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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"I count as having graduated from this cadre school, but I am waiting for you to issue me with a certificate!"

He had thought this up on the way, and he said this in a casual manner and with a happy look on his face.

"What do you mean, you've graduated?" Officer Song had an unfriendly look on his face.

With a smile firmly fixed to his face, he presented the telegram in both hands. Officer Song took it with one hand. The man was barely literate and pondered over each word before finally looking up. But, no longer frowning, he said, "Quite right, it does accord with the spirit of the document. Do you have relatives there?"

"I'll be joining relatives and friends to make a living." He quoted verbatim from the war mobilization document transmitted by Officer Song, then hastened to add, "A friend there has arranged it. I'm going to a farming village to settle down permanently! I'll receive a thorough reeducation from the poor and lower-middle-class peasants and then marry a village girl. I can't stay a bachelor all my life!"

"Have you already found a girl?" Officer Song asked.

He detected friendliness, or, maybe, it was sympathy or understanding. Song was a farm villager when he joined the army, and, starting off as an army bugler, he would have had to tough it out before becoming the deputy operations staff officer of a regiment. His wife and children still lived in the village, and he only had two weeks of annual leave to visit his family, so, of course, he missed having a woman. The Army Control Commission had assigned him the hard task of supervising die work of this very large group of people. It was, indeed, a case of Heaven's will in the dark unknown that the deputy chairman of the Army Control Commission, Officer Pang, who was in charge of the purge, had finalized arrangements with the company Party branch secretaries and had hurried back to Beijing two days earlier.

"A friend has set up a girl for me, and, if I don't show up, the whole thing will fizzle out. People are doing hard labor everywhere, so, if I get myself a wife, I'll just set up a home!"

He had to say something that would appeal to Officer Song's village background.

"Quite right. But think about it properly, because, once you go, your Beijing resident permit will be revoked!"

Officer Song had stopped talking as a bureaucrat. He took a book of forms from his drawer, told him to fill it out, then shouted toward the inside room, "Little Liu, he needs a letter with an official stamp!

Hurry up and type the letter!"

The young telephone operator and typist emerged gracefully. The rubber bands tight against the back of her head made her freshly combed hair stand out in two bunches. She unlocked a drawer and took out the stamp, then, sitting on the stool in front of the type-writer, began striking one character at a time on the heavy keyboard. As Officer Song checked the letter, he hastened to ingratiate himself, "I'm the first person to graduate under Officer Song!"

"This damn place is all alkaline soil, and nothing will grow except wind and sand. It's not like my old home, where whatever you plant grows, so, it's not, in fact, a matter of it being hard labor everywhere!"

Officer Song eventually put a red stamp on the official letter. Many years later, he met a person who had worked with him in the cadre school and learned that, not long after he fled the place, this kindly Officer Song was caught without his trousers. They happened to shine a torch into the wheat field, and there he was, doing it with the telephone operator. They sent him back to the army. It was Officer Song's fate that his career in the army would be stunted, just like the wheat growing in that poor soil.

On the way back, he heard in the distance the chugging of a tractor plowing the soil and shouted out, "Hey, Tang!"

Tang, who used to ride a motorbike as a traffic officer in Beijing, had lost his job and now worked on the farm in the machinery squad, riding a tractor. He ran across the soft, loose soil and caught up with the tractor.

"Hey!" Tang raised an arm to greet him.

"I need your help." He was running alongside the tractor.

"In these turbulent times, when the clay Buddha statue is crossing the river, it's hard even for Buddha to protect himself. What is it? Be quick and don't let anyone see me talking to you, I've heard you're being investigated in your company."

"It's all right now! I've graduated!"

Tang stopped the motor. He climbed up onto the driver's platform and flashed his official letter with a red stamp in front of Tang.

"Right, let's have a smoke!"

"It's all thanks to the kindness of Officer Song," he said.

"You've managed to escape from the sea of suffering, so hurry up and get away."

"Can you help get my luggage to the county railway station at five o'clock tomorrow morning?"

"I'll get a truck. After all, you do have Officer Song's permission."

"Don't mention it to anyone, who knows what dangers are still lurking."

"I'll definitely be there with a truck. If there are any questions, I'll tell them to see Officer Song!"

"Remember, tomorrow morning, at five o'clock sharp!" He jumped down from the driver's platform.

"I'll sound the horn on the road near your dormitory, and you can get on board. Leave it to me, I won't let you down!" Tang said, beating his chest.

The tractor chug-chug-chugged into the distance. He took his time walking the remaining two or so kilometers as he worked out how to deal with this last night, and how to move his luggage and those heavy boxes of books with utmost speed from the dormitory onto the truck at dawn. He waited until dark, dawdled through the dinner period, and only showed up in the dormitory when people had started crowding around the well to draw water for a wash. He also had a wash, and, at the same time, collected all of his things. Before the lights went out and people had to be in bed, he called on the company Party secretary to present his documents for settling permanently in a farming village. The secretary, who had been newly appointed by the Army Control Commission, was sitting on a bench with his shoes off, washing his feet. Once again with an air of jest, he reverently announced to the room full of people, "Officer Song has approved my graduation, so I have come to bid farewell to all you comrades. This does not mean we will not meet again, but just that I am one step ahead. I'm going to be a real peasant, so that I can thoroughly reform myself!"

He also put on a dejected look, as if he had a heavy heart, to show that the road ahead was not, in fact, wonderful. That joker really didn't have time to react and couldn't make out whether or not it was a special punishment he had been given, so he simply said let's see about it tomorrow.

Tomorrow? he thought. By the time that joker goes to the cadre-school headquarters, and by the time they make telephone contact with the Army Control Commission in Beijing, he'll have fled.

When he got back to the dormitory, the lights were out. He made his way through the dark and lay down on his bed, fully clothed. In the middle of the night, he put on a night-light, and, from time to time, glanced at the barely visible hands of his watch. He guessed it was almost daybreak and got up, keeping close to the wall as he put on his shoes. He did not immediately roll up his bedding, because it would wake everyone too soon, and that dog in charge of spying on his movements would probably report to the company Party secretary.

No one knew he was leaving before dawn, and, holding his breath, he waited in the dark, listening intently for the sound of the truck horn. It was fifty or sixty meters from the dormitory to the road, and it would not be very loud. He felt ringing in his ears and opened his eyes wide, so that he would be able to hear with better precision. As soon as he heard the horn, he would have to bundle up his bedding and wake up a couple of people to help him carry those wooden boxes next to the wall.

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