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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Good heaven! There was a woman with him… He woke up. It had been a nightmare.

He had not had that sort of nightmare for a long time, and if he had dreams they didn't have much to do with China. Abroad, he met people from China and they would all tell him to go back and have a look: Beijing has changed a lot, you wouldn't know it, and there are more five-star hotels than in Paris! When people said it was possible to make a fortune in China today, he would ask if they had made a fortune. And if they went on and said that surely he thought about China, he would say both of his parents were dead. What about being homesick? He had already committed such feelings to the grave. He had left the country ten years ago and refused to think about the past. He believed he had broken with it a long time ago.

He was now a free-flying bird. This inner freedom had no attachments, was like the clouds, the wind. God had not conferred this freedom upon him, he had paid dearly for it, and only he knew just how precious it was. He no longer tied himself to a woman. A wife and children were burdens too heavy for him.

When he closed his eyes his mind began to roam, and only with his eyes closed did he not feel others watching and observing him. With his eyes closed, there was freedom and he could wander within the female cavern, a wonderful place. He once visited a perfectly preserved limestone cave in the Massif Central of France. The tourists entered one after the other, holding onto the iron rail of their individual cable cars. The huge cavern, illuminated by orange light, had layers of walls with twisting folds and numerous wet, dripping stalactites and stalagmites. This deep fathomless cavity created by nature was like a huge womb. In this dark natural cavern he was minute, like a single sperm, moreover an infertile sperm, roaming about happy and contented; this was a freedom that exists after release from lust.

Before he had sexually awakened, as a child, he would travel on the back of the goose in the children's books his mother had bought for him. Or, like Andersen's homeless waif with a bronze pig, he would mount the bronze pig to roam the noble mansions of Florence at night. But he could still remember that his first experience of female warmth didn't come from his mother but from a servant called Mama Li who used to bathe him. He would splash around naked in the tub, then Mama Li would grab him and carry him against her warm breasts to his bed, scratch him where he itched, and coax him to sleep. This young peasant woman didn't worry about taking a bath and combing her hair in front of him when he was a child. He could still remember her big white breasts hanging like pears, and her oiled, shiny, waist-length black hair. She used a bone comb to smooth out her hair and folded it into a big bun that was tied into a net and then fixed onto her head. At the time, his mother had a hairdresser's perm, and combing it wasn't as much trouble. As a child, the cruelest thing he saw was Mama Li being beaten up. Her husband came to look for her and wanted to drag her off, but she clung desperately to a leg of the table and wouldn't let go. The man grabbed her hair by the bun and banged her head on the floor until blood from her forehead dripped onto the tiles. Even his mother could not stop the man. Only then did he find out that Mama Li had fled from the village because she couldn't endure her husband's bullying. But she wasn't able to buy her freedom even by giving the man her indigo print bag with the silver coins and a silver bracelet in it, all of her wages for several years of work.

Freedom is not a human right conferred by Heaven. Nor does the freedom to dream come at birth: it is a capacity and an awareness that needs to be defended. Moreover, even dreams can be assailed by nightmares.

"I warn comrades to note that they want to restore capitalism. I am talking about the Ox Demons and Snake Spirits, high up, and down below, from the Party Center down to provincial cadres!

Where they exist in the Party Center, we must relentlessly drag them out, we must safeguard the purity of the Party and not let the glory of the Party be sullied! Are there any here among you? I would not dare to vouch that there are not. Aha, you thousands gathered at this meeting, are all of you so pure and clean? Are there none groping for fish in muddy waters, colluding with higher ups and jumping down below? They want to confuse the battle lines of our class struggle; I urge all comrades to be on the alert and to sharpen their eyes. All who oppose Chairman Mao, all who oppose the Party Center and all who oppose socialism must be dragged out!"

As the voice of the official on the platform died down, everyone starting shouting slogans:

"Exterminate all Ox Demons and Snake Spirits!"

"I swear to protect Chairman Mao with my life!"

"I swear to protect the Party Center with my life!"

"If the enemy refuses to capitulate, it must be destroyed!"

All around him people took the lead in shouting, and he, too, had to shout out loudly so that he could be heard; he couldn't just make a show by raising his fist. He knew at this meeting that anyone who behaved differently from others would be noticed, and he could sense that he was being observed, arrows were pointing at his back, and he was sweating. He felt for the first time that maybe he was the enemy, and that very likely he, too, would be destroyed.

Maybe he belonged to the class that had to be destroyed. Then what class did his deceased parents belong to? His paternal greatgrandfather wanted to be an official, donated a whole street of properties, but still couldn't manage to buy himself the black silk hat worn by officials. He went berserk, got up one night and torched everything, including the house he had kept to live in. That was during the Qing Dynasty, before his father was born. His maternal grandmother had mortgaged all the property left by his maternal grandfather, and was financially ruined by the time his mother was born. Neither of his parents had been involved in politics. However, his father's younger brother had performed a meritorious deed for the new government by stopping a sum of money at the bank from going to Taiwan, and that was how he had earned the title of Democratic Personage. They were all salaried workers, did not want for food and clothing, and lived comfortably, but they also lived in fear of losing their jobs. They had all welcomed the New China, and believed that the new nation would be better than the old one.

After "liberation," when the great armies of the "Communist bandits"-later called the "Communist Army," later still called the "Liberation Army," and then later officially named the "People's Liberation Army"-entered the city, both his parents felt liberated.

Incessant war, bombing, fleeing as refugees and fear of robbery all seemed to have gone forever. His father did not like the old Nationalist government. His father had been a branch manager in a state-run bank, but in his father's own words, his failure to understand the nepotism and infighting cost him his job. Following that, for a while, he worked as a journalist with a small newspaper, but when it closed down, he could only sell off property in order to survive. He remembered the silver "big heads" in the shoebox under the five-drawer chest getting fewer by the day, and the gold bracelets disappearing from his mother's wrist. This very shoebox under the five-drawer chest had been used to hide a copy of On the New Democracy, printed on the coarse paper used in Mao Zedong's border region. The book had been smuggled into the city by his father's mysterious friend Big Brother Hu. This was the earliest publication he had seen of Mao Zedong's writings, and it was hidden with the silver dollars.

Big Brother Hu was a teacher in a middle school, and whenever he visited, any children were chased off. However, he quietly looked forward to this talk of "liberation" and deliberately went in and out of his parents' room. He heard bits that he understood. The fat postmaster, a landlord, said that the Communist bandits advocated sharing property and sharing wives, eating from one pot of food, and rejecting blood ties. He also said they engaged in rampant killings.

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