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Keep Reading (#ub632df5c-8675-54d6-8732-2e904ef094a7)
Appendix (#u20cbfb1d-cfe6-58ef-9ff1-d613474878b3)
About the Author (#u6be19330-b531-52e5-8bad-4fe3a3d131de)
About the Publisher (#u226d1fbd-d66c-5081-8074-72bf60f15af3)
Introduction (#ulink_8c0ba376-defb-59d5-a4ff-eefb8c9327d7)
Gao Xingjian was born on 4 January 1940 in war-torn China soon after the beginning of the Japanese invasion. He completed secondary and tertiary studies in the People’s Republic of China (established in 1949 after the Communist victory in the civil war against the Nationalists), graduating with a major in French from the Beijing Foreign Languages Institute in 1962. Gao Xingjian came to national and international prominence as a writer and critic during the early 1980s for his experimental works of drama, fiction and theory that contravened the guidelines established by the ideologues of the Chinese Communist Party. At the time, China was just beginning to emerge from the throes of the Cultural Revolution (1966—1976), a decade during which the self of the individual was virtually annihilated from intellectual and creative activities. Basic human instincts, sensitivities, thinking, perceptions and judgements were repressed and stunted, and extreme forms of socialist-realist and romantic-revolutionary representations of reality became the compulsory basis of all creative endeavours: literature and the arts therefore became representations of a distorted reality.
The end of the Cultural Revolution and the implementation of considerably more liberal policies meant that Gao Xingjian was able to publish, despite continuing aftershocks from those times. It also meant that he was able to travel abroad as a member of two writers’ delegations — in 1979 to France, and in 1980 to Italy. From 1980 to 1987, he published short stories, novellas, critical essays and plays in various literary journals, as well as four books: A Preliminary Discussion of the Art of Modern Fiction (1981), a novella A Pigeon Called Red Beak (1985), Collected Plays of Gao Xingjian (1985), and In Search of a Modern Form of Dramatic Representation (1987). In addition, three of his plays were staged at the Beijing People’s Art Theatre: Absolute Signal (1982), Bus Stop (1983) and Wild Man (1985). However, events in Gao Xingjian’s life during those few years made him resolve to fully commit himself to the creative expression of his own reality, and no authority other than that of his self would again be allowed to dictate his judgements of that reality.
In 1987, when Gao Xingjian left China to take up a D.A.A.D fellowship in Germany, he did not intend to return. He had taken with him the most important thing in his life: the manuscript of a novel he had begun in Beijing in the summer of 1982. This novel was Lingshan which he subsequently completed in September 1989 in Paris (where he now resides and has French citizenship) and published in Taipei in 1990. Goran Malmqvist, whose translations of ten of Gao Xingjian’s plays were published as a set by the Swedish Royal Dramatic Theatre in 1994, published the Swedish version of the novel as Andarnas berg, in 1992; and Noël and Liliane Dutrait’s French version, La Montagne de l’âme, was published in 1995. For the English version, the title Soul Mountain has been used.
Soul Mountain is a literary response to the devastation of the self of the individual by the primitive human urge for the warmth and security of an other, or others, in other words by socialized life. The existence of an other resolves the problem of loneliness but brings with it anxieties for the individual, for inherent in any relationship is, inevitably, some form of power struggle. This is the existential dilemma confronting the individual, in relationships with parents, partners, family, friends and larger collective groups. Human history abounds with cases of the individual being induced by force or ideological persuasion to submit to the power of the collective; the surrender of the self to the collective eventually becomes habit, norm convention and tradition, and this phenomenon is not unique to any one culture.
In traditional China, the philosophy of Confucius was developed into an autocratic ideology alongside infrastructures that allowed it to permeate all levels of society, and the individual after birth was conditioned to be subservient to a clearly defined hierarchy of authorities. Unless intent on challenging those authorities and facing the consequences, nonconformists had the possibility of living the life of the recluse or taking temporary or long-term refuge in Buddhist monasteries or Daoist retreats, although as institutionalized orders, they too constitute collectives. Alternatively, the nonconformist could remain in conventional society and survive by feigning madness or could achieve freedom, transcendence and self-realization in literary and artistic creation. However, these options were gradually eroded in China from the early years of the twentieth century as self-sacrifice was promoted first in the name of patriotism and then also in the name of the communist revolution which promised equality and social justice. Self-sacrifice became an entrenched habit that facilitated, aided and abetted the extremes of social conformity demanded by the Cultural Revolution which was engineered by sophisticated modern strategies for ideological control. Writers and artists for whom creation was the expression of the self were relentlessly and effectively silenced.
