Soul Mountain (chinese)
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"Soul Mountain is one of those singular literary creations that seem impossible to compare with anything but themselves… In the writing of Gao Xingjian literature is born anew from the struggle of the individual to survive the history of the masses."
– from the citation of the Nobel Prize committee of the Swedish Academy
When this year's Nobel Prize for Literature was awarded to Chinese expatriate novelist and playwright Gao Xingjian, few in the English-speaking West were familiar with his work. Gao's masterpiece, SOUL MOUNTAIN (PerfectBound, an e-book from HarperCollins; February 20, 2001; $19.95), is a dazzling kaleidoscope of fiction, philosophy, history and fable. Elegantly translated by Australian sinologist Mabel Lee, this richly textured autobiographical novel recounts a dual journey-a literal journey into the heart of China and a spiritual journey of the self.
When Gao was 43, he was incorrectly diagnosed with lung cancer. Resigned to death by the same means that had claimed his father just a few years before, Gao spent six weeks indulging his appetites and reading philosophy. The spot on Gao's lung mysteriously disappeared, but a new threat arose when rumors began to circulate that he was to be sent to a prison farm because of his controversial writings. No longer facing imminent death, the writer quickly left Beijing and disappeared into the remote forest regions of Sichuan, then spent five months wandering along the Yangtze River from its source down to the coast. Gao's 15,000 kilometer sojourn forms the geographic parameters of the fictional journey in SOUL MOUNTAIN.
While on a train at the start of his trip, the writer protagonist meets another traveler who says he is going to Lingshan, "soul mountain," which can be found by the remote source of the You River. The writer has never heard of such a place, and he resolves to go there, but his fellow traveler can give him none but the vaguest directions. Thus begins a metaphoric odyssey into the hinterlands of China and the outlying Qiang, Miao and Yi districts that dangle on the fringes of Han Chinese civilization.
The writer is in search of the traditions that are hidden in rural China, and as he travels he encounters a parade of unforgettable characters who embody both vestiges of the past-Daoist masters, Buddhist monks, ancient calligraphers-and the modern culture that has surfaced since the revolution: small town communist cadres, budding entrepreneurs, independent young girls grappling with parochial repression. The two worlds exist uneasily as one, with stories and customs from centuries past colliding with a world of televisions, automobiles, and technology. All is permeated by the dark legacy of the Cultural Revolution, the encroachment of ecological damage, and the harsh monetary realities of everyday life in contemporary China.
SOUL MOUNTAIN is a dazzling work of the imagination, where classic fables merge with tales of modern cruelty and ancient philosophy does battle with existentialism. But Gao goes deeper still as he explores notions of the devastation of the self at the hands of social expectations. He continually shifts his narrative voice as the "I" of the writer becomes the "you" of an imagined companion, then the "she" of a woman companion. Yet all reflects back on the protagonist, who craves these two seemingly contradictory ends-the solitude necessary for nurturing the self and the anxiety-provoking warmth of human society.
Gao began this novel in the mid-eighties, then carried the manuscript with him when he fled China in 1987. Now living in Paris, he completed the book there in 1989. His writings continue to be banned in his native country. As Gao's work at last gains the public's attention here in the West, SOUL MOUNTAIN provides a dazzling introduction to the achievement of one of contemporary literature's acknowledged masters.
