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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He took her on the carpet, rolling backward and forward, no, crossing rivers and seas. They were like two sleek fish, or, rather, two animals tearing at one another in battle. She began to sob, and he said cry as loudly as you want, you can't be heard outside. She wept and wailed, and then shouted. He said he was a wolf. She said no, you are my Elder Brother. He said he wanted to be a wolf, a savage, lustful, bloodsucking, wild animal. She said she understood her Elder Brother, she belonged to her Elder Brother, she wasn't afraid of anything. From now on she belonged only to her Elder Brother, what she regretted was that she had not given herself to him earlier… He said, don't talk about it…

Afterward, she said she wanted her parents to somehow think of a way of getting her out of the army. At the time, he had an invitation to travel overseas but wasn't able to leave. She said she would wait for him, she was her Elder Brother's litde woman. He finally got a passport and visa, and it was she who urged him to leave quickly in case they changed their minds. He did not realize it would be a permanent separation. Maybe he was unwilling or refused to think about it so that the pain would not strike him right to the core of his heart.

He would not let her come to the airport to see him off, and she said she would not be able to get leave. Even if she got the first bus from the barracks into the city, then changed several buses to get to the airport, it was unlikely that she would get there before his plane took off.

Before that, it had not occurred to him that he might leave this country. On the runway, taking off at Beijing airport, there was an intense whirring as the plane shuddered and was then instantly airborne. He suddenly felt that maybe-at the time he felt only maybe-he would never return to the land below the window. This expanse of gray-brown earth that people called homeland was where he was born and had grown up, it was where he had been educated, had matured and had suffered, and where he never thought he would leave. But did he have a homeland? Could the gray-brown land and ice-clad rivers in motion under the wings of the plane count as his homeland? It was later that this question arose and the answer gradually became quite clear.

At the time he simply wanted to free himself, to leave the black shadow enveloping him, to be able to breathe happily for a while. To get his passport, he had waited almost a year and had made the rounds of all the relevant departments. He was a citizen of this country, not a criminal, and there was no reason to deprive him of the right to leave the country. Of course, this reason was different for different people, and it was always possible to find a reason.

As he went through the customs barrier, they asked what he had in his suitcase. He said he had no prohibited goods, just his everyday clothes. They asked him to open his suitcase. He unlocked it.

"What's in there?"

"An ink stone for grinding ink, I bought it not so long ago."

What he meant was that it was not antique, that it was not a prohibited item. However, they could still use any excuse to detain him, so he couldn't help being tense. A thought flashed through his mind: this was not his country.

In the same instant, he seemed to hear, "Elder Brother-" He quickly held his breath to calm himself.

Finally he was allowed through. He fixed his suitcase and put it on the conveyor belt, zipped up his hand luggage, and headed toward the boarding gate. He heard shouting again, someone seemed to be shouting his name. He pretended not to hear and kept going, but still he looked back. The official who had just searched his luggage had been checking a few foreigners in the sectioned-off corridor and was in the process of letting them through.

At that moment, he heard a drawn-out shout, a woman was calling his name, it was coming from far away and floated above the din of the people in the departure hall. His gaze went above the partition at the entrance to customs, searching for where the sound was coming from. He saw someone in a big army overcoat and an army hat, hunched over the marble railing of the second floor, but he couldn't see the face clearly.

The night he said good-bye to her, as she gave herself to him, she said over and over into his ear, "Elder Brother, don't come back, don't come back…" Was this a premonition? Or was she thinking of him? Could she see things more clearly? Or could she guess what was in his heart? At the time he said nothing, he still hadn't the courage to make this decision. But she had awakened him, awakened him to this thought. He didn't dare to confront it, was still unable to cut the bonds of love and hope, unable to abandon her.

He hoped the person in the green army uniform hunched over the railing wasn't her, turned and continued toward the boarding gate. The red light on the flight indicator was flashing. He heard behind him a forlorn scream, a drawn-out "Elder Brother-" It must be her. However, without looking back again, he went through the boarding gate.

4

Warm and moist, writhing flesh. Memories start returning but you know it's not her, that sensitive delicate body that had let you do anything you wanted. The big, robust body pressing hard on you with unrestrained lust and abandonment totally exhausts you. "Keep talking! That Chinese girl, how did you enjoy yourself with her and how did you abandon her just like that?" You say she was a perfect woman, the girl wanted only to be a little woman, and wasn't wanton and lustful like her. "Are you saying you don't like it?" she asks. You say of course you like it, it's what you dream about, this sheer, total abandonment. "You also wanted to make her, that girl of yours, become like this?"-"Yes!"-"Also turn into a spring?"-"Just like this," you convulse, breathless. "Are all women the same for you?"-"No."-"How are they different?"-"With her there was another sort of tension."-"How was it different?"-"There was a sort of love."-"So you didn't enjoy yourself with her?"-"I enjoyed her but it was different."-"Here it is just carnal lust."- "Yes."-"Who is sucking you?"-"A German girl."-"A one-night prostitute?"-"No," you call out her name, "Margarethe!"

At this she smiles, takes your head in her hands and kisses you.

She is straddling you, kneeling, but her legs relax as she turns to brush aside a loose tangle of hair hanging over her eyes.

"Didn't you call out the wrong name?" There is an odd ring in her voice.

"Aren't you Margarethe?" you ask back, not comprehending.

"It was I who said it first."

"Don't you remember? When you asked, your name had already come to my lips."

"But it was I who said it first."

"Didn't you want me to guess? You could have waited a second more."

"I was anxious at the time, I was afraid you wouldn't remember," she admits. "When the play finished, people from the audience were at the theater door waiting to talk with you; I was embarrassed."

"It was all right, they were friends."

"They left after a few words. Why didn't you go for drinks with them?"

"It was probably because I had a foreign girl with me that they didn't hassle me."

"Did you want to sleep with me then?"

"No, but I could tell that you were excited."

"I lived in China for years and, of course, understood the play. But do you think Hong Kong people would?"

"I don't know."

"A price has to be paid." She looks moody again.

"A very moody German girl," you say with a smile, trying to change the atmosphere.

"I've already told you that I'm not German."

"Right, you're a Jewish girl."

"Anyway, I'm a woman," she says wearily.

"That's even better," you say.

"Why is it better?" That odd ring in her voice returns.

You then say you had not had a Jewish woman before.

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