During the 1960s and 1970s, Gao Xingjian’s irrepressible urge for artistic self-expression resulted in several hundred works of prose, plays and poems. He was aware that what he wrote could not be published, and that even as unpublished works they could be used as evidence against him for failing to comply with prescribed guidelines. To hide his writings became increasingly difficult, and he finally burnt all of them during the height of the Cultural Revolution rather than face the consequences of having them found.
As noted above, Gao Xingjian was able to publish a substantial number of works during the 1980s, but not without considerable anxiety. The publication of A Preliminary Discussion of the Art of Modern Fiction in 1981 resulted in his being criticized for promoting modernist ideas borrowed from the decadent capitalist West and he was placed under surveillance. Nonetheless, his debut as a playwright occurred in 1982 and took Beijing by storm: Absolute Signal was staged over a hundred times to packed performances at the Beijing People’s Arts Theatre. However, those were politically ambiguous times and in the following year, 1983, a ban was placed on the performance of Bus Stop, although one special performance was ordered so that criticisms could be written up. As the author, Gao Xingjian was singled out for criticism during the “oppose spiritual pollution” campaign of that year, and he was banned from publishing: a senior Party member had declared Bus Stop “the most pernicious work since the establishment of the People’s Republic”. It was at this time, during a routine health check, that he was diagnosed with lung cancer, the disease that had killed his father a couple of years earlier. He resigned himself to imminent death until a later X-ray revealed that a wrong diagnosis had been made. He returned from the transcendent tranquillity he had experienced at the brink of death to the reality of life and the rumour that he was to be sent to the notorious prison farms of Qinghai province. He made a quick decision to flee Beijing immediately, and taking an advance royalty on his proposed novel, he absconded to the remote forest regions of Sichuan province and then wandered along the Yangtze River from its source down to the coast. By the time the “oppose spiritual pollution” campaign had subsided and it was safe for his return to Beijing, he had travelled for ten months over 15,000 kilometres of China.
These events of 1983 form the autobiographical substance of Soul Mountain, the story of one man’s quest for inner peace and freedom. Gao Xingjian’s brush with death had dislodged many forgotten fragments of his past and he recaptures these as well as his emotional experience of confronting death in Soul Mountain. Keeping his whereabouts secret, his travels take him to the Qiang, Miao and the Yi districts located on the fringes of Han Chinese civilization and he considers their traditions and practices with the curiosity of an archaeologist, historian and writer. His excursions into several nature reserves allow him to ponder the individual’s place in nature; and his visits to Buddhist and Daoist institutions confirm that these are not places for him. Although he admires the forest ranger living the life of a virtual recluse and the solitary Buddhist monk-cum-itinerant doctor, he realizes that he still craves the warmth of human society, despite its anxieties. For the author, who has an obsessive need for self-expression, Soul Mountain poses the question: when deprived of human communication, will not the individual be condemned to the existence of the Wild Man in the forests of Shennongjia, the Big Foot of America or the Yeti of the Himalayas?
The autobiographical dimensions of Soul Mountain are richly overlaid with an exploration of various forms of human relationships and their implications for the individual. A rigorous and critical analysis of the self of one man is achieved by dissecting the authorial self into the singular pronouns, “I”, “you”, “she” and “he”, who together constitute the composite protagonist. On his solitary journey, the protagonist seeks to alleviate his acute loneliness and creates “you” so that he will have someone to talk to. The “you”, who is a reflection of “I”, naturally experiences the same loneliness and creates “she” for companionship. The creation of an unnamed “she” allows the author to project himself with immense freedom into the psyche of women. The lengthy journey draws the “you” and the “I” too closely together and reduces the analytical distance sought by the author, so he allows “you” to walk away, and the back of “you” walking away becomes “he” … and there are yet further changes.
