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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48

If one views the world through a lens, the world instantly changes, and even the ugliest things can become beautiful. You had an old camera, and, during those years in the countryside, it always went with you into the mountains. For you, it was another eye. You photographed scenes of the mountains, a mountain of bamboo swaying in the wind, green waves like a mass of feathers fixed on the negative as the shutter clicked. At night, you developed the film in your room, and, even though the color was lost, the brilliance of light in the contrasting of black and white was intriguing, as if it were a dream world. You were using expired movie film, a big two-hundredmeter spool, bought through a friend from a film studio before you left Beijing. For thirty yuan, it was virtually a gift. Back in those times, film studios only made news documentaries celebrating the revolution, and it was always with a jubilant fanfare of gongs and drums: the Great Leader inspects the Red Guards, the hydrogen bomb is successfully exploded, and acupuncture is used for anesthesia. Mao's Thought brought victory after victory. By studying Mao's Thought, patients underwent operations on their chests or stomachs, or Mount Everest was climbed and red flags fluttered on the rooftop of the world. The film studios had all gone over to using the overly reddish color film they had started producing in China, but you preferred black-and-white photographs, and could look at them endlessly, without tiring of them.

You looked at the colorless houses of the village, a gray-black roof and a pond in drizzling rain, a log bridge with a hen on it. You were especially fond of the hen. This black creature in front of your camera was pecking on the ground and had cocked its head to look around. Not knowing what a camera was, it stared right at it. Those shiny beady eyes were amazing, and you saw endless meanings in its cocked head and stare.

There was also a photograph of ruins. The insides of the buildings were overgrown with weeds, and the roofs had collapsed. It was a village that had died, and no one since had settled there; it had fallen into total decay and not a trace of the Great Leap Forward of that year remained. That year, all the grain harvested was handed over to the state, and the whole village, including the village Party secretary, was reduced to starving corpses. But the Party was dismissive, and had people put on guard at the county-town bus stop to prevent anyone sneaking in to beg for food. Anyway, the people in the town also had fixed grain rations, and the villagers would not have found anything to beg for. On this mountain, the bigger children all remembered digging up the roots of kudzu vines to fend off hunger; then, when they wanted to shit, having to bend over with their trousers off and getting smaller children to help them dig it out with twigs. The kudzu formed shit pellets that were as hard as rocks, and it was agony to take a shit. All this has been related by the students, and, of course, couldn't be seen in the photograph, but the desolation that could be seen was beautiful. Viewed through the lens of a camera, even disasters could possess aesthetic qualities.

You also captured on camera two lovely young women, the older one eighteen years old, and the younger one fifteen. The older one's photograph was a profile of her deep in thought. Her father was a teacher in the middle school of the county town, and the father of her father, that is, her paternal grandfather, was a landlord. Before she completed middle school, she was sent to this remote mountain. The younger one had been a junior-middle-school student. Her father was a technician in an optometrist's shop in the provincial capital, and, when his daughter decided she wanted to work in the countryside, he couldn't stop her. In the photograph, this younger woman's head was tilted, and she was laughing silly, as if she were being tickled. The two had been working on the mountain for a year, when the primary school reopened and teachers were needed. They were lucky; they no longer had to do manual labor, they became teachers. The two were happy and excited when you told them you wanted to bring your students on a tea-picking excursion. They said to stay at their school, it would be perfect, they had two classrooms so the boys could sleep in one and the girls in the other. The room in the middle was partitioned. The front part was for preparing class work and grading papers. Behind the partition, there was a plank bed-their bedroom; they said you could stay there and they would stay in the village. Before they came to the countryside, while they were at school, they would certainly have denounced their teachers. Yet seeing you, a teacher from the middle school in town, was for them just like meeting a member of their family. They were extremely hospitable, treated you to a meal of steamed salted pork, sauteed eggs, and bamboo-shoot soup, and they talked and chattered nonstop. It was on that occasion that you took the photograph. They were not like the village girls who would hide as soon as you held up the camera, they were self-assured and even posed for you. It was right when the younger woman burst into silly laughter that you pressed the shutter. After you developed and printed the photo, you saw that the older woman had turned her eyes from the camera and looked very sad, and that in the silly laugh of the younger woman was wantonness seldom seen in so young a woman. It was under the thick black branches of an ancient torreya tree by a steep cliff that you took the photograph.

It was April, spring, it was green everywhere, and the tea-picking season was soon to begin. He went in by the hollow in the mountain, and, after crossing a big mountain and a log bridge over a deep river of roaring water that sparkled in the bright sun, arrived at this production brigade specializing mainly in growing tea and bamboo. Halfway up a mountain slope, he found the brigade leader digging holes and planting corn, and they came to an agreement that he would bring thirty students from town to spend ten days picking tea. The students would sleep on the floor in the primary school and would bring their own rice from home. The brigade would provide firewood, vegetables, oil, salt, and bean curd, and the cost for these would later be reimbursed by the school. It was four o'clock in the afternoon, but, as it was not advisable for him to spend the night in the mountains halfway back to town, the two teachers got him to stay the night at the school.

In the mountains, it got dark early, and, when the sun receded to the back of the cliff, the school sports field was already in darkness. The village stockade was shrouded in mist rising from the river, and the men and women on the mountain had stopped work, shouldered their hoes, and gone home. The village started to bustle with activity, dogs were barking, people were talking, and smoke started curling above the rooftops.

Outdoors, the air was heavy with moisture. The older woman got the charcoal fire going, and boiled a pot of water for him to soak his feet. After traveling a whole day on the mountain road, soaking his feet in the hot water relieved his fatigue and was very enjoyable. The other woman brought him her soap. They were grading student assignments by the kerosene lamp, when villagers started arriving after their evening meal. There were men, youths, and young girls. The men mostly sat around the fire, but the youths crowded around the lamp on the table and started playing poker. The two women stacked up the exercise books and put them away. There were a few unmarried village women, but the married women with babies were probably busy at home. Children ran in and out and made an awful racket, while the men flirted and wrangled with the village women. The village women had sharp tongues, and, by comparison, the two women from the city had softer voices and spoke less. However, the student demeanor they had adopted when talking with him earlier had changed. Dirty words occasionally came from their lips, and they would tell anyone off. At night, the primary school served as a community club, and everyone was in high spirits.

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