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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You're tired of the debate over literature and politics. China is already so remote from you; moreover, you were expelled from the country long ago, and you do not need to bear that country's label. You simply write in the Chinese language, and that's all.

38

Buses were parked in front of the building from which five persons had jumped to their deaths less than a month ago. The first batch of about a hundred people to go to the countryside had assembled for final instructions from the army officer. As ordered by Officer Zhang, pinned on each person's chest was a red paper flower hurriedly made by office personnel before the buses were to be boarded.

This detachment of fighters was mostly elderly. There were also women, people of retirement age who hadn't been permitted to retire, as well as people on sick leave with high blood pressure. Among their numbers were old cadres from the Yan'an base area and old guerrilla fighters who had fought local battles on the plains of central Hebei province. In accordance with Mao's newly promulgated May Seventh Directive, these people were all off to cultivate the land, and wearing this paper flower on the chest signified that reform through labor was glorious.

Officer Zhang came out of the building, touched the brim of his cap with his fingers in a salute, then stood at attention before everyone, "Comrades, from now on you are glorious May Seventh fighters! You are the advance detachment and have the important mission of establishing the Communist university called for by our Great Leader, Chairman Mao. I wish all of you a rich harvest in both your labor and thinking!"

He was regular army personnel and didn't waste time talking. Having said this, he raised his arm and signaled for the buses to be boarded. In front of the building were family members, as well as colleagues who had come to see them off. People were waving from all the windows of every floor of the building. There had been enough fighting between factions, and those leaving all counted as comrades. It was an emotional situation, some of the women were wiping tears from their eyes, but on the whole, there was a cheery atmosphere.

He was secretly pleased. He had organized his belongings, even scrubbed the enamel chamber pot in his room, and packed everything into the wooden boxes they had provided him. People sent to the country were provided with two boxes at no cost, but additional ones were charged. All this came from documents issued by the May Seventh Office, which the State Council had newly established. He nailed up his boxes of books. Just when he would be able to open the books again, he didn't know, but they would accompany him in life, they were his last bit of mental sustenance.

When he delivered his application to be sent to the country, Officer Zhang was hesitant and said, "The ferret-out work hasn't been completed, then there will be many difficult tasks-"

Without waiting for the officer to finish talking, he started a barrage of pratde, explaining in a single breath his resolve and his need to undertake labor and reform. He added, "Officer Zhang, I want to report that my girlfriend was allocated work in the country after graduating from university. When the cadre school is fully established, I can get my girlfriend to come, then I will be able to carry out a lifetime of revolution in the countryside!"

He had made it clear that he was not hiding anything and that he had given thought to practical matters. Officer Zhang rolled his eyes. His fate had been decided.

"All right!" Officer Zhang took his application.

He heaved a sigh of relief.

Only one person said, "You shouldn't go!"

It was Big Li, and he knew that he was reproaching him. Comrade Wang Qi, whom he had protected, also came to see him off, her eyes were red and she looked away. Big Li had turned up to say good-bye and shook hands with him. His puffy eyes made him look even more sincere, yet somehow the two of them had found it hard to become friends. He detected Big Li's loneliness. Among the disbanded rebel faction, there had been fighting companions, but no real friends. And now he was abandoning all of them.

Before going downstairs to assemble, he went to the room of his former superior Old Liu and shook hands with him. Old Liu tightly clasped his hand, as if he was clutching a piece of straw to save himself, but this piece of straw wanted to escape sinking. They each held the other's hand for a while without saying anything, but both knew that clinging together meant sinking together, and Old Liu was the first to let go. He had finally succeeded in escaping from this beehive of insanity, this building that manufactured death.

At Qianmenwai, the railway station was as usual crowded with milling people, and on the platform and in die carriages, only the heads of those leaving and those seeing them off could be seen moving around. University students had already been sent to the country and border areas earlier on. This time, those being sent to the country to work were mostly middle-school students, who were being sent to settle permanently, as well as workplace staff and cadres. Boys and girls on board the train crammed around the windows, and their parents stood outside the windows, giving numerous instructions. On the platform, there was a loud burst of gongs and drums as a worker propaganda team, leading a band of children who were too young to be sent, transformed the farewell scene into a festive occasion.

The stationmaster in a blue uniform blew his whistle a few times, and people retreated behind the white line, but, for a long time, the train showed no sign of moving. Suddenly, there was a commotion, as armed military police ran up and formed a single row. Then came a long contingent of prisoners, heads shaved, each humping a bedroll on their backs and holding an enamel bowl. They were marching in time, softly chanting in a clear rhythm the slogan: "Strive hard to remake yourself, to resist means death!"

It was a soft chant with the solemnity of a hymn, repeated over and over, and the children stopped beating on their gongs and drums. The line of prisoners crossed the platform diagonally, and, to the sound of the repeated slogan, entered several stifling windowless carriages that had been added to the tail end of the train. Ten minutes later, there was an eerie quiet as the train slowly moved off. At that point, a few irrepressible sobs came from the platform, and, instantly, the inside and outside of the train filled with the sound of weeping children and adults. Of course, some people waved and put on smiles, but the artificially happy atmosphere had completely vanished.

Outside the train window, cement telephone poles, red brick houses, gray concrete buildings, chimneys, and bare branches on trees rapidly receded. However, this was what he wanted: he had finally fled that city of terror. The winds would be colder and harsher, but at least he would be able to breathe freely for a while without having to be on guard all the time. He was young and strong, without a wife or children, without responsibilities, and had only to work the soil. While he was at university, he had worked in the villages. Farmwork was exhausting, but the mental stress would not be as great. He wanted to hum a song, but what old song was there to sing? All right, then he wouldn't sing anything.

39

That soul mate of yours, Louis Armstrong, you think of as a brother. He has been dead a long time, but those old black-and-white movies raining with white lines, that old black soul mate's singing, still have you rolling on the floor.

Gossamer floating in the wind…

You must live happily and fully. Oh, Margarethe! You're thinking of her again, it was she who got you to write this damn book that has made you so wretched and miserable. That slut has caused you excruciating pain, and you want to fuck her really hard, so that you will make her hurt like she wants to, that masochist. But even if you were to hurt her much more, you would still not be able to cry.

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