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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However, he had to make an appearance at the workplace from time to time, to drop in at the rebels' headquarters that had formed after various splintering and regrouping. As people came and went, he would smoke a few cigarettes and chat. He simply showed his face, listened to a bit of news, then slipped away when nobody was watching. There were endless struggles and regroupings, then new struggles, and he was not interested.

Chang'an Avenue was where things were happening and where there was the most news, so whenever he went to the workplace, he always made a detour. Tents and bamboo-matting shelters were up everywhere outside the red-brown walls of Zhongnanhai. There were the red flags of the university rebel groups and a huge red horizontal banner displaying the words: beijing battle-line liaison

POINT OF THE PROLETARIAN REVOLUTIONARY GROUP TO HAUL

out liu shaoqi for criticism. Several hundred big loudspeakers, day and night, blared out war songs nonstop, and the nation's president was denounced in the name of the Supreme Leader, the Red Sun. However, even this sight failed to excite him.

"Newest material on Liu Shaoqi's daughter exposing her father! Read all about it! Former wife exposes Liu Shaoqi's misappropriation of revolutionary funds to buy gold shoehorns!"

Among the circle of people around the newspaper seller, he saw Big Head, his classmate from middle-school times, and clapped him on the shoulder from behind. Big Head got a fright, but was relieved, and smiled when he turned and saw who it was. Big Head was carrying an artificial-leather satchel and had bought a bag of newspapers and other publications.

"Let's get out of here, come to my place!" He felt a pang of nostalgia, for Big Head had become the last link with the life he had lost.

"I'll get a bottle of liquor!" Big Head was also excited.

The pair of them got on their bicycles and went off to Dongdan Market, where they squabbled over paying for the cooked food and liquor, then went back to his room. The afternoon sun was shining through the curtains, it was warm inside, and, after a few cups of liquor, their faces were flushed, and their ears were burning. Big Head said he was hauled out at the beginning of the movement. After he had made some careless comments in his dormitory, they searched and found his two small notebooks blaspheming Mao's philosophy. However, people were aiming higher nowadays, and could no longer be bothered with his petty reactionary words. He also said he had never put up a poster, that the movement had not involved him; nevertheless, he could not work at his mathematics and was simply collecting newspapers and secretly doing a bit of reading.

"What books?" he asked.

"A Mirror for Good Government, I brought it with me from home." A smile congealed on Big Head's round face that was flushed from alcohol.

He had never been interested in the art of empire, and couldn't fathom Big Head's smile.

"Haven't you read Wu Han's Biography of Zhu Tuanzhang?" Big Head asked, testing him, putting out a feeler.

The Cultural Revolution had started with criticisms of Wu Han, the deputy mayor of Beijing. A specialist in Ming history, Wu Han had written books on how the first Ming emperor, Zhu Yuanzhang, had assassinated the meritorious officials who had helped establish his empire. Wu Han committed suicide at the beginning of the movement and set a precedent for countless subsequent suicides. He understood what Big Head was implying, it confirmed his own suspicions, and, tapping his fingers on the table, he shouted, "You devil!"

Big Head's eyes shone enigmatically behind his glasses, he was no longer the bookworm he had been as a youth.

"I scanned it, but took it all to be history, old imperial history. It didn't occur to me that… Could things have gone a full circle?" he asked, testing Big Head.

"A boomerang…" Big Head took him on, chuckling.

"But isn't that dialectics?"

"Only it's not clear whether it's high- or low-level dialectics…"

What was implied and hinted at, what could be articulated neither directly nor obliquely, was whether it was imperial control strategies with an ideology or political power strategies with the trappings of ideology. History is big on ideology, but what was the reality?

Big Head stopped smiling. The radio on the other side of the wall was still on, and now it was another of the revolutionary operas directed by Madam Mao, Red Detachment of Women: "Advance, advance, the burden of revolution is heavy and the resentment of women is deep!" Madam Mao, Comrade Jiang Qing, who had been prohibited from taking part in politics by the Party elders, was now resolutely in the process of realizing her political ambitions.

"Why is the soundproofing so poor?"

"It's better with the radio on over there."

"Don't you have a radio?"

"My roommate Old Tan had a transistor, but it was confiscated, and he's in solitary confinement at the workplace."

The two of them fell silent for a while and could clearly hear the singing on the radio in the room next door.

"Do you have a set of chess? Let's have a game!" Big Head said.

He fished out a carved-bone chess set from one of the cardboard cartons of Old Tan's belongings piled against the wall, moved the liquor and food, and began setting up a game on the table.

"What made you think of reading this book?" He returned to their discussion as he moved a chess piece.

"When the newspapers had just started criticizing Wu Han, my old man got me to make a trip home, he said he had applied to retire…"

Big Head moved a chess piece, lowered his voice, and deliberately mumbled. His father was a history professor and also had a Democratic Personage title to his name.

"Do you have that book by Wu? Is it still available?" He moved another chess piece.

"We had one at home, my old man got me to read it, but it was burned a long time ago. Who would dare to keep the book? He only got me to take an old hand-sewn copy of A Mirror for Good Government, a Ming woodblock edition, and it counts as his legacy to me.

Old Mao used to get senior cadres to read it, otherwise I wouldn't still have it." Big Head said the word "Mao" very softly, as part of a casual comment, then made another move.

"Your old man is really smart!" He wasn't sure if he was praising Big Head's father or lamenting that he didn't have such a wise head of the family. His own father was so muddle-headed.

"But he was too late. They wouldn't let him retire and, with the problem of his personal history, they still had him hauled out for criticism." Big Head took off his glasses, peered close to the chessboard with his dull, nearsighted eyes, and said, "What's this shit game you're playing?"

Suddenly, he scrambled the game and said to Big Head, "I've had enough of this crap game, they're a whole lot of stinking cunts!"

Big Head gave a start at his coarse language, but suddenly burst out laughing. The pair of them then laughed loudly until tears came to their eyes.

You must both be careful! If someone reports your discussion, it will be enough to get the pair of you executed. Terror lies hidden in everyone's hearts, but people don't dare articulate it, can't bring it into the open.

When it was dark, he first went into the courtyard to put out the rubbish, a bucketful of chicken bones and coal cinders from the stove. When he saw that the neighbors all had their doors shut, Big Head quickly got on his bicycle and left. Big Head was living in a collective dormitory and was still being investigated. His father had kept an eye on him, but when the army moved in to implement and supervise the purification of class ranks, Big Head's carelessness while chatting in the dormitory meant that one sentence became a heinous crime: he was sent to be reformed through labor, to herd cattle for eight years on a farm.

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