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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"In seven or eight years, it will come again," Mao wrote in a letter to his wife, "the Cultural Revolution is a serious trial practice." The old man took another cigarette, paused for a while, then went on to write, "Moreover, after seven or eight years, there will be another movement to purge all Ox Demons and Snake Spirits. And, after that, there will be many more purges." After finishing the letter, he laughed, showing the black teeth in his mouth. According to the memoirs of Mao's doctor, he smoked three packs a day and never used a toothbrush, and this was apparent from the news documentaries of Mao in old age meeting with foreign guests.

The old man was really a great military strategist! He had hood-winked the people of China and many people in the world. This was also what he wanted to say.

Mao frowned.

He hastened to add: You defeated all of your enemies and won every single battle in your life.

"Don't let your brains be addled by victory. I am ready to fall down and be smashed to pieces, but this is of no consequence. Matter is not destroyed, it only disintegrates." Mao had written this in that no-longer-secret family letter subsequently made public by the Party.

Only your wife was smashed. You, old man, still enjoy good health. People still go to visit you in your mausoleum, and this is irrefutable testimony to your greatness, he said to Mao's spirit or shadow.

"Believing I will live two hundred years, I set out to swim three thousand li."

You wrote poetry from your early years, and it must be said that you were a great writer of classical poetry, but your tyranny is without precedent, you destroyed all the writers of the country, and it is in this that you were great. He said that he, too, did a bit of writing, but that he had to wait until after the old man was dead.

"In my person, I have, first, the spirit of the tiger, and, second, the spirit of the monkey."

He said that, in his case, he had, at most, a minute amount of the spirit of the monkey.

The old man gave the hint of a smile, as if he had squashed some insect. He stubbed out more than half of a cigarette, indicating that he wanted to rest.

Mao lay in the crystal casket, and it seemed that the Party flag covered his body, he couldn't remember too clearly. In any case, the Party led the country, and Mao led the Party, it really wasn't necessary for him to be covered with the national flag. In the long queue filing past Mao's remains, he probably had these unformed words in his mind, but didn't dare to pause. After he had walked past, he didn't dare look back, afraid that the people behind would notice the strange look in his eyes.

Writing freely about it now, this is what you want to say to this emperor who ruled as dictator over one billion people. Because you are insignificant, the emperor in your heart can only be the dictator of one person, and that person is yourself. Now that you have said this publicly, you have walked out of Mao's shadow, but this was not an easy thing to do. You were born at the wrong time, and encountered the era of Mao's rule, but your being born in that era had nothing to do with you, and was decided by what is known as fate.

54

You no longer live in other people's shadows, nor treat other people's shadows as imaginary enemies. You simply walked out of their shadows and stopped making up nonsense and fantasies. You are now in a vast expanse of emptiness and tranquility. You came into the world naked and without cares, there is no need to take anything away with you, and even if you wanted to, you wouldn't be able to.

Your only fear is unknowable death.

You recall that your fear of death began in childhood, and that your fear of death then was much worse than it is now. The slightest ailment made you worry that it was an incurable disease, and, when you fell ill, you would think up all sorts of nonsense and be stricken with terror. Your having survived so many illnesses and even disasters is purely a matter of luck. Life in itself is an inexplicable miracle; to be alive is a manifestation of that miracle. Is it not enough that a conscious physical body is able to perceive the pains and joys of life?

What else is there to be sought?

Your fear of death came about when you were mentally and physically weak. There was the feeling of not being able to breathe, and you were afraid that you would not be able to last long enough to take your next breath. It was as if you were falling into an abyss, this sensation of falling was often present in dreams during your childhood, and you would awaken in fright, drenched in perspiration. In those days, when there was nothing wrong with you, your mother used to take you for numerous hospital tests. Nowadays, even under your doctor's instructions to have tests, you often procrastinate.

It is clear that life naturally ends, and when the end comes, fear vanishes, because fear is itself a manifestation of life. On losing awareness and consciousness, life abruptly ends, and there can be no further thinking and no further meaning. Your affliction had been your search for meaning. When you began discussing the ultimate meaning of human life with the friends of your youth, you had hardly lived. However, it seems that having savored virtually all of the sensations to be experienced in life, you simply laugh at the futility of searching for meaning. It is best just to experience this existence, and, moreover, to look after it.

You seem to see him in a vast emptiness, with a faint light coming from some unidentified source. He is not standing on any specific or defined patch of ground. He is like the trunk of a tree, but has no shadow, and the horizon between the sky and the earth has vanished. Or, he is like a bird in some snow-covered place, looking here and there, occasionally staring ahead, as if deep in thought, although it is not clear what he is pondering. It is simply a gesture, a gesture of aesthetic beauty. Existence is, in fact, a gesture, it is striving to be comfortable, stretching the arms, bending the knees, turning to look back upon his consciousness. Or, it may be said that the gesture is actually his conscious mind, that it is you in his conscious mind, and it is from this that he is able to gain some fleeting happiness.

Tragedy, comedy, farce, do not exist but are aesthetic judgments of human life, which differ according to the person, the time, and the place. Emotional responses are probably also like this, and what is felt now and what is felt at some other time can fluctuate between being perceived as sad and being seen as absurd. And there is no longer any need for mockery, for it seems that there has been enough self-ridicule and self-purification. It is only in the gesture of tranquilly prolonging this life and striving to comprehend the mystery of this moment in time, that freedom of existence is achieved. It is through this act of solitarily scrutinizing the self, that others' perceptions of one's self lose relevance.

You do not know what other things you will do, or what else there is to do, but this is of no consequence. If you want to do something, you do it. It's fine if you do it, but it doesn't matter if you don't. And you don't have to persist in doing something. If, at a particular moment, you feel hungry and thirsty, you just go and have something to eat and drink. Of course, you still have your own opinions, interpretations, inclinations, and you even get angry, because you are not so old that you don't have the energy for anger. Naturally, you still become indignant, but it is with little passion. And while you still have the capacity for feelings and sensory pleasures, then so be it. However, there is no longer remorse. Remorse is futile and, needless to say, harmful to one's self.

For you, only life is of value, you have a lingering attachment to it, it continues to be interesting because there are still things to discover and amaze you. It is only life that can excite you. That is just how it is with you, isn't it?

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