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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With such a life they should be happy and contented. That night was sheer pleasure for him. Qian was not as passionate, as engaging, as lustful, or as beautiful as Lin, but he was embracing his own lawful wife. Indulging in this basic human pleasure, he no longer needed to be anxious or worried that the walls had ears, or be afraid of being spied on through the window. Listening to the sound of the wind and rain on the roof, he thought, in the morning when the rain stopped, he would take Qian into the mountains for an outing.

43

"You're just using me, this isn't love." Qian lay on the bed, expressionless, but she had said this quite clearly.

He was sitting at his desk by the window and put down his pen to turn to her. For years, he had written nothing, apart from copying Mao's Sayings for the investigation, but that was before he had fled the cadre school. They had spent most of the day walking in the mountains, but on the way back got completely soaked when it started raining. The charcoal fire was burning, and steam was coming from their wet clothes that were drying on a bamboo basket.

He got up and went over to sit on the edge of the bed. Qian was lying under the bedcovers, her eyes staring.

"What are you saying?" he said without touching her.

"You've killed me," Qian said. She remained lying on her back, not looking at him.

What she said hurt him. He didn't know how to respond and just sat there.

In the gully by the mountain, Qian was fine, she was in good spirits and started singing. They went up the slope to where the bushes were withered and no one was in sight, so he got Qian to sing as loudly as she wanted. Her clear voice swept through the gully and faint echoes were borne on the wind. The lower part of the slope was a tangled growth of grass and shrubs, and the clumps of rice stalks in the terraced paddies, still to be plowed in after harvest, made it look even more desolate. In spring, the slope would be covered in bright red azaleas, and the flowering rape in the fields would have turned into an expanse of golden yellow. But he preferred this early autumn scene of decay and desolation.

On the way back, it had started raining. By a creek, she picked some daisies that were still flowering and some dark-red branches of little-leaf box, and these were now in a bamboo penholder on the desk.

Qian was weeping wretchedly, but he couldn't work out why. When he tried to put his arms around her, she resolutely pushed him away.

In the rain, Qian's hair got wet, and rain was running down her face, but she had just put down her head and kept walking. He now wondered if she had been crying then. He had simply said don't worry, I'll light the fire when we get home, and you can warm up. He had never lived with a woman before and couldn't work out why she was throwing a tantrum like this just because she had got wet in the rain. He didn't know what to do. He thought he loved her and had done everything he possibly could for her, but maybe that was the extent of human happiness in the world.

He went out and headed for Maomei's home. Why had he gone to her house and not anywhere else? Because it was the second house into the town, it was still raining, and also because Maomei's mother said if he wanted to eat chicken she would catch one for him. Maomei's mother was in front of the house, getting some vegetables, and said she would get him an old hen right away, kill it, and have it sent over. He said there was no hurry, and that tomorrow would be fine.

When he returned home and pushed open the door, he got a shock. The wet clothes that had been drying on the basket were strewn all over the floor, and the basket had been trampled and flattened. Qian was lying in the bed, her face to the wall. He held back his anger and forced himself to sit at the desk. The rain outside the window kept falling.

With nowhere to dissipate his frustration, he immersed himself in writing and kept writing until he could no longer see and put down his pen. Maomei was at the door, calling out to him. He got to his feet and opened the door. She was holding a plucked chicken and a bowl of innards. Not wanting her to see the clothes strewn on the floor, he took the chicken and quickly went to shut the door. But Maomei had seen it and looked at him in surprise. He avoided Maomei's startled eyes, closed the door and latched it, then sat quietly by the overturned stove, looking at the glowing charcoals on the floor.

"You don't believe in God, don't believe in Buddha, don't believe in Solomon, don't believe in Allah. The totems of precivilization peoples, the religions of civilized peoples, and the even larger number of contemporary creations, like all the idols put up everywhere and the fabulous Utopias in heaven, all mysteriously make people go crazy…" This filled several pages, all written on thin letter paper purchased in the little town. Qian had read this after she had started throwing her tantrum, and it was too late to burn it.

"You are the enemy!" The woman who had slept with him in the same bed angrily spat out this sentence. The woman in front of him, hair disheveled, clad only in her underpants, stood there in her bare feet, petrified with fear.

"What are you shouting for? People will hear, have you gone mad?" He went up to her.

The woman retreated step by step. Huddled close to the wall and brushing so hard against it that bits of sand started falling off, she yelled, "You're a counterrevolutionary, a stinking counterrevolutionary!"

He felt that her last sentence was less rabid, so he said, "I'm a counterrevolutionary, a genuine counterrevolutionary! So what!" He had to keep on the attack in order to control the woman's madness.

"You deceived me, took advantage of my momentary weakness, I've fallen into your trap!"

"What trap? Talk sense. That night by the Yangtze? Or this marriage?"

He had to turn the topic to their sexual relationship to hide his inner terror, and, trying hard to sound calm, he forced himself to say, "Qian, you're talking nonsense!"

"I'm quite clear-headed, I couldn't be more so. You can't hoodwink me!"

"What are you making all this fuss about?" He suddenly got angry and went up to her.

"Do you want to kill me?" Qian asked in a strange sort of way. Probably she had seen the anger flashing in his eyes.

"Why would I want to kill you?" he asked.

"You yourself know best," the woman said quietly, holding her breath, frightened.

If the woman had again shouted he was the enemy, probably he would have killed her right then. He couldn't let her come out with those words again, he had to make the woman feel secure, trick her into bed, make a pretense of being a caring husband. He went up to her and slowly said, "Qian, what is troubling you?"

"No! Don't come near me!"

Qian picked up the chamber pot in the corner and hurled it at him. He raised his arms to fend it off, but he was soaked. The acrid smell was worse than the humiliation. He gritted his teeth and brushed off the urine streaming down his face. His lips were salty and bitter, and he spat out with unconcealed derision, "You've gone crazy!"

"You want me certified as mad, but it's not that simple!" the Woman said with a smirk. "I'm not going to let you off lightly!"

He understood what she was threatening, and, before things erupted, he had to burn up those sheets of paper on his desk. He had to bide his time and he had to restrain himself from charging at her. At that point, the urine in his hair had again reached his lips, and he spat it out in disgust but without making a move.

The woman squatted on the floor and started wailing loudly. He could not let the villagers hear her, and could not let anyone see this sight. He dragged her to her feet, twisted her arm to stop her from stamping her feet, and pushed her onto the bed. She struggled, weeping and yelling, so he grabbed a pillow and pressed it over her mouth. He thought he was in hell. This was his life, yet he was seeking to live in this hell.

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