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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55

One day, passing Drum Tower around dusk, he got off his bicycle and was about to go into a small eatery when someone called out his name. He turned. A woman stood there, looking at him. Uncertain about smiling, she was biting her lip.

"Xiao Xiao?" He wasn't sure.

Xiao Xiao gave an awkward smile.

"I'm sorry." He didn't know what to say. "I didn't think…"

"You can't recognize me, can you?"

"You're more robust…" In his memory, she was a young girl with a slight build and small breasts.

"I'm a peasant woman?" the woman asked sarcastically.

"No, you're just more sturdy!" he hastened to add.

"I am, after all, a member of a commune. But I am not that flower turning with the sun; it withered and died!"

Xiao Xiao was caustic. She was referring to a song in praise of the Party, which compared the members of a commune to a sunflower that turned with the sun. He changed the topic, "Are you back in Beijing?"

"I'm trying to get a residential permit. I've put down that my mother is ill and needs me to look after her, I'm the only child in the family. I'm dealing with the formalities for getting back to Beijing, but I haven't got my residential permit yet."

"Is your family still at the same place?"

"The place is a shambles. My father is dead, but my mother has come back from the cadre school."

He knew nothing of Xiao Xiao's family circumstances and could only say, "I went to the hutong where your house is, I went to see…"

He was talking about ten years ago.

"How about coming to my house for a visit?"

"All right." He agreed without thinking, although he hadn't originally intended to. That year, he had cycled many times through that hutong in the hope of running into her, but he didn't say this, and simply mumbled, "But I didn't know your house number…"

"I didn't ever tell you." Xiao Xiao remembered very clearly. She had not forgotten that winter night when she left before daybreak.

"It has been a long time since I've lived in that house. I was in a village for almost six years, and I am now living in a workplace dormitory."

This explained things, but Xiao Xiao didn't say if she had also tried to see him. He pushed his bicycle, walking for a while in silence beside Xiao Xiao, until turning into a lane. He had gone through this hutong on his bicycle many times, from one end to the other, then had gone into another lane, circled around, and come back from that end of the hutong. He had noted each of the courtyard gates, thinking that he might bump into her. He didn't know Xiao Xiao's surname, so he couldn't make inquiries, he thought Xiao Xiao had to be a name her classmates and her family called her. The hutong was quite long when it came to walking through it.

Xiao Xiao went ahead, through a gate leading into a big courtyard shared by a number of families. On the left, was a small door with a padlock hanging on it, and, next to it, a coal stove. She opened the door with a key. Inside was a big bed piled with folded bedding, the rest of the room was a mess. Xiao Xiao quickly grabbed the clothes from a chair and threw them onto the bed.

"Where's your mother?" He sat on the chair, and the springs in the seat cushion squeaked noisily.

"She's in a hospital."

"Why is she in a hospital?"

"Breast cancer, it's already spread to the bones. I hope she will last the year and a half it will take to get my residential permit issued."

After such a response, he couldn't ask anything else.

"Like some tea?"

"No, thanks." He had to try to think of something to say. "Tell me about yourself-"

"What about? What's worth talking about?" Xiao Xiao asked, standing right in front of him.

"About your years in the countryside."

"Didn't you also stay in the countryside, don't you know?"

He started to regret having come. The cramped room was a total mess, and destroyed the image of the young girl he had cherished in his mind. Xiao Xiao sat on the bed and looked at him, frowning. He didn't know what else he could say to her.

"You were my first man."

All right. He thought of her left breast, no, it was his left hand, so the tender red scar was on her right breast.

"But you were so stupid."

This hurt him. He immediately wanted to ask her about the scar on her breast to get back at her, but he asked instead, "Why?"

"It was you who didn't want it…" Xiao Xiao said calmly, her head hanging.

"But at the time you were only a middle-school student!" he explained.

"I became a peasant woman a long time ago. It was soon after I had been sent to the countryside, not even a year… People in the village couldn't be bothered with things like that!"

"You could have reported it-"

"To whom? You're really stupid."

"I thought…"

"Thought what?"

"I thought at that time you were a virgin…" Thinking back to that time, he had thought this, and so he didn't dare to defile her.

"What were you afraid of? It was I who was afraid… You were just a coward! I knew that, with my family background, nothing good would come of me, it was I who presented myself at your door, but you didn't have the courage to take me!"

"I was afraid of taking responsibility," he was forced to admit.

"I hadn't told you about my parents' situation."

"I could have guessed. It's too late now, how can I put it…" He said, "I'm married!"

"Of course, it's too late. I can also tell you that I'm a slut. I've had two abortions, two bastards that I didn't want!"

"You should have taken precautions!" He also needed to say things that would hurt her.

She snorted in derision. "The peasants don't carry condoms. It was my own bad luck that I didn't have good parents and didn't have anyone to turn to for help. Anyway, I can't keep going on like this in the village."

"You're still young, don't be so negative and cruel to yourself…"

"Of course, I have to go on living. I don't need you to preach to me about that, I've had enough of being preached at!" She laughed, laughed really hard, her hands gripping the edge of the bed, her shoulders shaking.

He laughed with her, as tears welled in his eyes. Xiao Xiao stopped him. Suddenly, he seemed to see in her face the gentleness of that young girl of the past, but, in an instant, it had vanished.

"Would you like something to eat? I've only got dried noodles. Wasn't it dried noodles that you made for me?"

"You made it," he reminded her.

Xiao Xiao went outside to cook the noodles on the coal stove, shutting the door behind her. He cast his eyes over the mess in the room. Even her dirty underwear was among the clothes she had thrown onto the bed. He had to completely destroy the dreamlike image that evoked tender feelings in him, he had to be debauched, he had to treat the woman like a slut he had picked up, a whore who had been used by the villagers.

Shoving aside things like grain-coupon booklets, keys, and other odds and ends, Xiao Xiao put the noodles on the table. He embraced her from behind, pressing his hands onto her breasts, and got the back of his hands slapped, but it was not a genuine slap.

"Sit down and eat!"

Xiao Xiao was not angry, there was no emotional reaction. Her relationships with men were probably like this, and she had become used to it. Xiao Xiao ate her noodles with her head down and said nothing. He knew she had sensed what he had on his mind. There was no need to talk about it, there were no obstacles.

Xiao Xiao quickly finished eating, pushed away her bowl and chopsticks, and, head held high, stared blankly at him.

"Should I leave now?" he asked. That was how hypocritical he was.

"Do whatever you like," Xiao Xiao said flatly, without moving.

He got up and went over to her. He took her head in his hands and tried to kiss her, but Xiao Xiao turned away and put her head down. She would not let him kiss her. He put his hand down her shirt and felt the woman's breasts, which had become big and plump.

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