he was not a reactionary. If someone wanted a revolution, then let them go ahead, so long as it was not a revolution that made life impossible for him. To sum up, he could not be a fighter. He preferred to be away from revolution and rebellion, in a place where he could eke out a living and look on from a distance.

In fact, he had no enemies. It was the Party that was intent on making an enemy of him, and he couldn't do anything about it. The Party gave him no choice and was intent on making him conform to a pattern, and his failure to conform meant that he was the enemy of the Party. Moreover, in order to lead, the Party needed to make a target of people like him to arouse the will and spirit of the people, to whip up the masses into displays of righteous indignation. So he was made an enemy of the people. But he had no quarrel with the people, he only wanted to be able to live his own insignificant life without having to depend for his livelihood on being used as a practice target.

He was this sort of a loner, and had always wanted to be like this. It may now be said that he had no colleagues, no one above or below him, no leader, no employer; he led and hired himself, and everything he did he did cheerfully.

But he was not a misanthrope. He continued to eat at the hearth of human society and was fond of the food of his ancestral land, a taste he had acquired as a child because of his mother's wonderful cooking. Naturally, he also liked Western food, French haute cuisine, of course, and also Italian pasta, supposedly brought by Marco Polo from the Tang Empire, but sprinkled with Parmesan cheese that didn't exist in China. Japanese raw fish laced with hot raw mustard was excellent, and so was Russian caviar, especially the black variety. Also, if Korean barbecued beef and kimchi were served with Indian rhoti, it was a perfect dish. Kentucky fried chicken was the only thing he couldn't eat; for him it was bland and tasteless. He was fussy about food because he had gone through some good times in his childhood.

And he was also fond of women. As a youth, he had sneaked a look at his mother's youthful body while she was having a bath. From then on, he deeply appreciated beautiful women. In those times, when he was without a woman, he would write about them, and what he wrote contained a lot of sex; in this respect, he was not a virtuous gentleman. Furthermore, he had great admiration for Tang Yin and Casanova, but he was never as lucky, so all he could do was to consign his sexual fantasies to his writings.

This is the report you have written for him to replace his file in China, which, no doubt, still exists, but which he will never see.

27

He looked at the cracks in the papered ceiling. The rats running around and fighting all night had widened the cracks, and had left his bedding covered in strips of black dirt. He had never been so idle, there was nothing to do, he did not have to get up early to get to work on time, and he no longer had to busy himself with rebelling. He did not read, because all the books that were readable – had been put into wooden boxes or cardboard cartons, and he did not commit anything to writing. He had to stay awake so that he would not slip back into a nightmare. The old retired worker in the next room was up early and had his radio turned on full blast, tuned to the revolutionary opera Red Lantern. It was really irritating, and even while he masturbated under the bedcovers with his eyes closed, striving again to enjoy Lin's hot naked body, he was not able to block out the solemn, virtuous words of that high-pitched singing. He was left feeling miserable.

He thought about getting a ladder to mend the cracks in the ceiling. But if he were to make a mistake, that brittle sagging paper shell could collapse, and it would be impossible to clean up the filthy mess of years of accumulated dust. It would take an expert to paper a ceiling. Instead, he moved the things piled on Old Tan's bed into a corner of the room, moved his own bedding there, then dismantled his own bed. Old Tan definitely would not be coming back.

If he wanted to go for a walk, there was nowhere he could go but to buy one of the bulletins put out by the people's organizations. These, in fact, contained much revealing information, and back home he would cook dinner and read as he ate. From the leaders' speeches to various people's organizations, he detected different views, hidden meanings. The many vehement pronouncements changed continually, like pictures in a magic lantern. A day earlier, a leader could be interpreting Mao's newest directive, then, tomorrow or the day after, sure enough, the secret killing machine would fall on that leader, who would suddenly be transformed into an anti-Party criminal. His righteous indignation had cooled, and doubts kept springing up in his mind, although he did not dare to acknowledge this.

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