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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The train south made an unscheduled stop during the night at a small station on the northern bank of the Yangtze River, and people were shut in the unbearably hot and stuffy carriages. The ceiling fans were whirring, but the rank odor of sweat made it even harder to breathe. Several hours passed like this. The explanation over the broadcast system was that there was armed fighting at a station up ahead. The tracks were piled with rocks, and they didn't know when the train would be able to go through. It was only after passengers surrounded the train guard to protest that the doors were opened and everyone got out. He went to a pond by a paddy field, washed himself, then lay on the embankment to look at the stars in the sky. The sound of angry voices died down, and, as the croaking of frogs filled the air, he began to doze off. He thought back to when he was a child and lay on a bamboo bed in the courtyard to stay cool, and had also looked at the sky like this. But those childhood memories were more remote than the bright morning star in the sky.

30

Bags of cement had been stacked waist-high across the road, with gaps left to poke rifles through. In front of the barricade was a mass of road construction equipment: roadblocks, cement mixers, and bitumen boilers. Concrete blocks strung with barbed wire had been put up to make a passage on the road just wide enough for a person to get through. Traffic had been cut, and a line of seven or eight empty electric trolleybuses with their cable rods removed stood on one side of the intersection. The footpaths, however, were crowded with pedestrians and nearby residents: young adolescents squeezing in and out, women with babies, and old men in singlets and slippers waving rattan fans. They were all standing against the iron railing of the footpath waiting to watch something happen. Were they waiting for an armed battle? There was much talk in the crowd, some were talking about the Red Command and others about the Revolutionary Command. Anyway, the two factions had mobilized their forces and there was going to be a fight. He couldn't work out which faction was in control of the road to the railway station, but, making his way through the crowd, he crossed the intersection and started walking toward the roadblock.

Blocking the exit, at the end of the passageway of concrete blocks strung with barbed wire, were workers wearing red armbands and woven-willow safety helmets: they were armed with sharpened steel drills. He took out his work permit. The guard opened it, took one look, and waved him through. He was not from the area and had nothing to do with the dispute between the two rival factions. There were no vehicles on the road, and it was lonely and deserted, so he walked in the middle of the road where the bitumen radiated the heat of the glaring sun. People tend not to go crazy in broad daylight, he thought.

Bang! A loud noise cut the hot drowsy loneliness. At first, he didn't know that it was a rifle shot, and he looked around at the two sides of the street. The wall of a big factory had a slogan written on it in characters the size of a person's head: fight with your life

TO DEFEND CHAIRMAN MAO'S PROLETARIAN REVOLUTIONARY

line! At this, he realized that the sound he had heard was a rifle shot. He started running, but immediately stopped. He mustn't show that he was panicking, because it would make the sniper even more suspicious of him. However, he immediately got onto the footpath and walked at a brisk pace.

It was impossible to say where the shot had come from. Was it warning off pedestrians? Or was it aimed at him? They wouldn't indiscriminately kill someone, would they? He was passing through, and had nothing to do with their dispute. But supposing someone shot and killed him, who would come forward as a witness? He suddenly realized that he could have been killed by the sniper, that his life was in danger, and he immediately turned down the very first lane. The lane, too, was lonely and deserted, and it seemed as if all the residents had evacuated the area. Terror sprang up in his heart. Only then did he believe that the whole city could easily turn into a battlefield, that people could suddenly become enemies because of an invisible line, and that both sides could go into bloody battle because of it.

As expected, the square in front of the railway station was crowded with people, and there was a line of travelers snaking from the tightly closed ticket window. He asked someone in front what time they would start selling tickets, but the person didn't know and simply shrugged. He got into the line, and, before long, people from out of nowhere had lined up behind him. None of the people in the line had big pieces of luggage, and there were no old people or children. They were all strong young men, apart from a young woman with two short plaits, farther ahead in the line. From time to time, she looked around, but as soon as she made eye contact with someone, she averted her eyes. She seemed to be on edge, probably afraid of being recognized. It was his guess that many of the people in the ticket line were on the run, but the large numbers gathered in the square put his mind at ease, so he sat on the ground and lit a cigarette.

There was a stir, and the line instantly broke up. Something had happened. He stopped someone to ask, and was told that the river had been sealed off. He asked what that meant. There would be no ferries and trains operating! There was also talk that there would be a bloodbath. Whose blood and who was it going to wash? He couldn't get an answer. The people in the square had suddenly dispersed, and the ten or so, who, like him, had nowhere to go, gradually came together and formed a new line at the tightly shut ticket window. It was as if they had to do this to get the support of the others. By this time, the sun was setting, the clock at the station was pointing at five o'clock, and no one else was turning up.

The ten or so people left had been cut off from any source of information. Sensibly, they no longer stupidly lined up in the sun but found some shade to chat or smoke. Now and then, people made comments: the two factions were making their final decision, the military would soon intervene, boat and rail transport services couldn't be stopped for long and, at the latest, would be running again the next day. It was all positive thinking. He no longer asked questions. The young woman was still there but kept some distance from everyone. She stayed in a corner with her head down and her arms hugging her knees.

He was hungry and thought of buying something to eat so that he would be able to last until morning. Sleeping with his backpack as a pillow on concrete meant nothing more than looking at the stars all night, and somehow he would be able to get through this summer night. He left the ticket window and went around to the nearby shops, but they were all closed and shuttered for the night. There were no eating places open, and the streets and lanes on either side were empty and deserted. No vehicles had passed by for several hours. At this point, he sensed the air becoming thick, and he became tense, and, not daring to venture farther, he turned back. The shadow of the clock tower had already extended to the center of the square, and there were fewer people in front of the ticket window. The young woman was still huddled in the same spot and the talkative person was no longer talking.

The shadow of the clock tower now stretched over most of the square, and the outline of the dark shadow became more distinct with the sun directly behind. All strangers to one another, they were at a station, waiting for a train, but they didn't know when it would arrive. What if the tracks had been cut? Were they really waiting for a civil war?

Bang-bang-bang! A burst of muffled gunfire reverberated in everyone's hearts, and they all got to their feet. Following this was a continuous volley of gunfire, also muffled, but this time it was machine-gun fire, and it was somewhere not far away. Everyone scattered like animals, and he, too, ran for his life. This was war, he thought.

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