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Renga: 100 Poems
by John Kinsella and Paul Kane
Reviewed by SIOBHAN HODGE
Renga: 100 Poems is a collection over ten years in the making. Paul Kane and John Kinsella, writing in exchange via the Japanese renga form, have compiled a long-running poetic dialogue – unlike traditional renga, each poem is individually written and a response then followed by the other poet.
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Vagabond 2018
Edited by Michelle Cahill & Dimitra Harvey
Launched by EMILY STEWART

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I am Mohammad Asif Rahimi, I am 28 years old from Afghanistan. I belong to the Hazara community, the third largest ethnicity and most oppressed ethnicity in the world. I graduated from High School and studied Political Science in Kabul city. I speak four languages. Due to security concerns and persecution I had to leave Afghanistan and seek asylum in Indonesia through UNHCR. I am currently living in Balikpapan Detention Centre. I have been in detention and deprived of all my basic rights since late 2014.
Rahimi’s work is published by Writing Through Fences and is to be published in the forthcoming Overland.
Photographer: Azad, Indonesia, 2018
An Explanation
Life is full of adventures, either good and bad. People are inevitably faced with both. But what is important are the mechanisms of emotion felt during or after the incidents. Everyone individually chooses a route based on their assumptions and knowledge.
Typically when people are about to be hurt, they seek coverture to unleash what is annoying. Every pain/harm needs its own mechanism. A variety of pains need a variety of mechanisms so to be unleashed. People choose different routes.
Let me dedicate this to the pains of affliction and fatigue. When a man is hurt it can be too hard to unleash it at all. Arrogance stops him revealing what is inside him. But there are still ways to empty his mind. Someone may choose trusted friends and tell their feelings to them, someones else chooses their mother, some drink alcohol, smoke cigarettes, someone finds a place and shouts, and someone else finds a place in which to be silent and so on… But there are some things that harm people and yet no mechanisms are available for release due to particular conditions in which they are placed.
When you can not find any of these mechanisms for release the pain turns to an immedicable pain. You find bodies around you not souls, you find walls surrounding you that get closer and closer, you find yourself amongst monsters that every moment bring more damage to you. In this circumstance you swallow all the pain to hide it lest the monsters find out and misuse it as a weakness. By doing this you just relocate the battlefield into the inside of you.
This battle is more devastating than what you were facing before. It eats you like leprosy and burns you like charcoal, your soul, conscience, goodness, good will are now all burning and you can not do anything to extinguish the fire. You are being gradually burnt.
Dead Dreams
Let me be a bit rude. Let me talk about something that many of you would consider nonsense and probably you would call the person with such feelings ‘lacking in ambitions’ or expendable. Have you ever thought about dreams, wishes and how much variance there could be. Or thought that every human being has his/her/their exclusive wishes and dreams, though surroundings make them wish differently?
When I see people from different places I figure out that most of the people from conflict zones have no dreams. They think about their basic and undeniable right: ‘living’. Their basic right which no one has the right to take it, has turned to dream. They are in the same situation with those who want to solve the mysterious galaxies. Some can catch, some fail.
Let me bring some examples to you so you see the variety of dreams in different places;
Wishes in the West: Aus, NZ, US, CA, UK…’developed’ countries: scientists, astronauts, luxuries, higher education, great economy, freedom…
Wishes in war-torn countries: food, mum, dad, siblings, school, play toys, new clothes and most importantly peace and water.
When you ask most of the people from war torn countries what his/her/their wishes are, you’ll most likely hear one basic thing: surviving his/her/their families lest they starve to death. If you ask from the children in these countries, your answer is already given if you listen.
– Asif Rahimi 2018 (Balikpapan Detention, Indonesia)
My name is Erfan, I’m 21 years of age now. I’m a Hazara refugee originally from Afghanistan. I felt threatened and obliged to flee my motherland due to ongoing war and everyday fighting in Afghanistan. I arrived in Indonesia in 2014 when I was only 18 years of age. Since then I have been incarcerated and in a state of constant uncertainty in one of Indonesia’s detention centres. After many years of imprisonment, I still don’t know how much longer my fellow inmates and I have to stay in this prison camp before our freedom comes. Writing and fighting for everyone’s freedom is my passion.
Dana’s work has been published by Charles Town Maroon International Conference Magazine, June 2018, Writing Through Fences, and in various news outlets.
Photographer: Azad, Indonesia, 2018
Unremitting, incurable pain
For some pain we can’t do anything to heal it
For some pain we can’t cry.
We can’t shout too loudly.
We can’t express our pain to anyone.
We can’t find a cure for it.
We can only feel the heaviness of it and, in silence,
break down into pieces and burn for it slowly, so slowly…
We will be free
Our stolen time and freedom will be given to us again.
Our exhausted minds and hearts will be restored.
We will start re-building our shattered lives in freedom.
We will re-start living in the heart of beautiful, calm and clean nature
without being surrounded with black, despicable high fences
and closed metallic doors and sharp-barbed wires.
My heartfelt clear message to the rest of my brothers
still detained in the corner of dark detention centres in Indonesia and across the world.
We will start flying in blue skies like free birds
I promise
We will outlive again.
(Balikpapan Detention, Indonesia)
On Freedom
“As I walked out the door toward the gate that would lead to my freedom, I knew if I did not leave my bitterness and hatred behind I would still be in prison” – Nelson Mandela.
