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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"Is he here?" he asked cautiously.

"He's out. Who, in fact, are you looking for?" the old woman retorted, as she took off her scarf and put it on the table.

"Forty years ago, did you stay in Sichuan? Did you know someone called…?" He said the name of the high official.

The woman's eyes lit up, but her sagging eyelids immediately drooped again. Those were not the eyes of an ignorant village woman.

"You even had a child by him!" Having blurted this out, he had to calm the woman.

"The child died a long time ago," the woman said, as she rested her hands on the table and sat down on the bench.

It was her. He felt he should try to console her, "You did much work for the Party, but old revolutionaries-"

The woman cut him short, "I didn't do anything, I just cared for my husband and gave birth to a daughter."

"Your husband of that time was secretary of a special zone of the underground Party, surely you were aware of this?"

"I wasn't a member of the Communist Party!"

"But your husband, your husband at the time, was involved in the secret activities of the Party. Surely you knew about this?"

"I didn't," she insisted.

"It was you who covered his escape and, by giving a secret signal, also helped his contact to escape and not get arrested. You were very brave!"

"I don't know anything about this, I didn't do anything," she adamantly denied.

"Do I need to provide you with details to help you remember?

You lived on the first floor, and there was a rattan fan hanging at the window overlooking the street. At the time, you went to the window and took down the fan, you were holding a baby in your arms…" He waited for her response.

"I don't remember any of that." The old woman closed her eyes and ignored him.

He went on coaxing her, "There are testimonies from the people involved, written documents. Your husband, your former husband, escaped by climbing from the clothes-drying porch at the back. He has written a statement on this, it was a meritorious act that you carried out for the revolution."

The woman snorted and gave a little laugh.

"You covered your husband's escape, but you yourself were arrested by undercover spies lying in ambush!" he exclaimed with a sigh. This was a ploy often used in investigations.

Her eyes wide-open, the woman suddenly asked in a loud voice, "If you know everything, why are you carrying out this investigation?"

At this he explained, "Don't get upset, you're not under investigation and neither is your former husband. You covered his escape, so he wasn't arrested, all that is clearly documented. What I want to find out about is the other underground Party member. He was later arrested, had nothing to do with you, but was put in the same prison. How did he get out? According to his statement, the Party organization saved him. Could you tell me something about the situation?"

"I've already told you, I was not a Party member, so don't ask me whether or not the Party saved him."

"I'm asking about the situation in the prison. For example, when a person was released, were certain procedures adopted?"

"Why don't you go and ask the guards at the prison? Go and ask the Nationalist Party! I was a woman locked in a big prison while still nursing a baby at my breast!"

The woman lost her temper and started banging the table like an old village woman in a fit of rage.

Of course, he, too, could have lost his temper. At the time, the relationship between an investigator and a person being investigated was like an interrogation: like between a judge and the accused, or even between a warden and the prisoner. However, he forced himself to say calmly that he had not come to investigate how she came to be released. He was asking her to provide information on general procedures at the prison. For example, were there special procedures for the release of political prisoners?

"I was not a political prisoner!" the woman said categorically.

He said he was willing to believe that she was not a member of the Party and that she had been implicated because of her husband, he believed all this. But he did not want to, and there was no need for him to, have difficulties with her. However, since he had come to carry out an investigation, he asked her to make a statement.

"If you don't know anything about it, then just write that you don't know. I'm sorry I've disturbed you, and the investigation will finish here." He first made this quite clear.

"I can't write anything," the woman said.

"Weren't you a teacher? And, it seems, that you also went to university."

"There's nothing to write." She refused.

In other words, she was not willing to leave any documentation about that part of her life. It was because she did not want people to know her background that she had hidden herself in this village to spend the rest of her days with a peasant shadow-play singer, he thought.

"Have you ever tried to see him?" He was asking about her former husband, the high official.

The woman declined to comment.

"Does he know you're still alive?"

The woman remained silent and made no response. He could do nothing more, so he capped his pen and put it into his pocket.

"When did your child die?" he asked as a matter of course, as he got up.

"In prison, it was just one month old…" The old woman abruptly stopped and also got up from the bench.

He did not pursue the matter, and put on his padded gloves. The old woman silently escorted him out the door. He nodded his head to her in farewell.

When he got to the dirt road with two deep wheel ruts and looked back, the old woman was still standing at the door, without her scarf. Seeing him turn, she went back inside the house.

On his way back, the wind changed; this time it blew in from the northeast. It began snowing more and more heavily, so that, with the grain harvested, everything became a vast bare plain. The snowflakes filling the sky came straight at him, and it was hard to keep his eyes open, but he got back to the cart station before dark and collected the rented bicycle he had left there. Although he didn't have to get back to the county town that night, for some reason, he quickly got on the bicycle. The dirt road and the fields were blanketed in thick snow, and he could barely make out the road. The wind blew from behind, sweeping the snow in all directions, but, at least, it was blowing in the right direction. Gripping the handlebars tightly, he bounced up and down in the snow-covered ruts of the road. From time to time, the bicycle and the rider would fall into the snow, but he would pick himself up and get back on the bicycle to continue on, unsteadily. Lashed up by the wind, it was all swirling snow before him, everything was a vast expanse of gray…

35

"You clown!" the former lieutenant colonel rebuked him, but he was now the favorite of the Army Control Commission. He was also the deputy leader of the team in charge of purifying class ranks, although, of course, army personnel were actually in charge.

You really were a clown. You were a bean made to jump helplessly in the all-embracing sieve of the totalitarian dictatorship, but you didn't jump out of the sieve, because you didn't want to get smashed up.

You had to welcome being controlled by army personnel, just like you had to take part in the parades to cheer each of Mao's latest string of directives released on the radio news at night. As soon as the slogans had been written, people assembled, formed ranks, and be gan marching on the streets, usually until midnight. To gongs and drums and the shouting of slogans, one contingent after another marched across Chang'an Avenue from the west, as one contingent after another marched across from the east, each on parade for the other. You had also to be enthusiastic and not let others see that you were worried.

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