The author, on his long journey as a political refugee from Beijing, employs the strategy of storytelling to disperse his loneliness, and at the same time reconstructs his personal past as well the impact of the Cultural Revolution on both the human and physical ecology of China. Through the characters who are projections of his self, the author engages in intimate conversations with anonymous others to tell the stories of many different types of people who populate China, but yet who in the final analysis can be found in all societies and cultures.
Gao Xingjian is a writer with an artists sensitivity and an intense and continuing curiosity for experimentation with language and other expressive forms; and he is acutely aware of the challenge to the writer, and to literary genres, in the visual-image-oriented world of modern times. Through the publication of the novel Lingshan in 1990, he has exorcised lingering remnants of homesickness and has succeeded in devoting himself singlemindedly to a creative life. Since 1987, full productions of his plays have been staged in Paris, Bordeaux, Avignon, Stockholm, Hamburg, New York, Taipei, Hong Kong, Vienna, Veroli, Poznan, Cluj, and have been performed in small theatres and workshops in Tokyo, Kobe, Edinburgh, Sydney, and Benin. However, since 1987, his only publication in China has been Taowang (Absconding), a play about three people who escape to a disused warehouse after the tanks roll into Tiananmen in the early hours of 4 June 1989. Absconding was reproduced in newspapers and magazines and criticized as a pornographic and immoral work fabricated by the writer Gao Xingjian who was not in Beijing at the time. On the other hand, the American group that had commissioned the play requested changes, insisting that the student demonstrators be portrayed as heroic figures. He declined to make any changes and withdrew the play. Living in Paris, Gao Xingjian mainly supports himself through painting the large black and white Chinese ink-paintings for which he is well known. To date he has held thirty solo exhibitions in various galleries throughout Europe, as well as Beijing (prior to 1987), New York, Taipei and Hong Kong; and his works have been collected in several galleries in Europe and America.
Most of Gao Xingjian’s recent writings have been published in Chinese in Taipei and Hong Kong. A significant number of these have also been published in French, and are now beginning to appear in English. Some of his recent plays were first written in French and then Chinese. In 1992 Gao Xingjian was honoured by the French with the title of Chevalier de l’Ordre des Arts et des Lettres. His play in French Le Somnambule won the Prix Communauté français de Belgique in 1994, and his novel La Montagne de l’âme was awarded the Prix du Nouvel An chinois by a French panel of judges in 1997. In early 2000, a second edition of La Montagne de l’âme went into print simultaneously with the French version of his second novel, Yige ten de shengjing which was published last year in Taipei. Noël and Liliane Dutraits French version is called Le Livre de seul homme, my English version will be called One Man’s Bible.
Mabel Lee
April 2000
Mabel Lee was born Mabel Hunt in Warialda, northern New South Wales, and attended Parramatta High School. A graduate of the University of Sydney (BA with First Class Honours and PhD), she was a member of the academic staff of her alma mater from 1966 until January 2000. She is co-editor of the University of Sydney East Asian Series which publishes the work of Australian scholars on Asia, and the University of Sydney World Literature Series which sees literature as an activity that is shared by all peoples of the world. Mabel Lee retains a close association with the University of Sydney as Honorary Associate Professor in Chinese Studies.
1 (#ulink_176e2ad0-cc63-53a6-8d8a-91296b896e8b)
The old bus is a city reject. After shaking in it for twelve hours on the potholed highway since early morning, you arrive in this mountain county town in the South.
