Gao Xingjian - One Man

Здесь есть возможность читать онлайн «Gao Xingjian - One Man» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

One Man: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «One Man»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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.

One Man — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «One Man», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

One of the friends insisted on talking about a whole lot of bizarre happenings in China that had nothing to do with literature. He said that this person who fed the animals in a zoo went to work early one morning, before they started selling tickets. He had just gone in through the side gate for zoo personnel, when he heard the roaring of the tiger he normally fed. He wondered why it was roaring if it wasn't feeding time, and went to take a look. The tiger was lying in the cage in a pool of blood, with its front paws missing. A rescue attempt was made, the wounds bandaged, but the tiger had lost too much blood, and there was no tiger blood for a transfusion, so they couldn't save it.

"Why had the tiger's paws been chopped off?" someone asked.

"Surely everyone here has heard stories about Chinese people eating bear paws?"

"But I've never heard about tiger paws being eaten."

"It's for making tiger-bone liquor, which has been a cure for rheumatism from ancient times! Where else could you hunt for a tiger these days, except at a zoo?"

Everyone broke out laughing and said, "You scoundrel, you're anti-Chinese right through. You've made it all up, haven't you?"

This friend, however, was quite serious and said he had read it in an official Mainland newspaper. "A friend sent me a newspaper clipping from China, it was just a two-line item. In Sweden, it would have made front-page headlines! And, for sure, the environmentalists would have marched in the streets. Hey, does Sweden have a Green Party?"

You didn't go to the dining room for breakfast. From your window, you watched the limousines downstairs drive off to take the others sightseeing in Stockholm.

Afterward, you went for a walk along the gravel path around the lake. On the surrounding fields, here and there, stood big, white, plastic bags that probably contained grass fodder. At the edge of the dark-green forest, these white bags looked surreal, and you again seemed to be entering a dream.

As you follow a track into the forest, the light around the lake vanishes, and, deeper into the forest, the trees seem to get taller, the tallest and straightest being the Korean pines. Suddenly, you hear the shouting of children, and you can't help feeling emotional. It's as if you have returned to your childhood, even though you know those times no longer exist. You stop to listen, to prove you're not hearing things, then hurry on. The track turns, and right ahead, between the trees, is a clearing where two girls are dragging sacks of, most likely, pine cones. The taller of the two is wearing jean shorts, cut off so the frayed edges come above the knee. Farther off, a boy is running about with a butterfly net. The two girls stop from time to time, and, as you don't want to disturb them, you slow down. The boy is in front, running and shouting. The girls call out to him, but he takes no notice and keeps running, so the girls follow, dragging their sacks. The sound of the children gradually fades into the distance, and, by the time you can no longer see them, the dirt track has started to disappear into the grass, and the place looks quite desolate. You still seem to faintly hear the shouting of the children, and you stop to listen, but it is only the rustle of the waves of pines as the wind passes through the tops of the trees.

You keep trying to recall that dream, to recall the tactile sensation of fondling her smooth firm breasts and to recall that indistinct but familiar face. Instead, you recall another dream you have had. The odd thing is that you have had this dream so many times that it has turned into a memory, so it seems that there really was such a girl. After school, she and her girl classmates were a happy lot and were always together. You seem to have been in the same class, but it was not easy to get on friendly terms with her. Those girls also made friends with boys, in fact, they only made friends with boys, but you could never get into their circle. You then remember a big courtyard complex where you once lived. Your home was in a back courtyard, and it was hard getting there through the front courtyard where a lot of people were living. The girl, it seems, lived in the front courtyard. Just like that, another dream is summoned up. The girl lived in a little dead-end street, an old courtyard complex that was very deep, with one entrance after another. Her family lived in the first courtyard, in the left wing after entering the gate, and a classmate of yours from middle school also lived in that courtyard. You went to see this classmate to see if the girl's family still lived there, but, when you got there, you didn't see your classmate. This summons up other dreams that are more like vague memories, and it's hard differentiating the dreams from the memories. You recall that when you were four or five years old, during the chaos of war, you and your parents were refugees and had lived in such a big courtyard complex. But you are searching for a big girl with full breasts, and your memories and dreams are all confused.

Your childhood years are dim and hazy, and only some points of light appear before your eyes. How is it possible to retrieve past happenings that have become submerged in what has been forgotten? It's hard to confirm what gradually appears, and it's hard to decide in the end whether it is memory or something you have imagined. Moreover, are memories accurate? They are fragmented and jump backward and forward, and, when you try to track them, the flashing points of light become dim and turn into words, but you can only link up a few of them. Can memories be retold? You doubt it, and you also doubt the capacity of language to do this. One retells memories or dreams, because some wonderful things that give you warmth, fragrance, longing, and impulses flash up. But can this be said of words?

You remember clearly that there was such a girl, and that you sat at the same desk, on the same wooden bench, and that she had a fair complexion. He once broke his pencil during a test, and when the girl noticed, she pushed the pencil box full of sharpened pencils she had on the desk to him. From then on, he began to take an interest in the girl, and would look out for her on his way to and from school. He once picked up a perfumed card that had dropped out of her textbook, and, after school, the girl gave it to him. When the boys from the class saw this, they started chanting, "The two of them are in love! The two of them are in love!" It made him blush, and, probably because of that, thereafter, warmth, fragrance, and femininity all came to be associated for him.

You also remember a dream from your teenage years. It was in a garden with long uncut grass, and among the clumps of grass lay the pure, white, naked body of a woman, a cold statue of carved marble. This was a dream he had after reading Merimee's novel The Venus of Ille. He slept close to the statue, and how he had sex with it was unclear, but there was a cold puddle around his thighs. It was a winter's night, and he woke up terrified.

You think about Bergman's old black-and-white film Wild Strawberries, which captures in detail an old man's anxiety about death; probably you've gradually moved into the phase of old age. In another of his films, Cries and Whispers, you feel sympathy for the three sisters and their buxom maid, who are all tortured by loneliness, sexual desire, illness, and fear of death. Can literature and art communicate? It is, in fact, pointless discussing this, but there are people who do believe that this is impossible. And can Chinese literature communicate? Communicate with whom, the West? Or communicate with the Chinese on the Mainland, or with the Chinese living abroad? And what is Chinese literature? Does literature have national boundaries? And do Chinese writers belong to a specific location? Do people living on the Mainland, Hong Kong, Taiwan, and the Chinese-Americans all count as Chinese people? This, again, brings in politics, so let's talk just about pure literature. But does pure literature really exist? Then let's talk about literature. But what is literature? These issues are all of relevance to the conference and are all endlessly contested.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «One Man»

Представляем Вашему вниманию похожие книги на «One Man» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «One Man»

Обсуждение, отзывы о книге «One Man» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x