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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Qian lay down first, while he sat on the bed and took her hand. Qian suggested putting out the light.

He remembered only her body. Everything else was unfamiliar, she was a woman about whom he knew nothing. There were only those few letters, in which she had either appealed to him for help or expressed her grief. The two of them were alike in having been exiled to some remote place, and, sharing the same hardships, sympathized with one another. Did he love her? He thought he did, but what about Qian? He had no way of knowing, but she had traveled thousands of kilometers to see him. Surely she had come to find someone to rely on? She gave herself to him, let him do what he wanted to her, but without any excitement or resistance, and without saying anything. Then she fell asleep, or, at least, he thought she had fallen asleep. He had a woman, a real woman who belonged to him, a wife he could establish a shared life with. Later on, they would come to have a shared language and rely on one another. In any case, he could never marry a village girl. In the village, the women bared their breasts to nurse their babies in the summer, and when they had rest breaks, they would start fights with the young men. He couldn't stand all the crude sexuality, coarse language, and total irreverence. He had, of course, learned to engage in verbal banter with the village women, but he always kept his distance. He didn't get embroiled in fighting with the women like the local village men did. The men would brawl so that they could enjoy themselves fondling the women, but when several women charged at a man and groped in his trousers, there would be noisy swearing and laughing as he sneaked away holding his trousers up. In the village, the farm work was never ending, year in and year out, and there was nothing else to do for fun. This was one of their few joys. The married women said to him, "Hey, why don't you like our local girls? The city girls aren't as juicy as our girls are here. Take a look at Maomei's skin, she's a peach that will ooze with a poke! And, what's more, she's good at any farm work. She's not clumsy like you, and she will save you all the hassle of finding yourself a sexy girl!" This talk had Maomei pouting, and she grabbed someone by the shirt and hid behind the person. He certainly liked this sexy girl, but, having seen these village women in action, he knew what she would be like later on. This was not the life he wanted.

Early in the morning, when Qian opened her eyes, the color had returned to her face and she was smiling. And he was definitely very happy. Qian was not beautiful, but she was cute. She snuggled against him, saw him looking at her, and closed her eyes again. He took her breasts in his hands and began fondling them. Qian was yielding and let his fingers wander over her body, her bent legs parted. He wanted her again but stopped himself. He shouldn't be in such a hurry to satisfy his lust, they were going to live together and there was plenty of time. He kissed her, and Qian's soft parted lips responded, so did her tongue. For the first time, he felt she was trying to make him happy. He thought Qian loved him, and had not simply come to him because of her own predicament.

"Should we go and register?" he asked Qian.

Qian's soft body snuggled right into his arms, and he was deeply moved when she nodded.

"Get up! We're going to the commune right now!"

He wanted to have a home with her, to establish their love as husband and wife. He wanted to show that he loved her by immediately registering their marriage, then thinking of how to get her transferred. They would settle down in peace and security in this mountain village, not worry about what was happening elsewhere, and simply live out their own insignificant lives.

Qian had brought with her a certificate issued by her commune, stating that she was not married, so, before coming, she must have given the matter some thought. The cadres at the commune all knew him, and he did not need to produce any documents. The two of them signed their names on the form, filled in their dates of birth, had it stamped by the secretary, and paid for the cost of the sheet of paper. This procedure took one minute.

Passing a meat stall with half a carcass hanging on a metal hook, he bought a whole leg of pork. Meat coupons were not needed in the village, production was good, and normally no one would starve to death. However, during the years of the Great Leap Forward, because of a single command from the Party, even grain rations were handed over to the commune and there were cases of whole villages starving to death. The villagers had learned from that experience. Every household had a vegetable garden where they grew sesame or rape, so that the seeds could be pressed for oil, and every household kept pigs, so that the villagers were able to eat the meat they themselves had salted. They lacked only money. He said later on they could also raise pigs. Qian glared at him, not understanding his joke.

Their first day as newlyweds was very happy. He lit the charcoal stove and, when the hot charcoals had stopped smoking, took it inside the house and put a big pot of pork on to stew. Qian started to sing softly, it was an old song from before the Cultural Revolution. He urged Qian to sing it loudly, and he sang along with her. Qian sang well, and her voice resonated. This was a discovery for him. Qian laughed and said, "I've had training, I'm a soprano."

"Really?" He got quite excited.

"What's so special about that?" Qian spoke without enthusiasm, but her voice was sweet and lovely.

"It's very important. We will be able to get through the days with you singing like this!"

This was something they had in common. He said, "Sing something for me!"

"What do you want to hear? You choose." Qian was pleased, and, with her head tilted to one side, she looked very beautiful.

"How about singing the Italian folk song 'Come Back to Sorrento '!"

"That's for a tenor."

"Sing 'The Drinking Song' from La Traviata!"

"It would be bad if people heard the words," Qian was hesitant.

"It won't matter in this village. Who would understand? You could sing it without the words," he said.

Qian stood up, took a deep breath, but then stopped and said, "It would be best for me not to sing foreign songs."

For a while he couldn't think of what was all right for her to sing.

"I'll sing 'Thirty Li Inn,' that old folk song!" Qian said.

As the sound of her singing spread, Qian's eyes shone. Outside the window a crowd of children appeared, and, afterward, a few women. The singing stopped and there was an exclamation outside the window, "What wonderful singing!"

Maomei had said this; she was there among them. The women started chattering.

"Where does the bride come from?"

"She'll be staying for a while, won't she?"

"She should just stay!"

"Where was she born?"

He opened the door and, inviting everyone inside, introduced her, "This is my wife!"

However, they all stayed crowded outside the door, and wouldn't come in. He took out a big bag of hard fruit-candies that he had bought in town and handed them out, saying, "Everything's been revolutionized. Marriage is now done in a new way, I'm married!"

At this point, he took Qian to visit in turn the homes of the Party secretary, then the head and the accountant of the production team. They were followed all the way by a troupe of children with sweets in their mouths. One woman said, "Quick, go and catch an old hen for them!"

People wanted to give them eggs, and a few old folks said, "If you want vegetables, come and get some from my garden!"

"It all sounds great, but when you offer to pay, they say no, no. After they refuse and you offer several times, they then accept. I can't owe them anything for their friendship, but I do have their friendship, I'm not an outsider here!" he said to Qian, feeling quite pleased. He added, "With your wonderful voice, all the schools in the village will want you. When you come here, you won't need to stand soaking in the mud of the paddy fields in rain or scorching sun all year long. And, of course, you will sing your songs for me."

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