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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Then couldn't you have found some other means for just surviving? For example, by simply being an obedient citizen, going with the flow, living for today and not being concerned about tomorrow, changing with the political climate, saying what people wanted to hear, pledging allegiance to whoever was in power? you ask.

He says that was even harder, it needed much more effort than being a rebel. It needed much more thinking; one needed to be constantly working out the unpredictable weather, and could a person accurately predict heaven's temperament and mood? His father was one of the common people and he did just that, and when it came to the crunch, he ended up swallowing a bottle of sleeping pills. His father's demise was not very different from his old revolutionary maternal uncle's. There was no clear goal to his rebelling. It was simply due to his instinct to live, but he was like a praying mantis putting up a foreleg to stop a cart.

Then, perhaps, you were born a rebel, or at least born with a rebellious streak?

No, he says, he was gentle by nature, like his father. It was just that he was young, at an impressionable age, and very inexperienced. He couldn't follow the road of his father's generation, but didn't know what road to take.

Couldn't you have escaped?

Where could he escape to, he asks you instead. He couldn't escape from this huge country, and he couldn't leave that big beehive-like workplace where he got his salary. That beehive allocated his city residence permit, his monthly grain coupons (fourteen kilos), oil coupons (half a kilo), sugar coupons (quarter of a kilo), meat coupons (half a kilo). It also issued his annual fabric coupons (nine meters), his salary scale-based industrial certificates (2.05 certificates) for buying a watch, a bicycle, or everyday commodities such as wool, and even determined his citizen status. If he, this worker-bee, left the beehive, where could he fly? He says there was no other option, he was just a bee whose refuge was this hive. As the hive was infected with madness, what else was there to do except wildly buzz around, attacking one another?

But did wildly buzzing around save your life? you ask.

He was already buzzing around. If he'd known all this earlier, he wouldn't have been an insect. He smiles sardonically.

An insect that can smile is somehow grotesque. You go right up to take a good look at him.

It's the world that is grotesque, not the insect that has taken refuge in the hive, the insect says.

34

Beyond the pass at Shanhaiguan it got cold early, and he had run into chilly winds blowing down from the northwest. The bicycle, hired in the county town, was impossible to ride against the wind, and even pushing it was hard. At four o'clock in the afternoon it was already dark, when he reached the place where the commune was located, but the village he was going to was a further ten kilometers away. He decided to stay the night in the cart station, where the peasants stopped for a break with their donkey- and horse-carts. He forced himself to eat a bowl of hard sorghum along with the two strips of salted turnip that had gone bitter, then stretched out on the woven rush mat on the earthen kang. In weather like this, the villagers didn't take their carts out, so he had to himself a communal kang that could accommodate seven or eight people. His letter of introduction from the nation's capital seemed to have made an impression, because a special effort had been made to heat the kang for him. However, as the night wore on, it got so hot that the lice on him were probably oozing oil. Even after he had taken off everything except his underpants, he was still sweating, so he got up, sat on the edge of the kang, and smoked, as he pondered the real possibility of seeking refuge somewhere in a village during these chaotic times.

He was up early. There was still a strong north wind, so, leaving the clumsy, heavy-duty bicycle at the cart station, he set off on foot against the wind, and, after three hours, arrived at the village. He asked from house to house whether there was an elderly woman with such-and-such a surname who was a primary school teacher. People all shook their heads. There was a primary school in the village with one teacher, a man, but his wife had given birth and he had gone home to look after her.

"Who else is at the school?" he asked.

"There hasn't been a class for more than two years. It wasn't really a school, so the production brigade converted it into a store-house. It's piled high with sweet potatoes!" the villagers said.

At this point, he asked for the Party secretary of die production brigade, to get someone in charge.

"The old one or the young one?"

He said he wanted a villager who was in charge, so, naturally, the old one was better, he would be sure to know about things. He was taken there. The old man, a bamboo pipe clamped in his teeth, was weaving a rattan basket. Without letting him explain why he had come, the old man mumbled, "I'm not in charge, I'm not in charge!"

It was only after he said that he had come specially from Beijing to carry out an investigation, that the old man became respectful and put down his work. Holding the bronze bowl of his pipe and exposing his brown-black teeth, his eyes narrowed as he listened to him explain the situation.

"Oh, yes, there is such a person, the wife of old man Liang. She taught at the primary school, but she retired because of illness, a long time ago. People have been here to investigate her, but her husband is a shadow-play singer with a poor-peasant family background, so there weren't any problems!"

He explained that he was looking for this old man's wife because he was doing an investigation on another person, that it didn't actually concern the woman herself. At this, the old man took him to a house on the outskirts of the village. At the front door, he shouted out, "Old man Liang, your wife!"

There was no answer. The old man pushed open the door. No one was there, so, turning to the village children who had followed behind, he said, "Go quickly and fetch her, a comrade from Beijing is waiting for her in the house!"

The children dashed off, shouting as they ran. The old man also left.

The walls of the main room were gray-black from smoke, just like the square table and two wooden benches, the only furniture in the room. The kitchen adjoined, but the fire was not burning, so, feeling extremely cold, he sat down. It was gloomy outside, although the wind had died down. He stamped his feet trying to get warm, but, after a long wait, there was still no sign of anyone.

He thought about his waiting in this destitute, faraway village for the former wife of a high official. What could have made her settle in this village? Why had she become the wife of a poor peasant, a shadow-play singer? But what did this have to do with him? It was simply to delay his return to Beijing.

After almost two hours, an old woman appeared. Seeing him inside the house, she hesitated, stopped, but finally came in. The old woman wore a gray scarf around her head, a dark-gray padded jacket, an old pair of padded crotchless overtrousers that puffed out because they were tied at the ankles, and a pair of grimy black padded shoes. Could this genuine old peasant woman be the revolutionary hero of those times, who had been educated at a prestigious university and had worked in intelligence? He got to his feet and asked if she was Comrade Such-and-Such.

"No such person!" the old woman instantly said with a dismissive wave.

This gave him a shock, but he went on to ask, "Are you also known as…?" He repeated the name.

"My surname is the same as my husband's, Liang!"

"Is your husband a shadow-play singer?" he asked.

"He's very old and stopped singing a long time ago."

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