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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Some years later… How many years was it? Ten… no, twenty-eight years later, in Hong Kong, you answered a telephone call in your hotel. It was Liang Qin, who had read in the papers about your play. You didn't instantly recognize the name, and thought it was someone you had once met, and that the person wanted to see your play but couldn't get tickets, so you quickly apologized that it had already closed. He said he was your old colleague and wanted to take you out for a meal. You said you were flying out the next morning and that there wasn't time, maybe next time. He said, in that case, he would drive over right away to the hotel to see you. It was awkward to put him off, and it was only after putting down the receiver that you remembered him and your last conversation on your bicycles.

Half an hour later, he came into your room. He was dressed in a suit, leather shoes, linen shirt, and a dark-gray tie, but he was not flashy like the new rich from the Mainland. When you shook his hand, there was no gold Rolex watch, thick gold bracelet, or heavy gold ring. However, his hair was black, and, at his age, it would have been dyed. He said he had settled in Hong Kong many years ago. That neighbor from his youth, to whom he had written for the dictionary, found out how much he had suffered because of that letter, and felt so bad that he arranged for him to come out. He now had his own company, and his wife and son had moved to Canada on visas they had purchased. He told you frankly, "During these years, I have earned some money. I'm not wealthy, but I have enough to live out my old age in relative comfort. My son has a Ph.D. from a Canadian university, so I don't have anything to worry about. I commute, and if I can't stay in Hong Kong, I can pull out anytime." He also said he was grateful for the words you said to him back then.

"What words?" You couldn't remember.

" 'Don't get yourself killed in the process!' But for those words of yours, I wouldn't have been able to keep watching what was happening."

"My father couldn't keep watching," you said.

"He killed himself?" he asked.

"Luckily, he was discovered by an old neighbor who called an ambulance, and he was rushed to a hospital and saved. He was sent to a reform-through-labor farm for several years. Then, less than three months after being exonerated, he became ill and died."

"Why didn't you alert him at the time?" Liang asked.

"How could I dare write at that time? If they found out, my own life would also have been in jeopardy."

"That's right, but what sort of problem did he have?"

"Talk about yours, what sort of problem did you have?"

"Hey, let's not talk about all that!" He sighed, and, after a pause, asked, "How's your life?"

"What are you referring to?"

"I'm just asking, I know you're a writer, I'm asking how you are financially. You understand… what I mean, don't you?" Liang was unsure how to put it.

"I understand," you said. "I'm managing."

"I know that it's hard to make a living as a writer in the West, especially for Chinese. It's not like in business."

"Freedom," you said. What you want is freedom, the freedom to write the things you want to write.

He nodded, then again worked up the courage to say, "If you… Look, I'll be frank. For a time, I was financially constrained and didn't have the money, but you need only to say. I'm not some big tycoon but…"

"If you were a big tycoon you wouldn't be talking like this." You laughed. "A big tycoon would donate the money to carry out some fancy bit of engineering that would enable him to do more trade with the homeland."

Liang Qin took out a business card from his suit pocket, added an address and telephone number, and gave it to you, saying, "That's my mobile number. I've bought the house, so that address in Canada won't be changing."

You thanked him, said you didn't have a problem, and that if you had to rely on writing for a living, you would have stopped writing a long time ago.

He was deeply moved and blurted, "You're really writing for the people of China!"

You said you were writing only for yourself.

"I know, I know, write all about it!" he said. "I hope you'll write all about it, really write all about those times that were not fit for human beings!"

Write about all that suffering? you asked yourself after he had left. But you were already weary of all that.

However, you did think about your father. When he was exonerated and came back from the reform-through-labor farm, he was restored to both his former job and salary, but he insisted on retiring and came to Beijing to see you, this son of his. He planned to do some traveling after that, to drive away his cares and to spend his last years peacefully. You couldn't have known that the very night after you had spent the day with him at the Summer Palace, he was to cough blood. The next day, he went for a hospital examination and they found a shadow on his lung. It was diagnosed as full-blown lung cancer in its final stage. One night, his illness suddenly got worse, and he was admitted to a hospital. Early the next morning, he was dead. When he was alive, you asked him why he had attempted suicide. He simply said he really no longer wanted to live at the time. However, when he had just been able to live again, and, moreover, wanted to live, he suddenly died.

When those who had been exonerated died, their work units had to hold memorial services to offer some sort of commiseration to the families. At the memorial service, the son, who was a writer, of course, had to say something. Not to do so would have been disrespectful to his deceased father and also to the leadership of the comrades at the workplace, who had arranged the memorial service. He had been pushed to the microphone in the memorial hall and could not refuse before his father's ashes. He could not say that his father had been a revolutionary, although he had never opposed the revolution, and it was not appropriate to call him a comrade. All he could say was this: "My father was a weak man. May his soul be at peace in Heaven." That is, if there was a Heaven.

36

"Haul out before the people that evil scum of the Nationalist Party, the reactionary soldier-hooligan Zhao Baozhong!" the former lieutenant colonel loudly announced into the microphone on the dais. Officer Zhang, head of the Army Control Commission, wearing badges on his collar and cap, sat majestically alongside, showing no signs of emotion.

"Long live Chairman Mao!" The meeting suddenly erupted into a unified shout.

A fat old man in the back row of seats was dragged to his feet by two youths. The old man pulled his arms free and put up one arm to frantically shout, "Long live Chairman-Mao! Chairman-Chairman…"

The old man's voice was hoarse, but he struggled on. Two retired army personnel came forward. They had learned how to make an arrest in the army: they twisted the man's arm behind his back and immediately forced him to his knees, so that his shouts were stifled in his throat. Four burly youths then seized the fat old man and proceeded to drag him, but, like a pig refusing to be trussed up for slaughter, he pushed and stamped his feet against the floor as everyone watched in silence. While the old man was dragged along the passageway from his seat to the dais, a placard strung with barbed wire was forced around his neck, but even with his ears pinned back, he kept trying to shout. His face was swollen and had turned purple, and mucus ran from his eyes and nose. This old worker looked after the book warehouse and was once a soldier who had given his loyalty to the Liberation Army after escaping three times when conscripted by the Nationalists. He was eventually forced to bow his head and kneel on the ground. He was the last of the Ox Demons and Snake Spirits to be dragged out.

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