In the bus station, which is littered with ice-block wrappers and sugar cane scraps, you stand with your backpack and a bag and look around for a while. People are getting off the bus or walking past, men humping sacks and women carrying babies. A crowd of youths, unhampered by sacks or baskets, have their hands free. They take sunflower seeds out of their pockets, toss them one at a time into their mouths and spit out the shells. With a loud crack the kernels are expertly eaten. To be leisurely and carefree is endemic to the place. They are locals and life has made them like this, they have been here for many generations and you wouldn’t need to go looking anywhere else for them. The earliest to leave the place travelled by river in black canopy boats and overland in hired carts, or by foot if they didn’t have the money. Of course at that time there were no buses and no bus stations. Nowadays, as long as they are still able to travel, they flock back home, even from the other side of the Pacific, arriving in cars or big air-conditioned coaches. The rich, the famous and the nothing in particular all hurry back because they are getting old. After all, who doesn’t love the home of their ancestors? They don’t intend to stay so they walk around looking relaxed, talking and laughing loudly, and effusing fondness and affection for the place. When friends meet they don’t just give a nod or a handshake in the meaningless ritual of city people, but rather they shout the person’s name or thump him on the back. Hugging is also common, but not for women. By the cement trough where the buses are washed, two young women hold hands as they chat. The women here have lovely voices and you can’t help taking a second look. The one with her back to you is wearing an indigo-print headscarf. This type of scarf, and how it’s tied, dates back many generations but is seldom seen these days. You find yourself walking towards them. The scarf is knotted under her chin and the two ends point up. She has a beautiful face. Her features are delicate, so is her slim body. You pass close by them. They have been holding hands all this time, both have red coarse hands and strong fingers. Both are probably recent brides back seeing relatives and friends, or visiting parents. Here, the word xifu means one’s own daughter-in-law and using it like rustic Northerners to refer to any young married woman will immediately incur angry abuse. On the other hand, a married woman calls her own husband laogong, yet your laogong and my laogong are both used. People here speak with a unique intonation even though they are descendants of the same legendary emperor and are of the same culture and race.
You can’t explain why you’re here. It happened that you were on a train and this person mentioned a place called Lingshan. He was sitting opposite and your cup was next to his. As the train moved, the lids on the cups clattered against one another. If the lids kept on clattering or clattered and then stopped, that would have been the end of it. However, whenever you and he were about to separate the cups, the clattering would stop, and as soon as you and he looked away the clattering would start again. He and you reached out, but again the clattering stopped. The two of you laughed at the same instant, put the cups well apart, and started a conversation. You asked him where he was going.
“Lingshan.”
“What?”
“Lingshan, ling meaning spirit or soul, and shan meaning mountain.”
You’d been to lots of places, visited lots of famous mountains, but had never heard of this place.
Your friend opposite had closed his eyes and was dozing. Like anyone else, you couldn’t help being curious and naturally wanted to know which famous places you’d missed on your travels. Also, you liked doing things properly and it was annoying that there was a place you’ve never even heard of. You asked him about the location of Lingshan.
“At the source of the You River,” he said, opening his eyes.
You didn’t know this You River either, but was embarrassed about asking and gave an ambiguous nod which could have meant either “I see, thanks” or “Oh, I know the place”. This satisfied your desire for superiority, but not your curiosity. After a while you asked how to get there and the route up the mountain.
“Take the train to Wuyizhen, then go upstream by boat on the You River.”
“What’s there? Scenery? Temples? Historic sites?” you asked, trying to be casual.
“It’s all virgin wilderness.”
“Ancient forests?”
“Of course, but not just ancient forests.”
“What about Wild Men?” you said, joking.
He laughed without any sarcasm, and didn’t seem to be making fun of himself which intrigued you even more. You had to find out more about him.
“Are you an ecologist? A biologist? An anthropologist? An archaeologist?”
He shook his head each time then said, “I’m more interested in living people.”
“So you’re doing research on folk customs? You’re a sociologist? An ethnographer? An ethnologist? A journalist, perhaps? An adventurer?”
“I’m an amateur in all of these.”
The two of you started laughing.
“I’m an expert amateur in all of these!”
The laughing made you and him cheerful. He lit a cigarette and couldn’t stop talking as he told you about the wonders of Lingshan.
Afterwards, at your request, he tore up his empty cigarette box and drew a map of the route up Lingshan.
In the North it is already late autumn but the summer heat hasn’t completely subsided. Before sunset, it is still quite hot in the sun and sweat starts running down your back. You leave the station to have a look around. There’s nothing nearby except for the little inn across the road. It’s an old-style two-storey building with a wooden shopfront. Upstairs the floorboards creak badly but worse still is the grime on the pillow and sleeping mat. If you wanted to have a wash, you’d have to wait till it was dark to strip off” and pour water over yourself in the damp and narrow courtyard. This is a stopover for the village peddlers and craftsmen.
