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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For you and for him, the interstices of time and circumstances provided distance, although you have had the advantage of time and location. With that distance-in other words, freedom-you were able to observe him at leisure. He was a spontaneous being, and his sufferings, in fact, were self-inflicted.

So, all right, you bid him farewell and go off. Or, rather, he must say good-bye to you. Is anything more to be said?

Buddhists talk about nirvana, Daoists talk about sprouting wings, but he says just let him leave.

At that instant, he stops, turns back to look at you, and, just like that, you and he go your separate ways. He had said that his problem was that he had been born too early and so brought much suffering to you. If he had been born a century later, for example, in the new century about to arrive, no doubt these problems would not have existed. But nobody can predict what will happen in the next century, and, furthermore, can one know if this next century is, in fact, new?

61

Perpignan is a city in the French border area adjoining Spain. A friend you have just met at the Mediterranean Literary Center asks if you get homesick, and you reply categorically that you do not. You say that you had cut off those feelings long ago, completely! In the square opposite the restaurant, a little cake-and-ice-cream shop celebrating its first day of business is decked out with lanterns and colored streamers to attract customers. A small brass band is playing with great gusto, it is jolly music, and an old woman is doing a local Catalan folk dance. The Southerners' passion and the heavy roll in their French make you feel close to them.

This early summer night brings a festive atmosphere, and, with the cheerful brass pipes as well, is it also celebrating your new life?

You have finally won joy in living. The proprietor of the restaurant comes to you with a book for your signature. He says his wife loved your novel and now wants to go on a trip to China. You smile.

You will not go back. Not even in future? someone asks. No, it is not your country. It exists in your memory only, as a hidden spring gushing forth feelings that are hard to articulate. This China is possessed by you alone, and has nothing to do with the country.

Your heart is at peace, and you are no longer a rebel. You are now an observer, and not anyone's enemy. If anyone wants to make an enemy of you, it no longer concerns you. For you, looking back has been a time of quiet reflection, so that you can get on with your life.

When you left China, you had brought with you a photograph that had been lost between the pages of a book. He was thin and had his head shaved. You look closely at the old yellowing photograph that you had somehow managed to keep. It had been taken thirty years ago in that reform-through-labor farm known as a May Seventh Cadre School. You want to see if his eyes will tell you anything. His shaved head, looking like a gourd ladle, was held high. He was proud, somewhat arrogant, even as a convict, and this had probably saved him from being crushed. But there is now no need for any arrogance. You are now a bird that is free and can fly wherever you want. There seems to be virgin land up ahead, well, at least, for you it is new. Luckily, you still have this sort of curiosity and don't want to be immersed in memories. He has already become footprints, which you have left behind.

Using this instant of time as the starting point, for you, writing is a spiritual journey, either in deep reflection, or talking to yourself, and you obtain joy and fulfillment in the process. Nothing frightens you anymore, for freedom eradicates fear. Let the sterile writings you leave behind erode with the passage of time. For you, eternity is not of pressing significance. This bout of writing is not your goal in life, but you continue to write so that you will be able to experience more fully this instant of time.

This instant of time is in Perpignan, after breakfast. As cars drive by under your window, illuminated shadows glide past the milk-white globular streetlights, but before there is time to see what sort of car it is, the illuminated shadow has vanished. Many shadows are illuminated in the world, but they will all vanish. You savor the shadows illuminated in this instant, so you also savored this he as a shadow that had been illuminated, and it amazed you. Oh, his shadow that was illuminated has flashed by and vanished!

It is beautiful music, Schnittke. Right now you are listening to Concerto Grosso No. 6. In this elegant piece, the frustrations of life are gracefully sublimated into high notes, which are released by the long chords of the violin streaking by like lightning. There is no need to try to understand the life of your contemporary Schnittke, but, from a conversation you had with him, each note he wrote echoed in harmony with the high notes of the violin.

Outside your window is the bright sunshine of early summer.

Eight hundred years ago, Perpignan, this city in the East Pyrenees, was a city-nation with a constitution that enshrined magnanimity, peace, and freedom. It was a city that received refugees, and the local Catalans took pride in this. However, the editorials of special editions commemorating the eight-hundredth anniversary of the city write about "eight hundred years of democracy and freedom, today under threat."

You didn't imagine you would ever come here, and, even less so, that readers would ask for your autograph. A youth asked you to write something in your book for his girlfriend, who, he said, couldn't come. You go to write, "Language is a miracle that allows people to communicate, but people often fail to communicate with one another." However, you only write the first half of it. You can't just write anything you feel like at the expense of another's good intentions. You are free to make fun of yourself, but you must not make fun of language.

Music must also be like this, and it is best to remove unnecessary ornamentation. Schnittke had a compulsive need to do this, he did not flaunt music, he was minimalist and left many spaces, every phrase conveyed genuine feeling, there was nothing contrived or gratuitous. You must only speak when you have something to say, if you do not, then best be silent.

The illuminated shadows of one car after another flash by the globular streetlights, and on the other side of the street, plane trees and palms grow in a quiet little park. This region is the home of the French plane tree, a species that roots from cuttings, and has virtually spread throughout the world. It also entered your memories and grew everywhere along the streets and in the parks in the city where you lived as a child. The first girl you kissed, Little Five, was leaning against the shiny trunk of a plane tree that had shed its bark. It was also summer, but hotter than here.

It is good to be alive, and you sing a hymn to life, sing it because life has not treated you badly in everything. But sometimes life still makes your heart tremble, like this music with its crisp, fine drum-beats and the sound of the horns.

Not long before Sylvie's friend Martina killed herself, she picked up a drifter from the streets and took him home for the night.

Finally, she killed herself. She said on the tape she had left behind that she could not bear the psychiatric hospital, and that her death had nothing to do with anyone. She was sick of life, killed herself, and that was the end. You do not know what your end will be like, and there is no need to plan an end. Should neofascists one day come to power, if it is still a magnanimous city that accepts refugees, will you escape here, to Perpignan? You are not going to fantasize about disaster.

To say that people are born to suffer, or that the world is a wasteland, is an exaggeration. Disasters have not been entirely your lot, so you are grateful to life, and this gratitude is akin to thanking God, but who is your God? Fate? Coincidence? You think that it is this consciousness of your self, this awareness of your own existence, that is to be thanked, for it was through this that you were able to save yourself from your predicament and suffering.

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