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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In the middle of the night, he rode his bicycle to the post and telecommunications building in Xidan. There was a telephone number printed on the county hostel letterhead, and he asked to make an urgent telephone call. An unfriendly woman's voice speaking in a drawl asked for the name of the person he wanted. He explained that he was making a long-distance call from Beijing and that he wanted to speak to Xu Qian, the university student waiting to be assigned work. He was put on hold. The receiver buzzed for a long time before an equally unfriendly voice asked, "Who is it?" He repeated the name of the person he wanted to talk to, and the other party said, "That's me." He couldn't recognize her voice, because that night they spent together, neither dared speak aloud. Hearing this unfamiliar voice, he didn't know how to respond. The receiver kept giving a hollow buzz, and he mumbled, "It's good to know you're alive." Qian said, "You gave me a terrible fright! I'm in shock from being woken in the middle of the night!" He wanted to say that he loved her, that she must go on living no matter what, but he found it impossible to say all the things he had thought up while he was cycling. The switchboard operator in this small county town would certainly be listening to the urgent long-distance call from Beijing so late at night. The telephone was still making a hollow buzz, and he told her he'd received her letter. The telephone was buzzing again, and he didn't know what to say. She said coldly, "If you have to, phone during the day." He said, "I'm sorry, go back to bed." She hung up.

37

A young woman is lying on top of you. You're in bed, not fully awake. She's giggling and the two of you are messing around. You're really enjoying yourself and hope you are not dreaming. You're squashed under her, and, down her open collar, you touch her smooth skin, feel her firm breasts. She doesn't resist, and goes on having fun with you. You're delighted by this unexpected encounter, but can't say her name. You vaguely know it, but are afraid of getting it wrong. You sift through your memories. In such-and-such a situation, there was this girl, you often saw her on your travels but were never able to get close to her. She is now pressing against you and you say you didn't think you would meet her like this. You're really so very happy! She says that she is here just to see you. On her way through the city, she heard that you were here for a conference, so she came to see you. You say don't leave! She says of course not, but she does have to fix up her luggage and go through registration procedures. You don't immediately make love with her, thinking to yourself there will be plenty of time, she has come from far away specially to see you, so it's not likely that she will leave right away. You get out of bed and ask where her luggage is. She says over there, in the adjoining room. You turn and see that the two rooms indeed adjoin, in fact there is nothing separating them, and, moreover, the other room has two beds in it. You're worried someone else will take the room, so you say you will have to quickly get a hotel attendant to get you a double room. But it happens to be the lunch break, so you go to the dining room together to have something to eat. She follows closely, snuggles against you, and says it was very hard, finding you. You keep trying to remember her name, steal glances at her familiar face, but you can't be sure. She's more like a woman than a young girl, an older teenager or a young woman, so there shouldn't be any problem making love with her. Moreover, she has come to see you. She says shouldn't you first introduce her to the person in charge of the conference? You say you are now a free man and can stay with anyone you want to. You don't have to get anyone's approval, and you take her with you to the service desk of the hotel to change to a double room. The man behind the desk hands you a key and a slip of paper. There's a number on the key tag, and you ask where the room is. The man says he is only in charge of registration, and, to find that out, you would have to phone up, the phone number is on the slip of paper. You ask if you can use the phone on his desk, and he says you will need coins. You can't find any coins in your pocket, and talk to the man again. Is it all right to call first and pay later? He doesn't say either yes or no, so you make a call and are told that the room is on the third floor. You get in the elevator, and it takes you to the top floor, and you come out onto a parking lot. The two of you get back into the elevator, go down, but still can't find the room. You stop a maid with a trolley, who is cleaning rooms, and she tells you to go down one floor. The two of you finally arrive on the ground floor and find an elegant dining room, so you think you may as well eat first. The maître d' in a tie politely apologizes and says reservations are needed, and that they are fully booked. You tell him you are taking part in the conference, and he says special arrangements have been made for conference participants in another dining room. You and she get into the elevator again, to look for the room. You scrutinize the number on the key and find something odd about it. The number is 11 GY, and you've found rooms with numbers 14, 15, and 16, but there isn't a number 11. You ask the fat woman sitting on a high stool at the bar by the passageway, thinking she is a hotel guest and will know about the number. The swivel stool spins around as the woman points behind you, saying, right there, it's that hole! You don't understand why it's a hole. Written on the brass plate on the doorframe is number 11 G, the second letter isn't clear but it could be Y. You part the glass-bead curtain, and inside is a huge row of joined mattresses. You look around the big room. Above, to the right of the joined mattresses, there is yet another layer of bedding, which stretches inside the wall. Access is only by crawling in, but the four double mattresses all have pillows. You think that if you want to make love with her, you will put her luggage in the farthest corner. You come out of the room and think to yourself that somehow you will have to find another room. However, she says she is traveling with another woman and they have to stay together. Luckily, they know people in the city and will be able to find somewhere to stay. But, you say, as she has come to see you… She says next time, there will be opportunities. She turns to leave, and you wake up, full of regret. You try to recall the memory, to clutch at some clues, so that you will know how you came to have this dream. You discover you are in a single bed in a small room, and there is a bird chirping outside the window.

For a while, you can't remember how you came to be sleeping here, your head is throbbing, and you aren't fully awake. Last night, you drank too much. You haven't drunk to excess like this for a long time. You drank scotch, five-grain liquor, and red wine, then, to quench your thirst, also beer. A full case of beer had been opened, but some cans are still left. Someone brought the scotch from England, and the five-grain liquor was from China. You remember now: a group of Chinese writers and poets have come for a conference here, in the southern outskirts of Stockholm, at the international center named after the assassinated Swedish president Olaf Palme.

You open your eyes and sit up. Outside the window is the lake with clouds hanging low over it. Lush shrubs and trees grow on the flat stretches of parkland, and there is only the singing of birds, no one is around, and it's very peaceful.

You recall the fragrant warmth of the woman in the dream and can't help feeling disappointed. Why did you have such a dream? It must have been because last night everyone was talking about China again, and you had a lot to drink. China always gives you a headache. But that is the purpose of the conference, to discuss contemporary Chinese literature. The Swedes had sponsored the visit of a group of Chinese writers from China and elsewhere, providing the plane tickets, and food and accommodation for a few days. This was an ideal place for a vacation. There was plenty of beer, but because liquor was heavily taxed, the conference participants brought it along with them. There was heavy drinking until dawn. In July, it was summer, and it was a white night; the sky did not become dark, and at midnight it was like dawn. The other side of the lake was a continuous hazy forest with a streak of bright-red dawn above, the birds and insects were sleeping, but these old friends went on talking loudly on the wooden jetty next to the lakeside sauna hut. They engaged in lofty discussions, and their voices resonated into the distance. Ripples stirred on the mirror-smooth surface, spreading in circles to the middle of the lake and making the weeds and the reflections tremble. And this was not a dream.

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