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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The big leaves of the palms and the plane trees are trembling. A person cannot be crushed if he refuses to be crushed. Others may oppress him, and defile him but, as long as he has not stopped breathing, he will still have the chance to raise his head. It is a matter of being able to preserve this last breath, to hold onto this last breath, so that one does not suffocate in the pile of shit. A person can be raped, woman or man, physically or by political force, but a person cannot be totally possessed: one's spirit remains one's own, and it is this that is preserved in the mind. Schnittke was uncertain with his music, and he was groping in the dark; seeking a way out was like searching for light, but he relied solely on that small point of dim light in his heart, and it was this feeling that was indestructible.

Pressing his palms together to protect that point of dim light in his heart, he slowly moved through thick darkness, quagmire, not knowing where the path lay, yet carefully protecting that point of dim light. He was patient rather than obstinate. His tough resilience wove a cocoon; like a larva, he played dead and closed his eyes to endure the weight of the loneliness. But those delicate tinkling bells, that point of awareness of existence, that point of beauty of life, that gentle light, that spot of pulsating in the heart gradually began to radiate outward…

On the bare branches of the tallow tree in front of the door, a few frost-lashed, withered, dark-red leaves trembled. He felt compassion for the youthful glow of that helpless young woman, the gurgling of the stream, the black mother hen on the single log bridge, head down, pecking, then looking up to stare. They were all projections of his self. Even the lust aroused in him by that sexy girl flirting with him and mocking him had made him keep his grip on life, made him hold his breath to wait. While he could not find a way out, by seizing these beautiful specks of feeling, he was able to avoid spiritual collapse. Also, he comforted himself by masturbating, and obtained slow release by secretly writing.

There was the clean fragrance of the paddy-rice straw cushioning his plank bed in those years, and the smell of his sheets drying in the sun after they had been washed in the pond. And there was also the sweaty smell of her body, his tender excitement as he corrected her lipstick, and the tremor in his heart as, brushing her firm breasts, he seized her by her strong shoulders and pushed her out the door.

She had provided him with warmth and, in his imagination, he had been intimate with her. Moreover, he had articulated all these in language, put them into his writings, in order to obtain spiritual equilibrium.

You are filled with gratitude to women, and it is not just lust. You seek them, but they do not necessarily want to give themselves to you. You are insatiable, but it's impossible for you to have them all.

God did not give them to you, and you don't have to thank God, but, finally, you do feel a sort of universal gratitude. You are grateful to the wind and the trees swaying in the wind, grateful to nature, grateful to the parents who gave birth to you. You now have no hatred and are at peace. Maybe it is because you are getting old that you lose your breath when climbing a hill, and you are now frugal with what used to be inexhaustible energy. These are signs of getting old. You are going downhill, and a chilly wind suddenly starts blowing. No, you are not in a hurry to go down. The distant mountains in the mist seem to be at the same altitude, and you go down even if there is an abyss at the bottom, so, when you fall, you might as well think of the splash of the setting sun on the faraway mountain tops.

In the small harbor, on a jutting cliff, is a small church. Facing the Mediterranean Sea, stands a white cross with a black metal statue of Jesus Christ nailed to it. The wind is still and the waves are calm, there are people on the sandy beach, and children are running about. There is also a woman in a bathing suit, her eyes closed, lying in a nook in the cliff.

They say that Matisse once lived and painted here, where the sunlight is transparent and blinding. Light and color are in the paintings of Matisse, but you are walking toward darkness.

They drive you to Barcelona, the city with the bright-red Dali Museum decked with giant eggs on the roof. Spain had produced this old naughty child and the Spanish are a happy race. Crowds throng the streets. The black-haired Spanish women all have dark eyes and high nose bridges. Afterward, you go to a village restaurant that used to be a mill. Diagonally opposite is a family seated around a table: husband, wife, and their very pretty daughter whose rosy cheeks glow through her fair skin. The girl's long, black eyelashes are not fully-grown, but one day she will become one of the sturdy, voluptuous, big girls of Picasso's paintings. She is sitting across from her parents, sulking, engrossed in her own thoughts. Maybe she doesn't really know what she is thinking. That is life, she doesn't know what is in her future, and surely that is important? She doesn't know that she too will suffer, maybe she will get wiser, as she starts to worry. Her thick long black hair enhances her fair complexion and rosy cheeks. She is probably just thirteen or fourteen. For a young girl, thirteen or fourteen years of age, already to be sulking, surely, is one of the wonders of life, just like the suffering of Margarethe. Will she become a Margarethe?

Right now you are listening to a mass by Kodaly, a woman singing to an organ. People need prayer just like they need to eat and make love, and you, too, have religious feelings. Last night, the woman in the room above was crying out all the time. It was excruciating, and stopped you from sleeping the whole night. From midnight till three o'clock, she was screaming, panting, then laughing loudly. You couldn't tell if it was rape or ecstasy taking place. At first, you thought it was in the room next to your bed headboard, then you heard the noise on the floorboards above, and it seemed that they were playing sex games on the floor, maybe it was the sort of rape Margarethe had spoken about. But so what if this were the case, it was happening in the hotel room, and no one would ask questions. Afterward, you heard laughter, loud wanton laughter that even aroused your lust.

However, your heart is now at peace, and there is die organ and the wonderful choir of alto and tenor singers.

Earlier, at breakfast in the dining room downstairs, you only heard polite good mornings in German. It was a German tourist group of hefty, middle-aged and elderly couples at buffet breakfast, so everyone had a plate full of diced sausage and fried bacon. They eat a lot but aren't worried about putting on weight. The thought crossed your mind that it was unlikely that these women would have been crying out in bed. They were all engrossed in eating and seldom spoke, and their knives and forks made very little noise. At a table by the window was a young woman, sitting opposite an elderly man. They had finished eating and were drinking their coffee. They were not talking, but looking out at the street. The fine weather of yesterday had changed, the ground was wet, but the rain had stopped. They did not appear to be lovers, but were more like a father on vacation with a daughter who was still not financially independent. Probably the woman who was wailing and laughing loudly last night was still fast asleep in her room.

The organ and a choir. The hotel room has stylish old furniture, a heavy oak table, dark-brown carved wardrobes, and a wooden bed with round carved posts. Outside the window, no cars are flashing past the round streetlights. It is Sunday, late morning, and you are waiting for friends to take you to the airport to catch the plane back to Paris some time after noon.

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