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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There was the sound of fire-engine sirens down below. Big Li had got help just in time. The helmeted fire-fighting detachment, followed by the brother rebel group from the print factory in a truck, had arrived. They entered the building with a big flag in a show of might. Each faction had its own strategies, and this was how armed battles flared up in the universities, factories, and workplaces. If they were backed by the army then guns and cannons were deployed.

33

He first read it in a stenciled pamphlet. Mao had received the rebel-faction heads of the five universities of Beijing in the Great Hall of the People, and said, "You, little generals, have now committed errors." It was like the emperor saying to his generals that it was now time for them to step down. The "little general" Kuai Dafu, who had distinguished himself in purging old revolutionary warriors on behalf of the Commander-in-Chief, proving himself as a student leader, immediately understood the implications and broke into tears. The old man had used a poster at Peking University to ignite the flames of the Cultural Revolution, and now, to extinguish that mass movement he had initiated, he again started on a university campus. Half a million workers directed by Mao's security corps drove onto the campus of Tsinghua University.

That afternoon, on hearing this news, he rushed there and was witness to workers, led by army personnel, taking the solitary building opposite the gymnasium, the last stronghold of the earliest university rebel group, the Jinggang Mountain Militia. Worker propaganda teams, wearing red armbands, sat on the ground side by side, in circle upon circle around the building and the sports field, for a considerable distance. In the last rays of the setting sun, two big red banners were lowered from the windows of the top floor. Written on them in black were the words: "Plum blossoms flower in the snow unvanquished, Jinggang Mountain people are brave enough to ascend the scaffold!" Each of the words was larger than a window, and the banners stretching several floors down swayed in the wind. A group of forty or fifty army personnel and workers crossed the space in front of the building, went up the steps to the main door, then, after a while, finally went in and cut off the water and electricity. He mingled with the crowd of thousands of workers and onlookers watching in silence, and he could hear the two banners flapping in the wind.

After almost an hour, the big red banner on the right dropped from the top of the building and slowly floated down. As it fell on the stairs at the front of the building, the other banner also dropped. Instantly, shouts of "long live" went up from the crowds. Then the loudspeakers, drums, and cymbals of the worker propaganda teams started up in full force. The students who had also shouted "long live" when they were rebelling, now held a white flag as they filed out like surrendering prisoners of war with their hands raised and head bowed. An even larger number of workers entered the building, dragging out several heavy machine guns, as well as wheeling out a flat trajectory gun that didn't seem to have any ammunition.

It was a simple takeover, although on the previous night, when the worker propaganda team drove onto the campus, students had thrown a homemade hand grenade in the dark and injured several workers. This was probably an act of frustration. The Great Leader they were protecting had finished using them and had discarded them. Children discovering an adult has tricked them throw tantrums; it was nothing more than that.

He realized that the chaos would soon come to an end, and could see that his own fate would not be any better. So, on the pretext of doing a survey, he immediately left Beijing again.

"Go back!"

When he visited his maternal uncle on his way through Shanghai, he received his first warning.

"Go back where?" he asked. He told his uncle about his problem, the unsettled case of his father's hidden gun. "Even if I had a home, I wouldn't be able to go back!"

Hearing this, his uncle started coughing, and, taking out his inhaler, sprayed it down his throat.

"Go back to your workplace and just get on with your job!"

"The whole workplace is paralyzed and there's nothing to do. So, by saying that I was conducting an investigation, I was able to leave Beijing and do a bit of traveling."

"What investigation?"

"Aren't they investigating old cadres? I've investigated the histories of some old cadres and have discovered that it's not at all so-"

"What do you know? This is no game, you're not a child anymore, don't lose your head without knowing how you lost it!"

His uncle wanted to cough again, and sprayed his inhaler down his throat again.

"It's impossible to read anything, and there's nothing to do."

"Observe, can't you observe?" His uncle said, "I'm an observer. I close my door and don't go out. I don't join any faction and just watch the circular enactment of people rising to power and falling from power."

"But I have to go to work. I'm not like you, Uncle, you can stay at home because you have to convalesce," he said.

"You can keep your mouth shut, can't you?" his uncle retorted. "Your mouth is on your own head!"

"Uncle, you've been convalescing at home for a long time. You don't know that once a campaign starts, you have to take a stance. It's impossible not to get swept up in it!"

This old revolutionary uncle of his, of course, knew very well, and gave a long sigh. "These are chaotic times. In the past, people could hide in the old forests on remote mountains or go to a monastery and become monks…"

Only then was his uncle quite frank with him: it was the first time they discussed politics together. No longer treating him as a child, his uncle said, "I've had to use my illness to escape the winds of political change. Following the Great Leap Forward, antirightist tendencies in the inner Party became entrenched, and since then, I have stood aside. I've not involved myself with what has been happening for seven or eight years, and only through this have I been able to prolong my feeble life."

His uncle also spoke about his former commander, Yuan, who was in die upper echelons of the Party. During the Civil War, he and Yuan were willing to die for one another. On the eve of the Cultural Revolution, Yuan paid him a visit when passing through. He sent the guard outside and told his uncle, "Something big is about to happen in the Party Center, and it is unlikely that we will meet again." He left behind a brocaded bedcover and said it was to commemorate their final farewell.

"Tell your father that no one can save anyone; get him to do whatever he can to protect himself!"

These were the last words his uncle said to him as he escorted him to the door. Not too long afterward, this uncle, who was not very old, came down with influenza and was admitted to the army hospital where he had an injection. A few hours later, he was wheeled into the morgue. His former commander, that revolutionary Yuan Xun, who had been incarcerated, also died a year later in the army hospital. But it was many years later that he read about this in a memorial article exonerating Yuan. As revolutionaries in those very early days, they could not have imagined that, even without making a bid to seize power, they, too, would see themselves staring death in the face because of the revolution. It was impossible to know whether or not they had regrets.

***

Then why did you rebel? Did you go up to the grinding machine to ensure that there would be plenty of mincemeat filling for pancakes? Looking back on those times, you can't help asking him.

He says he had no choice, circumstances did not allow a person to be a dispassionate observer, and he knew he was just a pawn in the movement. He suffered terribly, not because he was fighting for the Commander-in-Chief, but simply in order to exist.

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