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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He could not remember how the girl got under his quilt, or how she had undone the tight buttons at the waist of her trousers. The smooth, moist part between her thighs had no hair yet, but he did not know whether or not she was a virgin. He only remembered that she didn't squirm, didn't resist, didn't kiss him, and didn't take off her thick padded trousers, but only pulled them down to the knees so he could fondle her. Then, she pulled up her sweater and shirt again, but, under the quilt, the soft part between her legs was all wet. What he did remember was that, as the girl snuggled against him with her eyes closed, the light under the shade shining on her slightly parted, full, red lips, he felt a tenderness for this girl whom he thought unattractive and not yet grown up. This incident was unexpected, and, not being prepared, he was afraid of getting her pregnant. He did not dare go any further, he did not dare to enjoy her. He didn't know if this was why she had come, and didn't know what she meant by showing him the scar on her breast. He didn't know what would happen the next day, didn't know his tomorrow or the girl's, or whether they still had a tomorrow.

He lay there quietly, listening to the ticking of the clock on the table in the all-pervading silence. He wanted to ask about the scar. The girl had clearly come because of it, and would have thought about things before resolving to act. Afraid of shattering the suffocating silence, he turned on his side and looked at her for a long time. The ticking of the second hand alerted him that time was passing. It was when he raised himself to look at the clock that Xiao Xiao opened her eyes and, under the quilt, pulled together her clothes, buttoned her trousers at the waist, and sat up.

"Are you leaving?" he asked.

Xiao Xiao nodded and, still with her purplish-red socks on, crawled out from under the quilt. She got out of the bed and bent down to put on her shoes. All this time, he lay there, watching in silence as she put on her padded coat and wrapped the long scarf around her head. Then, as he saw her take her knitted gloves from the table, he asked her, "Are you in some sort of trouble?" He thought to himself that he sounded harsh.

"No," Xiao Xiao said, looking down. She took her gloves and slipped them on, a finger at a time.

"If you're in some sort of trouble, then speak up!" He felt he had to say this.

"It's nothing." Still looking down, Xiao Xiao suddenly turned and started to unlatch the door.

He quickly got up and went barefoot across the icy-cold brick floor, thinking to stop the girl, but not knowing what to do.

"Go back, you'll catch a chill," Xiao Xiao said.

"Will you come again?" he asked.

Xiao Xiao gave a nod and went out, slowly pulling the door shut behind her.

But Xiao Xiao did not come again, nor did she reappear at the workplace headquarters of their rebel faction. However, he did not have Xiao Xiao's address. Of that gang of middle-school students, the girl had stayed the longest in their rebel group, but he had no way of finding out what had happened to her. He only knew that she was called Xiao Xiao, which could even have been a nickname used by her schoolmates. But what he clearly knew was that on this Xiao Xiao's breast-below the left breast, no, the right breast, it was his left hand and the girl's right breast-there was almost an inch-long, still raw, blood-red scar. He recalled that the girl was yielding and didn't squirm, but that she wanted to show him the scar. Was it to win his sympathy or to seduce him? She was probably seventeen or eighteen, and still had no hair between her legs, but her body was beautiful, beautiful enough to arouse him. Maybe it was only because the girl was too young, too frail, that he was afraid of shouldering such a responsibility. He didn't know if Xiao Xiao's parents had been attacked, and there was no way of knowing how she had been wounded. Had the girl come to him because of the scar? Was she seeking his protection, someone to turn to? Maybe she was afraid and confused? Maybe she got into his bed hoping to be comforted? But he didn't dare accept her, and didn't dare ask her to stay. For some time after, whenever he took his bicycle out, he would make a detour past the hutong where Xiao Xiao had got off, but he never saw her again. It was only then that he regretted not having got Xiao Xiao to stay. He hadn't said anything kind or comforting to the girl. He was so careful, so overly cautious, and so spineless.

29

"Why were you arrested?"

"I was sold out by a traitor."

"Were you a traitor? Speak up!"

"The Party examined my history and came to a decision long ago."

"Should I read this document to you?"

The old scoundrel started to panic, and the bags under his eyes twitched a couple of times.

" 'At a critical juncture in the fight against the Communists, to stamp out disorder in order to save the nation, I was not vigilant, careless about whom I befriended, and was led astray.' Do you remember those words?''''

"I don't recall having said them!" The old man was adamant in his denial, and the sides of his nose began to sweat.

"That's nothing, just the first sentence to prompt you, should I read on?"

"I really can't remember, it was many decades ago." The old man's tone had softened, and his prominent Adam's apple bobbed up and down as he swallowed saliva.

He picked up the document from the table and waved it. He was acting out a repulsive role, but it was better to be the judge than being judged by others.

"This is a copy, the original bears a signature and a thumbprint. Of course, it's the name you had at the time. You had to change your name and surname, surely you can't have forgotten that?"

The old man was silenced.

"I'll read some more sentences to help jog your memory." He read on, " 'I earnestly beg the government for a lenient acquittal and hereby sign this guarantee that should there be any suspicious persons ingratiating and aligning themselves with the Communist bandits, I will forthwith report them.' Doesn't this count as being a traitor to the Party? Do you know how the underground Party dealt with traitors?'' he asked.

"Yes, yes." The old man nodded repeatedly.

"Then what about you?"

"I didn't ever betray anyone…" Beads of sweat began to ooze from his bald forehead.

"I'm asking you, were you a traitor to the Party?" he asked.

"Stand up!"

"Stand up when you speak!"

"Make an honest confession!"

Several members of the rebel faction were all shouting rowdily.

"I… I had to sign the guarantee so that they would let me out…" The old man stood there, trembling. His voice, low in his throat, was barely audible.

"I didn't ask how you were released. If you hadn't capitulated, would they have let you out? Speak up! Isn't that being a traitor?"

"But I… But, afterwards, I reestablished links with the Party-"

He cut him short. "That was because, at the time, the underground Party didn't know you had capitulated."

"The Party forgave, pardoned me…" The old man bowed his head.

"You were pardoned? You were brutal with punishing other people. When you punished the masses, you went into a rage and didn't let people off even after they had written a confession. 'Instruct the branches under your supervision to make sure the evidence sticks so that the verdict can't ever be reversed.' Did you say this?"

"Speak up! Did you say this?" someone roared.

"Yes, yes, I made an error. It was the same as having betrayed the Party," the old man quickly admitted.

"How can it be just an error? You make it sound like it's nothing! You had people jumping out of the building to commit suicide!" Someone banged on the table.

"That… That wasn't me, that was how it was carried out-"

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