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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Just before daybreak, a horn sounded clearly two times. He sprang to his feet, quietly opened the door, and raced up to the road.

"Tang, you can really be counted on!"

Tang had the truck lights on, and raised an arm to signal him. He immediately ran back and woke the two men who slept on either side of him in the communal bed.

"Are you leaving right now?" They crawled to their feet, not fully awake.

"Yes, I've got a train to catch," he quickly rolled up his bedding.

A few minutes later, he leaped into the truck and waved to the vague forms of the two men who had helped him. Good-bye to the May Seventh Cadre School, this labor farm.

41

His head was a total blank. Outside the train window was a vast and desolate gray-yellow plain, trees with bare branches flashed past. He had not slept all night, but was tired, not sleepy. Looking mindlessly out of the window, he still did not dare to believe that he had escaped, just like that. The train passed the big bridge over the Yellow River, and the fields began to show signs of grayish-green: the wheat, after the winter, was starting to turn green. Two or three hours on, after stopping at several stations, the trees flashing past had turned green-gray, and, in the branches of a bare tree, some tender green leaves had appeared. Then lush green new willow leaves could be seen trembling in the wind, bringing tidings of early spring. The thought "You have been saved" welled up in his heart.

The fields turned green after crossing the Yangtze, and bright sunlight sparkled between the seedlings of the paddy fields. This world was real. Only then did he relax and fall into a deep sleep.

Following a change of trains, he got on a long-distance bus that bounced him up and down on the winding mountain road. The old bus rattled, shaking so badly that it felt as if it would fall to pieces. But, outside the window, as far as the eye could see, were luxuriant green mountains with clumps of bright pink azaleas among the bushes on the slopes. He was wild with excitement.

In the small county town, at the end of an old cobblestone street, he found Rong's house, a mud hut with a thatch roof Not being a local, Rong was not doing particularly well here, but the hut, which he did not have to share, with its vegetable garden enclosed by a bamboo fence, filled him with envy. Rong's wife was a local and worked as a shop assistant in a local store, and their small son, just a few months old, was sleeping in a cradle in the hall. In the courtyard, in the warm sun, a hen with a flock of fluffy yellow chicks was pecking the ground. This scene moved him.

While Rong's wife was in the kitchen, cooking for them, Rong asked about what was happening in Beijing and about his own situation. So, he talked a bit about it. Rong said, "What are all these criticism meetings about? Here, far from Beijing, the county cadres have also had their criticism meetings, although these didn't involve the ordinary people."

"Rong, do you remember when we used to have philosophical discussions in our letters and would ask searching questions to try and find out what was the ultimate meaning of life?" He wanted to joke a bit.

"Don't talk about philosophy, that's all just to frighten people," Rong coldly interrupted. "I spend my days looking after my family. When it rains hard, the thatch roof leaks. This winter, I had to change the thatch. I can't afford a tile roof."

Rong's calm indifference to seeking fame and wealth had allowed him to return to real life. He thought he should be like Rong, pass his days in this real way, and so he said, "I'd best go into the big mountains and find a village to settle in for good!"

However, Rong said, "You'd better think about that properly. You can get into those big mountains all right, but you won't be able to get out. You, you're always fantasizing; be a bit more realistic!"

Rong helped him work out that he should go to a village with electricity, one that could be reached in a single bus trip, so that if he got seriously ill he would be able to get to the county hospital the same day.

"If you want to settle down here, you'll have to get on good terms with the village cadres, the local tyrants. When you go to the county town to report your arrival, don't mention anything about those damn happenings in Beijing!" Rong warned him.

"I know, I won't fantasize anymore," he said. "I've come here to seek a refuge and to find myself a sexy village girl who will bear me sons and daughters."

"My only fear is that you're not going to be able to cope," Rong laughed.

Rong's wife asked him, "Are you serious? I can arrange it for you, it'll be easy!"

Rong turned and said to his wife, "Hey, you can't believe everything he says!"

He found a free-standing mud hut by the primary school of a small farm town. The production team had just built it, and the rafters and tiles had only gone up that winter. The walls, made by compacting mud and stones between wooden separators, had not been whitewashed, and, as there was no ceiling, when there was heavy rain, a fine spray of water would drift in between the tiles. No one had lived in the hut before. He used mortar to fill the gaps between the walls and the wooden door and window frames, pasted white paper on the glass windows for a bit of privacy, and used some planks to make a bed. He lined a part of the earthen floor with bricks, to stack up his boxes of books, which he covered with a piece of plastic and put his bowls, chopsticks, and daily utensils on top. Afterward, he put a big earthenware water vat inside the hut, so that he could ladle water when needed, and, later still, had a desk made at the timber cooperative in the little town. He was quite satisfied.

When he got back from weeding in the paddy fields, he would wash the mud from his feet and calves in the pond floating with duckweed, and then make himself a cup of green tea. Sitting in a bamboo chair, he would look at the distant layers of mountain ranges in the mist before him. The line "Plucking chrysanthemums by the eastern fence, I suddenly see the Southern Mountains," from Tao Yuanming's poem would come to his mind, but his was not the leisurely life of that scholar-official of ancient times who lived as a recluse. Each day, when it was barely light, as soon as he heard the singing on the village loudspeakers-"The east is red and the sun rises, in China there emerges Mao…"-he would go with the peasants to the paddy fields to plant seedlings. However, he no longer had to make a pretense of chanting Mao's Sayings. Weary after toiling all day, just to be unsupervised, drinking a cup of green tea, resting in the bamboo chair with his legs stretched out, was all he needed. And, at night, to be able to lie down alone on the big plank bed and no longer have to be on guard about talking in his sleep was really something to be thankful for.

From now on, he was a peasant, relying on his strength to feed himself. He had to learn everything about farm life-plowing, building paddy embankments, planting seedlings, harvesting grain, shoveling manure, using a carrying pole-and he no longer expected that they would still issue him a salary. He had to mingle with the villagers, not give them any reason to be suspicious of him, settle down, and no doubt grow old and die here. He had to make a home for himself here.

In a few months, he was working almost as fast as the villagers, and he was not like the county cadres who, if they were sent there to work, would find excuses to return to the county town every couple of days. For the peasants, the local cadres were aristocrats who worked in the fields purely for show, but for him there was universal praise. He thought he had managed to win the trust of both the peasants and the village cadres, and so he opened those nailed-up boxes of books.

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