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二十七
她说她真想回到童年去，那时候无忧无虑。每天上学连头都是外婆给硫，再给她把辫子编好。两条长长的辫子，亮光光的，总不松不紧，都说她这两条长辫子真好看。外婆死后，她就再也不扎辫子了，把头发剪了，故意剪得短短的，连红卫兵当时时兴的两把小刷子都扎不起来，为的是抗议。她父亲当时被隔离审查，关在他工作的机关大院里，不让回家，她母亲半个月送一次换洗衣服，从来也不要她去。后来母亲带着她一起被赶到农村，她也没资格加入红小兵。她说，她这一生最幸福还是她留长辫子的时候，外婆像只老猫，总在她身边打统，她就特别安心。
她说她现在已经老了，说的是心老了，她不会为了一丁点小事就轻易激动不已。以前，甚至完全不为什么，她就会哭，眼泪那么充沛，打心眼里运直流出来，全不费一点气力，那样特别舒服。
她说她有个女朋友叫玲玲，她们从小就要好。她总那么可笑，她只要看着你，看看看着脸蛋上就出现个酒涡。现在人家也已经做母亲了，懒洋洋的，说话都那个调，把尾音拖得老长，像总也没睡醒。她还是少女的时候，那叽叽喳喳的劲儿像只麻雀，同她在一起就成天胡说，没有一刻停的，说她就想出去玩，说一下雨不知为什么心清就特别忧郁，说我想卡死你，还起劲真卡脖子，弄得人痒呵呵的。
有一回，夏天的夜晚，她们一起坐在湖边，望着夜空，她说她特别想躺在她怀里，玲玲说她想做小妈妈，她们就格格的笑着互相打闹，月亮升起来之前，她问你知道不知道，夜空那时候灰蓝灰蓝的，月亮升起来了，唉，月光从月冠上流出来，她问你见没见过那种景象？滚滚流淌，然后平铺开，像一片滚动而来的雾。她说她们还都听见月光在响，流过树梢的时候，树梢像水流中波动的水草，她们就都哭了。眼泪泉水一般涌了出来，像流淌的月光一样，心里特别特别舒服，玲玲的头发，她现在还感觉得到，弄着她的脸，她们就脸贴着脸，玲玲的脸也挺烫。有一种莲花，她说不是睡莲，也不是荷花，比荷花要小，比睡莲要大，就开在黑暗中，金红的花蕊，黑暗中放出幽光，粉红的花瓣油脂一样，像玲玲小时候粉红的耳朵，不过没有那么多茸毛，光亮得像她小手指上的指甲，啊那时候她修长的小指甲长得像贝壳，可那粉红的花瓣并不光亮，长得耳朵样厚实，颤抖着缓缓张开。
你说你也看见了，你看见颤悠悠张开的花瓣，中间毛茸茸金黄的花蕊，花蕊也都在颤傈。是的，她说。你握住她的手。嗅，不要，她说，她要你听她说下去，她说她有种庄严感，是你不明白的，你难道不愿意明白吗？不愿意了解她吗？她说那种庄严有如圣洁的音乐。她特别喜欢圣母，圣母怀抱婴儿的样子，垂下眼帘，那双柔软的手上那纤细的手指。她说她也希望做母亲，怀抱着她的小宝贝，那纯洁的，温暖的，肉乎乎的生命，在她胸前吸吮她的乳汁。那是种纯洁的感情，你明白吗？你说你想明白。那就是你还不明，你真笨呀，她说。
她说有一层厚厚的帷幕，一层又一层，都垂挂着，在里面走动，人就像滑行，将丝绒的墨绿色的帷幕轻轻拂开，在其间穿过，不必见到任何人，就穿行在帷幕的折皱之间，无声无息，声音都被帷幕吸收了，只有一丝音乐，一丝被帷幕吸收过滤后没有一点杂质纯净的音乐，悠悠流淌，来自黑暗中一个发出柔和的莹光的源头，流经之处都显出幽光。
她说她有个姑妈长得特别漂亮，当着她的面，时常只穿个很小的乳罩和一丁点的三角裤，在屋里走来走去。她总想去摸摸她的光腿，但始终没敢。她说她那时候，还是个干瘦的小老头，她想她永远也不会长得有姑妈漂亮。她姑妈左一个右一个男朋友，经常同时收到好几分情书。她是个演员，追求她的男人特别多，她总说她都被他们烦死了，其实，她就喜欢这样。后来她同一个军官结婚了，那人把她看的严严的，回去稍微迟了一点就得盘问她，还动手打她。她说她那时真不明白她姑妈为什么不离开他，竟然能忍受这种欺负。她还说她喜欢过一位老师，教她们班的数学，嗅，那完全是一个小女孩的感情。她就喜欢他讲课的声音，数学本来最枯燥无味，可她就喜欢他的喉音，作业做得也特别认真。有一回考试她得了八十九分，她还大哭了一场。课堂上，卷于发下来，她一拿到手就哭了。老师把她的卷子要回去，说给他再看看，重新判卷又给她加了几分，她说她才不要呢，才不要呢，把卷子扔到地上，当全班同学的面止不住大哭，那当然很丢人，为了这事她便不再理他，也不叫他老师。暑假过后，他不再教她这班，可她总 怀念这 老师，她喜欢他用喉头说话，那声音特别浑厚。
