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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"Why?"

"They're very sexy and very cruel."

"That's in books, it's not true. Haven't you ever had a Japanese woman?" she asks.

"I'd really like to have one," you say.

"Then you will have one." Having said this, she glances over to the bar.

You pay the bill and she thanks you.

You separate at the Grand Central Station subway entrance at Forty-second Street. You clearly remember Forty-second Street, because you changed trains here for rehearsals and performances every day. She says if she comes to Paris, she will look you up, and that she would write. However, you never get a letter from her. In your case, it's not until several months later, when sorting a batch of papers from the New York trip, that you see the address she has left on a torn-off piece of paper napkin. You send her a postcard, but nothing happens, so you don't know if she ever went back to Japan.

58

He came upon a crowd. There was great excitement and a din of gongs and drums.

"Run, run, run!" the crowd shouted.

He said he was busy, he had personal matters to deal with.

"Personal matters? No matters are as important as this! Run, run with us, run with all of us!"

"Why are you running?" he asked.

"We're going to see the good times, the good times will be here soon, we're going to greet the good times! How can your piffling personal matters be as important?"

Everyone was jostling one another, jubilant, forming ranks, shouting slogans.

"Where are the good times?" he couldn't help asking.

"The good times are ahead! If we say they're ahead, then they're ahead! If we say they're ahead, then ahead they will be!"

Everyone was saying it with growing enthusiasm and conviction.

"Who said that the good times were ahead?" He was jostled, and had to run as he asked.

"If everyone says they're ahead, then they're ahead. If everybody says it, it can't be wrong. Run with us, the good times are definitely ahead!"

The crowd loudly sang good-times songs. As they sang, their spirits were uplifted, and, as they sang, their morale rose. He, who was stuck in the crowd, also had to sing; if he didn't sing, he would be eyed with suspicious stares all around.

"Hey, what's the matter? Is something wrong with you? Are you a deaf-mute?"

If he wanted to show he didn't have a physical disability, the only thing he could do was to sing loudly with the crowd, he had to sing as well as keep in step. He had to keep in step, because, if he were half a step slower, the heel of his shoe would be trodden on, and he would lose his shoe. If he were to get under people's feet to pick up his shoe, wouldn't people's feet run over his head? He would just have to leave behind the shoe he had lost. The foot that had lost the shoe would be trodden on, so his other foot could only hop and stumble along. Anyway, he would have to keep up, keep singing with everyone, and keep singing loudly in praise of the good times.

"The good times are ahead, the good times will soon be here! And the good times are simply good, and the good times will always be ahead!"

As the singing became more rousing, the good times became even better. With the hot waves of the good times seething, and the singing more fervent, the good times would come faster.

"The good times will be here soon! Let's go and welcome the good times! Charge into battle for the good times! Die without regret for the good times!"

Everyone had become feverish, gone crazy, and he, too, had to go crazy, even if he wasn't, he had to pretend to go crazy.

"Trouble, there's shooting!"

"Who's shooting?"

"Is there shooting up ahead?"

"Rubbish! The good times are up ahead, how can there be shooting up ahead?"

"Rubber bullets?"

"Flame throwers?"

"Tracer bullets!"

"Arrgh-"

"Blood? People are getting killed!"

"Charge into battle for the good times, break the enemy ranks for the good times! What greater glory than to sacrifice oneself for the good times! Become martyrs for the good times! Uggh-"

The crowd did not think that assault rifles, machine guns, would strafe and fire in bursts, fire in bursts and strafe. It was like frying soybeans, like letting off crackers. Everyone was like a homeless dog, and ran off in all directions, some were killed, others injured. Those who were not killed or injured fled like birds and animals…

Agitated and grief-stricken, he managed to escape to a dead-end alley, where the bullets couldn't reach. Gradually, he again heard voices in the distance. Sure enough, it was another crowd of people beating on gongs and drums and, faintly in the distance, they also seemed to be shouting slogans. When he listened carefully, they, too, seemed to be talking about the good times, but, when he listened again, they seemed to be arguing. The good times will soon be here, no, for die time being they have been delayed, but they will come.

The good times are sure to come. Sooner or later, they will come… He hurried away. The good times terrified him, and he would rather sneak off before the good times had come.

59

You are in the military port of Toulon on the Mediterranean coast, a place you had learned about in geography lessons in middle school.

You're sitting in a big tent erected on the harbor for the book fair.

Like the hundred or so invited writers seated behind rows of bookstalls, you're next to your own book, holding a pen and waiting for book buyers who want a signature. But all the people passing by are looking at the books and don't notice the writers whose names are hanging there on the placards. For writers, it's not the same as with singing stars. Hysterical fans queuing for autographs mob Johnny Hallyday when he gets off the helicopter, and his bodyguards and the police have to yell and shove to keep order. You are beyond the pairs of roving eyes, and people look but don't see you. They pass right in front of you, sometimes stopping to leaf through the books with your name printed on the cover. But what does your name signify? People inevitably seek self-identification in books, the light from their eyes is refracted from the book to a person's heart.

Luckily, you don't have anything to do, and have time to amuse yourself by taking in all these pairs of worried, or blank, searching eyes. A good-looking young woman is moving in the crowd, her chestnut hair casually swept into a bun, but there is a deep frown on her forehead and a startling sadness in her face. Her big eyelids droop wearily, probably from a sleepless night. Maybe she couldn't get the man she was in bed with to stay, but, in the case of such a fine-looking woman, it was more likely that the man wasn't able to get her to stay. Otherwise, she would not be on her own, wandering at the book fair early on Sunday morning. She eventually comes over to your stall, but picks up a book by someone else alongside, then, without looking at the introduction on the back cover, puts it down, then leafs through another book. She is not thinking of buying a book, maybe she doesn't know what she wants to do. She puts down the book and picks up your book, but she is looking somewhere else. Her eyes eventually return to your book, the book in her hand, and turn to the back cover, but, without reading more than a couple of sentences of the brief back-cover blurb, she puts it down, not noticing that the author is right next to her. She is right in front of you, the deep frown still on her forehead. The sad expression delicately roaming her face is wonderful to look at, and is more alive than any book.

What sort of people would read your book? When you wrote it, you couldn't have imagined that you would one day be sitting at this seaside book fair, facing potential readers. These people don't need to be concerned about, or go to the extent of buying, your perplexities. Luckily, the person selling the books is the owner of the stall, and you are merely a live decoration. Having lost your vanity too early, you are too much of a bystander, you are just an idler. Anyway, there are so many books in the world, and they are still being mass-produced, so whether there is one more or one less is not important.

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