It’s well before dark, so there’s plenty of time to find somewhere clean. You walk down the road looking around the little town, hoping to find some indication, a billboard or a poster, or just the name “Lingshan” to tell you you’re on the right track and haven’t been tricked into making this long excursion. You look everywhere but don’t find anything. There were no tourists like you amongst the other passengers who got off the bus. Of course you’re not that sort of tourist, it’s just what you’re wearing: strong sensible sports shoes and a backpack with shoulder straps, no-one else is dressed like you. But this isn’t one of the tourist spots frequented by newlyweds and retirees. Those places have been transformed by tourism, coaches are parked everywhere and tourist maps are on sale. Tourist hats, tourist T-shirts, tourist singlets and tourist handkerchiefs printed with the name of the place are in all the little shops and stalls, and the name of the place is used in the trade names of all the “foreign exchange currency only” hotels for foreigners, the “locals with references only” hostels and sanatoriums, and of course the small private hotels competing for customers. You haven’t come to enjoy yourself in one of those places on the sunny side of a mountain where people congregate just to look at and jostle one another and to add to the litter of melon rind, fruit peel, soft drink bottles, cans, cartons, sandwich wrappings and cigarette butts. Sooner or later this place will also boom but you’re here before they put up the gaudy pavilions and terraces, before the reporters come with their cameras and before the celebrities come to put up plaques with their calligraphy. You can’t help feeling rather pleased with yourself, and yet you’re anxious. There’s no sign of anything here for tourists, have you made a blunder? You’re only going by the map on the cigarette box in your shirt pocket, what if the expert amateur you met on the train had only heard about the place on his travels? How do you know he wasn’t just making it all up? You’ve never seen the place mentioned in travel accounts and it’s not listed in the most up-to-date travel guides. Of course, it isn’t hard to find places like Lingtai, Lingqiu, Lingyan and even Lingshan on provincial maps and you know very well that in the histories and classics, Lingshan appears in works dating back to the ancient shamanistic work Classic of the Mountains and Seas and the old geographical gazetteer Annotated Water Classic. It was also at Lingshan that Buddha enlightened the Venerable Mahakashyapa. You’re not stupid, so just use your brains, first find this place Wuyizhen on the cigarette box, for this is how you’ll get to Lingshan.
You return to the bus station and go into the waiting room. The busiest place in this small town is now deserted. The ticket window and the parcel window are boarded up from the inside so knocking is useless. There’s no-one to ask so you can only go through the lists of stops above the ticket window: Zhang Village, Sandy Flat, Cement Factory, Old Hut, Golden Horse, Good Harvest, Hood Waters, Dragon Bay, Peach Blossom Hollow … the names keep getting better, but the place you want isn’t there. This is just a small town but there are several routes and quite a few buses go through. The busiest route, with five or six buses a day, is to Cement Factory but that’s definitely not a tourist route. The route with the fewest buses, one a day, is sure to go to the furthest destination and it turns out that Wuyizhen is the last stop. There’s nothing special about the name, it’s just like any other place name and there’s nothing magical about it. Still, you seem to have found one end of a hopeless tangle and while you’re not ecstatic, you’re certainly relieved. You’ll need to buy a ticket in the morning an hour before departure and you know from experience that with mountain buses like this, which run once a day, just to get on will be a fight. Unless you’re prepared to do battle, you’ll just have to queue up early.
But, right now, you’ve lots of time, although your backpack’s a nuisance. As you amble along the road timber trucks go by noisily sounding their horns. In the town the noise worsens as trucks, some with trailers, blast their horns and conductors hang out of windows loudly banging the sides of the buses to hasten the pedestrians off the road.
The old buildings on both sides stand flush with the road and all have wooden shopfronts. The downstairs is for business and upstairs there is washing hung out to dry — nappies, bras, underpants with patched crotches, floral-print bedspreads — like flags of all the nations, flaping in the noise and dust of the traffic. The concrete telegraph poles along the street are pasted at eye level with all sorts of posters. One for curing body odour catches your attention. This is not because you’ve got body odour but because of the fancy language and the words in brackets after “body odour”.
