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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And you really want to cry, to roll on the floor like a spoiled brat and to cry as hard as you can. But there are no tears, no tears, none at all. Hey, man, you're just getting old!

So what if you're a worm or a dragon! You're more like a homeless dog without an owner, so you don't have to please anyone and don't have to try to get anyone to like you. You, you're a mole that bores holes in the ground. You like the dark, you can't see a thing in the dark, you can't see the hunting rifles. You no longer have goals and what use are goals anyway?

Now that you have a new life, you want to use it as you want to, and you want what's left of your life to be lived more meaningfully. Most important of all, living has to bring happiness, and you must derive happiness from living for yourself. What others think is of no relevance whatsoever.

To be self-activated and to exist for yourself is a freedom that is not external to you. It is within you, and it depends on whether you are aware of it and consciously exercise it.

Freedom is a look in the eyes, a tone of voice, and it can be actualized by you, so you are not destitute. Affirming this freedom is like affirming the existence of a thing, like a tree, a plant, or a dewdrop, and for you to exercise this freedom in life is just as authentic and irrefutable.

Freedom is ephemeral; the instant of that look in your eyes and that tone of your voice springs from a psychological state, and it is that flash of freedom that you want to capture. To express this in language is to affirm freedom, even if what you write can't last forever. In the process of writing, freedom is visible and audible, and, at the instant of writing, reading, and listening, freedom exists in your mode of expression. To be able to obtain that small luxury of freedom of expression and expressive freedom is what it takes to make you happy.

Freedom is not conferred, nor can it be bought, it is your own awareness of life. Such is the beauty of life, and, surely, you savor this freedom just as you savor the ecstasy of sexual love with a wonderful woman.

This freedom can tolerate neither God nor a dictator. To be either of these is not your goal, nor would such a goal be attainable, so rather than wasting the effort you may as well simply want this bit of freedom.

Instead of saying Buddha is in your heart, it would be better to say that freedom is in your heart. Freedom castigates others. To take into account the approval or appreciation of others, and, worse still, to pander to the masses, is to live according to the dictates of others. Thus it is they who are happy, but not you yourself, and that would be the end of this freedom of yours.

Freedom takes no account of others and has no need for acceptance by others. It can only be won by transcending restrictions that are imposed on you by others. Freedom of expression is also like this.

Freedom can be manifested in suffering and grief, as long as one does not allow oneself to be crushed by it. Even while immersed in suffering and grief, one can still observe, so there can also be freedom in suffering and grief. You need the freedom to suffer and the freedom to grieve, so that life will be worth living. It is this freedom that brings you happiness and peace.

40

"Don't think peace will reign once old counterrevolutionaries have been purged. Rub your eyes hard and be vigilant, those practicing counterrevolutionaries are dangerous enemies! They are carefully hidden and crafty, they have accepted our proletarian revolutionary slogans but are secretly instigating capitalist factionalism and blurring our class demarcations. We cannot allow ourselves to be hoodwinked by them, think hard about the people who were sneaking around during the movement. Those two-faced counterrevolutionaries that hold up the red flag while opposing the red flag are sleeping right next to you!"

The deputy chairman of the Army Control Commission, Officer Pang, was political commissar in the army and had come especially from Beijing to visit the farm. Wearing glasses with thick black frames, he stood on the stone mill in the drying square and waved a document in his hand as he made his rallying call: "The May Seventh Cadre School is not a haven from the class war!"

A purge of the practicing counterrevolutionary group designated "May Sixteenth" was under way, and leaders and activists of rebel factions from the beginning of the movement were all marked for investigation. He was instantly relieved of his position as squad leader, and told to stop work to write a full report on those years, detailing the dates and places when and where which people had what secret meetings and had engaged in what shady activities.

At the time, he didn't know that, in Beijing, Big Li had been interrogated for days and nights on end, and that, after being beaten and kicked, confessed to being a May Sixteenth element. Of course, Big Li also named him. Big Li further confessed that the meeting in Wang Qi's home was part of a secret counterrevolutionary plot, which allowed them to collude with members of the counterrevolutionary gang and receive instructions for the ultimate goal of overthrowing the dictatorship of the proletariat. Big Li ended up in a mental institution. Wang Qi had also been interrogated. Old Liu had been beaten to death during an interrogation in the underground room of the workplace building, then taken upstairs and thrown out of a window. It was construed that he had committed suicide to avoid punishment.

Luckily, he got wind of the hunting dogs closing in on the horizon. By this time, he already knew how the political hunt operated. Based on the Number One War Preparation Mobilization Command authorized by Deputy Commander-in-Chief Lin Biao, large numbers of personnel and their families had been sent to the countryside, and this was the sign of an even more thorough purge. The peaceful mood, despite the hard physical labor people were subjected to, swiftly vanished. With the arrival of the newcomers, hostility was reignited and replaced that bit of friendly solidarity that had developed. The old company, platoon, squad units, were dismantled and reorganized, and a branch of the Party was reestablished with cadres appointed by the Army Control Commission in Beijing. He had to watch for a chance to break through their siege and escape before the hunt closed in. In the middle of the night, he sneaked into the county town to send a telegram to his middle-school classmate Rong.

It is said that Heaven never cuts off the road for people. In his case, it was more like Heaven took pity and gave him a road out. In the afternoon, while everyone was working in the fields, he was in the empty dormitory, writing his confession. Someone was outside, so he put on an act and wrote down a few of Mao's sayings. The postal worker from the commune was on his bicycle in the square outside the door, shouting, "Telegram! Telegram!"

He ran outside; it was from Rong. He was smart: for "sender" Rong had written only the telegraphic registration number of the farm technology promotion station of the county where he worked. The message read: "In the spirit of the Party Center document on war preparation, it is agreed that such-and-such a comrade may settle down and work in the agricultural commune of our county. He must report immediately, before the end of the month, after which he will not be accommodated."

While everyone was still working in the fields, he rushed to the cadre-school office that was more than five kilometers away. No one was in the big room with a telephone and typewriter. The small inner room was where Officer Song worked and slept. The door was shut, and there was a rustling noise inside.

"Reporting to Officer Song!"

This was military practice, and he had learned well. After a while, Officer Song emerged in his army uniform, looking immaculate except for an undone hook-and-eye on his collar.

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