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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On the tape, Martina's speech was slurred. She had been drinking all afternoon, and, when Sylvie arrived, there were already quite a few empty beer bottles on the table. Martina often just drank beer instead of eating and drinking water. She started laughing loudly, and her voice on the tape was hoarse. Sylvie said this woman friend of hers used to have a good voice, a natural mezzo-soprano, and, before she was admitted to the psychiatric hospital, she had been a reserve member of a choir. Once, when she sang Fauré's Requiem at Saint-Germain Church, it was recorded by the France-Musique radio program and played on the air.

You never met Martina. She died some months before you met Sylvie. The only thing she left Sylvie was this small cassette tape, and, in the second half, the battery had almost run out as the tape was being recorded. Their voices were muffled and barely audible, and Martina's hoarse voice really sounded like a man's.

At the beginning, there wasn't anything serious. "Have a drink?"-"All right."-"I've also got half a bottle of red wine."-

"Won't it have gone off?"-"No, it was only opened yesterday…" After that, there was the sound of glasses, then some scratching noises, probably the table was being wiped. Sylvie said Martina's home was a filthy mess, and there was nowhere to set your foot down. But it was only like that after she came out of the psychiatric hospital, it hadn't been like that before. Martina said she hated the psychiatric hospital and hated her mother; it was her mother who had put her there. The tape also said that she came across this man on the street and took him home. Afterward, there were the two of them laughing, the high-pitched laugh was Sylvie's and the throaty one was Martina's. They laughed for a long time, and then there was the sound of glasses again. "What happened?" It was Sylvie asking. "Did I throw him out? He hung around until the afternoon of the next day, but was scared off after I said I'd call the police." There was the sound of laughing again.

"How old was she when she died?" you ask Sylvie.

"She was older than me… by nine years, she was over thirty-eight when she died."

"That's young. Was she ever married?" you ask.

"No, the two of them lived together, then separated."

"How did she die?"

"I don't know, her mother phoned me four days after she died and said she had this tape. When I asked for it, her mother wouldn't agree at first. I told her it had my voice on it and that I wanted it as a keepsake."

"Didn't you ask her mother about it? How she had died?"

"Her mother wouldn't say much, except that she had committed suicide. She refused to see me, even though she knew me. Anyway, she sent the tape; Martina, of course, had my address in her phone book."

She showed you a photograph of Martina, a young woman with gentle eyes and clearly defined lips. Her mouth was wide-open, and she was laughing. Probably because of her makeup, her eyes looked more deep-set than Sylvie's pale-brown eyes. It was taken the summer when they were traveling in Spain together, almost ten years ago. At Martina's side was a lean man with deep-set eyes and a black stubble, Vincent. At the time, he was living with Martina. They had a small van and had taken along her and Jean, the good-looking young man behind Sylvie's head. Sylvie had just started university, and Jean was two years older. Jean said Sylvie was his first real lover, and she preferred to believe him. But she knew that he'd had such experiences before, of course, sexual experiences. She showed you another album, there was a photograph of Martina taken a year before she died. The corners of her lips drooped, and she looked like an old woman. Sylvie said Martina looked much better in person, that she had the sensuousness of a mature woman, a sad weariness.

It was hard for her to describe her feelings for Martina. They used to talk about everything, although, for a few years, they had avoided one another. It was after returning from Spain that she hated her, Sylvie said, she hated Martina. She and Jean had taken a tent with them, and one night it started pouring rain. They were totally wretched, and it was impossible for them to sleep, so Martina got them to come into the van. At first, Sylvie and Jean sat in the front and slept leaning against one another. Martina got her to come into the back, to sleep next to her, but then proceeded to make love to Vincent. Sylvie felt uncomfortable and pretended to be asleep. Afterward, Martina climbed into the front and left her sleeping with Vincent, she was half-asleep, and it was raining heavily outside. As it was just starting to become light, she heard Martina doing it with Jean; next, Vincent had put his hand into her clothes, and she and Vincent started doing it. The rain pelting down on the roof of the van had turned everything into a vast rustling chaos, and it all seemed so very natural. The next day, they took a room in a hotel, and Vincent requested an additional bed for the room. Martina gleefully gave the big bed to Vincent and her, she didn't object, and Jean didn't say anything. The first time she heard Jean call out while making love, she, too, called out. It was then that she started to engage in oral sex.

Life is like that. Martina and Vincent split up, she didn't love the man anyway. She never asked how long Martina had continued with Jean, but she herself no longer loved Jean, she wasn't interested in what he was doing, she already had another boyfriend.

"Do you want to go on listening?" she asks with a sarcastic look on her face.

She also said she wondered if Martina had already made up her mind to commit suicide when she was making that recording with her. And why hadn't she spoken to her about it? She no longer resented Martina for having killed herself, that had passed a long time ago, she was no longer sickened by feelings of disillusionment and anger. Was it Martina's own rotten idea, or was it a trap Vincent had set? If it was a trap, Maritna had jumped into it herself, she hated no one. Martina had savored both the intoxication and the bitterness of life, for her guilt and ecstasy were above ethics. It was impossible for Sylvie to describe her feelings for Martina, yet it was only Martina in whom she could fully confide.

"Men don't understand, men aren't capable of understanding. Don't go misconstruing the feelings between two women." She said she wasn't a lesbian, that with Martina there was never what all you men imagine, she knew what you were thinking. But she could tell you that she had a sort of longing for Martina. She knew why she had killed herself; she didn't have a mental problem, but her family insisted on her being treated for a mental disorder. It was because of the family's reputation, her mother couldn't allow her daughter to be a slut. But she wasn't a whore, she never was. It was just that no one could understand her, people just were not willing to try and understand her.

52

"The people are victorious!"

This had been announced on all the walls in Tiananmen Square.

However, the victory was not the people's, it was still the Party's, the Party had smashed yet another anti-Party organization. Less than one month after Mao's death, his widow, Jiang Qing, had been arrested, and the people had been summoned to Tiananmen Square to celebrate the victory. The Party is forever right! Forever glorious!

And everlasting, because it was still Mao Zedong who was sleeping peacefully in a crystal coffin for people to view.

After a deluge of old cadres were exonerated, reinstated, and promoted, some cadres he had once protected, especially Comrade Wang Qi, had given some thought to old friends, and he, this insignificant person, was brought back to Beijing. It was on that old narrow street in Dashanlan, beyond Qianmen, that he ran into Big Li, who, back then, had been in the rebel Red Guards with him.

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