Body odour (known also as scent of the immortals) is a disgusting condition with an awful, nauseating smell. It often affects social relationships and can delay life’s major event: marriage. It disadvantages young men and women at job interviews or when they try to enlist, therefore inflicting much suffering and anguish. By using a new total treatment, we can instantly eradicate the odour with a rate of up to 97.53% success. For joy in life and future happiness, we welcome you to come and rid yourself of it…
After that you come to a stone bridge: no body odour here, just a cool, refreshing breeze. The bridge spanning the broad river has a bitumen surface but the carved monkeys on the worn stone posts testify to its long history. You lean on the concrete railing and survey the township alongside the bridge. On both banks, black rooftops overlapping like fish-scales stretch endlessly into the distance. The valley opens out between two mountains where the upper areas of gold paddy fields are inlaid with clusters of green bamboos. The river is blue and clear as it trickles over the sandy shores, but close to the granite pylons dividing the current it becomes inky green and deep. Just past the hump of the bridge the rashing water churns loudly and white foam surfaces from whirlpools. The ten-metre-high stone embankment is stained with water levels — the new greyish-yellow lines were probably left by the recent summer floods. Can this be the You River? And does it flow down from Lingshan?
The sun is about to set. The bright orange disc is infused with light but there’s no glare. You gaze into the distance at the hazy layers of jagged peaks where the two sides of the valley join. This ominous black image nibbles at the lower edges of the glowing sun which seems to be revolving. The sun turns a dark red, gender, and projects brilliant gold reflections onto the entire bend of the river: the dark blue of the water fusing with the dazzling sunlight throbs and pulsates. As the red sphere seats itself in the valley it becomes serene, awesomely beautiful, and there are sounds. You hear them, elusive, distinctly reverberating from deep in your heart and radiating outwards until the sun seems to prop itself up on its toes, stumble, then sink into the black shadows of the mountains, scattering glowing colours throughout the sky. An evening wind blows noisily by your ears and cars drive past, as usual sounding their deafening horns. You cross the bridge and see there a new dedication stone with engraved characters painted in red: “Yongning Bridge. Built in the third year of the Kaiyuan reign period of the Song Dynasty and repaired in 1962. This stone was laid in 1983.” It no doubt marks the beginning of the tourist industry here.
Two food stalls stand at the end of the bridge. In the one on the left you eat a bowl of bean curd, the smooth and tasty kind with all the right ingredients. Hawkers used to sell it in the streets and lanes but it completely disappeared for quite some years and has recently been revived as family enterprises. In the stall on the right you eat two delicious sesame-coated shallot pancakes, straight off the stove and piping-hot. Then at one of the stalls, you can’t remember which, you eat a bowl of sweet yuanxiao dumplings broiled in rice wine. They are the size of large pearls. Of course, you’re not as academic about food as Mr Ma the Second who toured West Lake, but you do have a hefty appetite nevertheless. You savour this food of your ancestors and listen to customers chatting with the proprietors. They’re mostly locals and all know one another. You try using the mellifluous local accent to be friendly, you want to be one of them. You’ve lived in the city for a long time and need to feel that you have a hometown. You want a hometown so that you’ll be able to return to your childhood to recollect long lost memories.
On this side of the bridge you eventually find an inn on an old cobblestone street. The wooden floors have been mopped and it’s clean enough. You are given a small single room which has a plank bed covered with a bamboo mat. The cotton blanket is a suspicious grey — either it hasn’t been washed properly or that’s the original colour. You throw aside the greasy pillow from under the bamboo mat and luckily it’s hot so you can do without the bedding. What you need right now is to off-load your luggage which has become quite heavy, wash off the dust and sweat, strip, and stretch yourself out on the bed.
