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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"This was your instruction, you yourself gave the instruction: 'Historical problems have to be linked to actual behavior and need to be thoroughly investigated.' Did you or did you not say this?" this comrade kept at him relentlessly.

"Yes, yes." The old man was learning to be clever.

"Who is anti-Party? It is you who have betrayed the Party! Write all that down!" this comrade shouted harshly at him.

"What do you want me to write?" the old man asked, looking forlorn.

"Do you need a secretary to write it?" another comrade asked scornfully.

Everyone started laughing and talking all at once. They were excited, it was as if they had caught a big fish. The old man looked up a little, his face ashen. His slack, colorless lower lip began to tremble as he spoke.

"I… I've got a heart problem… Could I have a drink of water?"

He shoved a glass of water on the table to him. The old man took a small medicine bottle out of his pocket, tipped out a pill with his shaking hands, and swallowed it with a gulp of water.

It flashed through his mind that the old scoundrel was older than his own father… Hey! Don't you have a heart attack and drop dead here. He said, "Sit down and drink up all the water. If you need to, you can lie down on the sofa for a while."

The old man didn't dare go to the sofa where people were sitting, and looked miserably at him.

He gave up the idea and made a decision, "Now listen, first thing in the morning, bring a detailed account of your capitulation, and of your betrayal of the Party. Outline, clearly and in full, how you were arrested, how you got out of prison, who were the witnesses, and what confessions you made in prison."

"Ai, ai." The old scoundrel immediately bowed and nodded.

"You may leave now."

As soon as the old man went out the door, his comrades, who were all fired up for action, turned on him.

However, he was a slick talker, and just as mean. "Do you think he can get away with all this evidence against him? The heavenly net of the dictatorship of the proletariat won't let him escape! Don't let the old bastard have a heart attack and drop dead right in front of us."

"What if he goes home and commits suicide?" someone asked.

"I doubt that he would have the courage. If he wasn't afraid of dying, he would not have capitulated back then. He'll deliver his confession tomorrow without fail. What do all of you think?"

His comrades were speechless. He thoroughly detested the old bastard who spouted the Party line every time he spoke. But he felt sorry for him now that his own faith in revolution had been destroyed and he had dispensed with the myths that the perfect new people and the glorious revolution had created. The old scoundrel had concealed the matter of his capitulation by using a former pen name as his real name. By doing this, he had evaded successive investigations, yet he must have spent all these years in trepidation, he thought.

Can't a person's faith change? Once aboard the Party ship, does it have to be for the whole of a person's life? Is it possible not to be a loyal subject of the Party? Then what if one has no faith? By jumping out of the rigid choice of being either one or the other, you will be without an ideology, but will you be allowed to exist? When your mother gave birth to you, you did not have an ideology. You, the last in a generation of a doomed family, can't you live outside ideology? Is not to be revolutionary the same as counterrevolutionary? Is not to be a hatchet man for the revolution the same as being a victim of the revolution? If you don't die for the revolution, will you still have the right to exist? And how will you be able to escape from the shadow of revolution?

Amen. You were born with sin and unqualified to be a judge, but, cynically and for your own self-protection, you infiltrated the rebel ranks. At this very time, you are even more certain of this. It is also to find a refuge that, on the pretext of investigating Party cadres, you get a wad of letters of introduction stamped with official seals, draw a sum of money for expenses, and go off wandering everywhere. There's no harm in getting to learn a bit about this inexplicable world and seeing if there's anywhere to escape this catastrophic revolution.

On the southern bank of the Yellow River, in the city of Ji'nan, he found a small workshop on an ancient street. The person he was investigating had been released from a prison farm. The middle-aged woman supervisor wearing sleeve protectors was pasting up paper boxes. She replied, "The person's been gone a long time."

"Is he dead?" he said.

"If he's gone, of course he's dead."

"How did he die?"

"Go and ask his family!"

"Is his family still here? Who are they?"

"Who, in fact, are you investigating?" the woman asked back.

He couldn't say to some woman worker in a workshop that opened onto the street that the dead person and the cadre under investigation had been classmates at university and had joined the student movement of the underground Party organization, and afterward they had been in a Nationalist prison together. Also, there was no point in wearing himself out trying to explain all this cast-iron revolutionary logic. But he did have to get hold of a document saying that the person was dead, so that he could claim his travel expenses.

"Would you be able to put your seal on it?" he asked.

"Put my seal on what?"

"A testimony that the person's dead."

"You'll have to go to the public security supply office. We don't issue death certificates."

"All right. Which way do I have to go to get to the Yellow River?" he asked, imitating the woman's Shandong accent.

"What Yellow River?" the woman asked.

"Our China has only one Yellow River. Isn't your Ji'nan city on the bank of the Yellow River?"

"What are you talking about! What's to see there? I've never been there."

The woman went back to pasting her paper boxes and ignored him.

There was a saying that a person should not give up before reaching the Yellow River, and he suddenly thought of going to see it. The Yellow River had been eulogized from ancient times, and he had passed over it many times, but always in a train, and its greatness could not be seen as it flashed by through the metal framework of the bridge. A passer-by on the street told him that the Yellow River was a long way off, he would have to take a bus to Luokouzhen, then walk up the high embankment. It was only from the top of the embankment that the river could be seen.

When he climbed to the top of the high embankment of bare loess, there was no sign of anything green. On the other shore was a dusty flood area without any villages and not a single shrub. A rolling sludge lay below the fractures and slopes formed by silting at different water levels. The riverbed was high above the town. Was this fast-flowing, brown, muddy river the Yellow River that had been praised in songs over the ages? Did the ancient civilization of China originate here?

Below the horizon, as far as the eye could see, was the muddy river speckled with dazzling sunlight. But for the black shadow of a boat floating in the distance under the sun, there was absolutely no sign of life. Had the people who had sung its praises ever actually come to the Yellow River? Or had they simply made it all up?

That distant shadow against the sky, the sailing boat with a wooden mast, swayed as it neared. The gray-white sail had big patches, and a man, stripped to the waist, was holding the rudder. A woman in a gray jacket was also on the deck, throwing something overboard. The rocks in the cabin, which filled half of the boat, were probably used for mending breaks in the embankment during seasonal flooding.

He went down to the shore. It gradually became slushy mud, so he took off his shoes and socks and held them as he walked barefoot in the slippery quagmire. He bent down and scooped a handful of mud that dried in the sun into the shape of a shell. A revolutionary poet once sang: "I drink the water of the Yellow River." But this muddy soup was not for humans, and even fish and shrimp would find it hard to survive in it. It would seem that dire poverty and disaster can be eulogized. This great muddy river, which was virtually dead, shocked him and filled him with desolation. Some years later, an important member of the Party Center said he wanted to erect a great statue to honor the spirit of the nation in the upper reaches of the Yellow River, and probably it has already been erected.

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