There’s shouting and yelling next door. They’re gambling and you can hear them picking up and throwing down the cards. A timber partition separates you and, through the holes poked into the paper covering the cracks, you make out the blurred figures of some bare-chested men. You’re not so tired that you can drop off to sleep just like that. You tap on the wall and instantly there’s loud shouting next door. They’re not shouting at you but amongst themselves — there are always winners and losers and it sounds as though the loser is trying to get out of paying. They’re openly gambling in the inn despite the public security office notice on the wall prohibiting gambling and prostitution. You decide to see if the law works. You put on some clothes, go down the corridor and knock on the half-closed door. Your knocking makes no difference, they keep shouting and yelling inside and nobody takes any notice. So you push open the door and go in. The four men sitting around the bed in the middle of the room all turn to look at you. But it’s you and not they who gets a rude shock. The men all have bits of paper stuck on their faces, on their foreheads, lips, noses and cheeks, and they look ugly and ridiculous. They aren’t laughing and are glaring at you. You’ve butted in and they’re clearly annoyed.
“Oh, you’re playing cards,” you say, putting on an apologetic look.
They go on playing. The long paper cards have red and black markings like mahjong and there’s a Gate of Heaven and a Prison of Hell. The winner penalizes the loser by tearing off a strip of newspaper and sticking it on a designated spot. Whether this is a prank, a way of letting off steam, or a tally, is something agreed upon by the gamblers and there is no way for outsiders to know what it’s all about.
You beat a retreat, go back to your room, lie down again, and see a thick mass of black specks around the light globe. Millions of mosquitoes are waiting for the light to go out so that they can come down and feast on your blood. You quickly let down the net and are enclosed in a narrow conical space, at the top of which is a bamboo hoop. It’s been a long time since you’ve slept under a hoop like this, and you’ve long since passed the age of being able to stare at the hoop to lose yourself in reverie. Today, you can’t know what traumas tomorrow will bring. You’ve learnt through experience everything you need to know. What else are you looking for? When a man gets to middle age shouldn’t he look for a peaceful and stable existence, find a not-too-demanding sort of a job, stay in a mediocre position, become a husband and a father, set up a comfortable home, put money in the bank and add to it every month so there’ll be something for old age and a little left over for the next generation?
2 (#ulink_34bae2d1-383f-5219-ae64-3f4c79ab4f13)
It is in the Qiang region halfway up Qionglai Mountain, in the border areas of the Qinghai-Tibetan highlands and the Sichuan basin, that I witness a vestige of early human civilization — the worship of fire. Fire, the bringer of civilization, has been worshipped by the early ancestors of human beings everywhere. It is sacred. The old man is sitting in front of the fire drinking liquor from a bowl. Before each sip he puts a finger into it and flicks some on the charcoals which splutter noisily and send out blue sparks. It is only then that I perceive that I too am real.
“That’s for the God of the Cooking Stove, it’s thanks to him that we can eat and drink,” he says.
The dancing light of the fire shines on his thin cheeks, the high bridge of his nose, and his cheekbones. He tells me he is of the Qiang nationality and that he’s from Gengda village down the mountain. I can’t ask straight out about demons and spirits, so I tell him I’m here to do some research on the folk songs of the mountain. Do traditional song masters and dancers still exist here? He says he’s one of them. The men and women all used to form a circle around the fire and dance right through to daybreak, but later on it was banned.
“Why?” I know quite well but I ask. I’m being dishonest again.
“It was the Cultural Revolution. They said the songs were dirty so we turned to singing Sayings of Mao Zedong songs instead.”
“And what about after that?” I persist in asking. This is becoming a habit.
“No-one sings those anymore. People are doing the dances again but not many of the young people can do them, I’m teaching the dances to some of them.”
I ask him for a demonstration. Without any hesitation, he instantly gets to his feet and proceeds to dance and sing. His voice is low and rich, he’s got a good voice. I’m sure he’s Qiang even if the police in charge of the population register insist that he isn’t. They think anyone claiming to be Tibetan or Qiang is trying to evade birth restrictions so they can have more children.
He sings song after song. He says he’s a fun-loving person, and I believe him. When he finished up as village head, he went back to being one of the mountain people, an old mountain man who likes good fun, though unfortunately he is past the age for romance.
He also knows incantations, the kind hunters employ when they go into the mountains. They are called mountain blackmagic or hexes and he has no qualms about using them. He really believes they can drive wild animals into pits or get them to step into snares. They aren’t used only on animals, they’re also used against other human beings for revenge. A victim of mountain blackmagic won’t be able to find his way out of the mountains. They are like the “demon walls” I heard about as a child: when a person has been travelling for some time at night in the mountains, a wall, a cliff or a deep river appears right in front of him, so that he can’t go any further. If the spell isn’t broken the person’s feet don’t move forward and even if he keeps walking, he stays exactly where he started off. Only at daybreak does he discover that he has been going around in circles. That’s not so bad, the worst is when a person is led into a blind alley — that means death.
He intones strings of incantations. It’s not slow and relaxed like when he is singing, but just nan-nan-na-na to a quick beat. I can’t understand it at all but I can feel the mystical pull of the words and a demonic, powerful atmosphere instantly permeates the room, the inside of which is black from smoke. The glow of the flames licking the iron pot of mutton stew makes his eyes glint. This is all starkly real.
While you search for the route to Lingshan, I wander along the Yangtze River looking for this sort of reality. I had just gone through a crisis and then, on top of that, a doctor wrongly diagnosed me with lung cancer. Death was playing a joke on me but now that I’ve escaped the demon wall, I am secretly rejoicing. Life for me once again has a wonderful freshness. I should have left those contaminated surroundings long ago and returned to nature to look for this authentic life.
In those contaminated surroundings I was taught that life was the source of literature, that literature had to be faithful to life, faithful to real life. My mistake was that I had alienated myself from life and ended up turning my back on real life. Life is not the same as manifestations of life. Real life, or in other words the basic substance of life, should be the former and not the latter. I had gone against real life because I was simply stringing together life’s manifestations, so of course I wasn’t able to accurately portray life and in the end only succeeded in distorting reality.
I don’t know whether I’m now on the right track but in any case I’ve extricated myself from the bustling literary world and have also escaped from my smoke-filled room. The books piled everywhere in that room were oppressive and stifling. They expounded all sorts of truths, historical truths to truths on how to be human. I couldn’t see the point of so many truths but still got enmeshed in the net of those truths and was struggling hopelessly, like an insect caught in a spider’s web. Fortunately, the doctor who gave the wrong diagnosis saved my life. He was quite frank and got me to compare the two chest X-rays taken on two separate occasions — a blurry shadow on the left lobe of the lung had spread along the second rib to the wall of the windpipe. It wouldn’t help even to have the whole of the left lobe removed. The outcome was obvious. My father had died of lung cancer. He died within three months of it being discovered and it was this doctor who had correctly diagnosed it. I had faith in his medical expertise and he had faith in science. The chest X-rays taken at two different hospitals were identical, there was no possibility of a technical mistake. He also wrote an authorization for a sectional X-ray, the appointment was in two weeks’ time. This was nothing to get worried about, it was just to determine the extent of the tumour. My father had this done before he died. The outcome would be the same whether or not I had the X-ray, it was nothing special. That I in fact would slip through the fingers of Death can only be put down to good luck. I believe in science but I also believe in fate.
I once saw a four-inch length of wood which had been collected in the Qiang region by an anthropologist during the 1930s. It was a carved statue of a person doing a handstand. The head had ink markings for the eyes, nose and mouth, and the word “longevity” had been written on the body. It was called “Wuchang Upside Down” and there was something oddly mischievous about it. I ask the Qiang retired village head whether such talismans are still around. He tells me these are called “old root”. This wooden idol has to accompany the newborn from birth to death. At death it accompanies the corpse from the house and after the burial it is placed in the wilderness to allow the spirit to return to nature. I ask him if he can get me one so that I can carry it on me. He laughs and says these are what hunters tuck into their shirts to ward off evil spirits, they wouldn’t be of any use to someone like me.
“Is there an old hunter who knows about this sort of magic and can take me hunting with him?” I ask.
“Grandpa Stone would be the best,” he says after thinking about it.
“How can I find him?” I ask right away.
“He’s in Grandpa Stone’s Hut.”
“Where’s this Grandpa Stone’s Hut?”