This is one of my favourite quotes. From the first time I read it I resolved to bury forever my own hatred and bitterness about the dark days I have experienced in this prison. I understood that if I didn’t reject the pull of resentment, I’d never recover from the immense psychological damage I have suffered here. I promised myself not to dwell on the ways some of the people who were entrusted with our care here mistreated us.
Those in charge were the employees of a cruel system designed to kill the human spirit and destroy hope. They humiliated us in the worst ways possible. They killed our hopes of finding a safe shelter, confining us in disgraceful conditions that lacked even basic amenities, let alone educational and recreational facilities. We felt this was done to punish us for seeking safety and peace in their land. We refugees feared for our existence.
I will need enormous strength and tolerance to forget the people who kept me captive for years when I had committed no crime, but had come here only to live in peace. It would be easy to feel resentful that the years of my youth were ruined by being held in detention against my will, my quest for freedom ignored and ridiculed, my values as a human disrespected. I know that recovery may be a slow process, but I am determined to set aside everything which could negatively impact on my future life.
Today as I walk toward the big, tall metal door which has confined my life for years, I will leave my anger, bitterness, sad memories and hatred behind. I will bury them here. I will go and start a new chapter of my life.
Let me confess one important thing. Without the love and immense support of my family members around the globe, and especially without the love and constant support of refugee advocates, I could not have survived here. You all supported me and loved me and encouraged me when I needed it. And I will love you all forever.
4 July 2018
My sixth day of freedom. It’s still hard to believe that I am here, living in an open and clean environment, breathing the sweet fresh air of freedom.
I no longer wake to the predictable, dreary misery of the detention centre where I spent years of my life. There are no intimidating high fences around me, no more massive locked doors to confine me to my room. No Immigration security guards chase me when I walk in the street, freely, like an ordinary person. It feels wonderful to be able to step outside and go for a morning beach walk. I relish my freedom to walk uninterrupted down a broad street bordered on both sides by tall, beautiful green trees.
From the first day I arrived here, I’ve been overwhelmed by an unfamiliar feeling of happiness. The accommodation – an apartment on the top floor of a four-storey building – is very good. I have a comfortable bed and a quiet room. I’m sure I will live here happily for the time being.
However, I’ve decided it’s important to build up excellent, positive relationships with the Indonesian people living in the area. Although I can’t work, I intend to participate in community volunteering services, like environmental clean-up. I’m looking forward to learning more about Indonesian culture. I will respect the local people and treat them with friendliness, and I am 100% sure that my brothers in this community will do the same.
We are all determined to do everything possible to show the people here what refugees are really like, to counteract the distorted stories the guards and prison camp officers told the locals about us, stories designed to present us as a threat. By our words and actions, those of us who are free now will work to establish good relationships with people here so that they will see who we really are. Then they will understand our situation, and our need to live here in safety, with dignity and value.
To my brothers in prison camps, know that I can’t be spiritually happy and free until you are all free and safe.
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We are delighted to announce the winner and shortlisted writers for the inaugural 2019 Varuna Mascara Western Sydney Writers Fellowship which offers a one week, all expenses paid residency at Varuna, a publishing consultancy worth $800 & and a manuscript appraisal with Giramondo Press. This is an innovative and prestigious opportunity for a Western Sydney Writer currently working on a poetry, fiction, or creative non-fiction manuscript.
We would like to congratulate all the shortlisted writers; the manuscripts were of an excellent standard. As judges we considered quality and originality of writing. Our thanks to Varuna, the Writer’s House and Create NSW for this opportunity for Mascara to support excellent writing.
Shortlist
Jessie Tu “Field Notes on Language and Voicelessness”
Adele Dumont “Elsewhere”
Dave Drayton “The Poetranslator”
Shannon Anima “The Running Game”
Jessica Seaborn “Tommy Brewer”
Karina Ko lives in Sydney where she graduated in Law and in Arts. Her parents came from Hong Kong. She is working on a collection of short stories.
Judges Comments: We were impressed with Karina Ko’s original voice, tackling awkward, often political topics like class, ethnicity and queerness with a surreal and surprising imagination.
Program Details
The fellowship week at Varuna will be held in April 2019, with the exact date yet to be confirmed. The week will run from Monday to Monday and includes accommodation and full board.
The fellowship week will be with four other writers who are also on this program. There will be a half-day publishing workshop during that week with Mary Cunnane, who will talk about publishing, negotiating contracts, finding a publisher, the pros and cons of using an agent, what to expect throughout the process, and so on.
The Varuna Mascara Fellow receives an $800 budget to pay for a consultant for the writer. Varuna and Mascara Literary Review will identify the best match for this consultant/mentor relationship.
Applications were open from 1 August 2018 to 20 September 2018 and were judged by Michelle Hamadache and Michelle Cahill.
The fellowship also includes an optional manuscript appraisal by Giramondo Press.
Varuna and Mascara Literary Review expect to feature the winning writer in an event as part of the Varuna Blue Mountains Annual Writers’ Festival.


Debbie Lim was born in Sydney. Her poetry chapbook Beastly Eye was published by Vagabond Press (2012) Her poems have been widely anthologised, including regularly appearing in the Best Australian Poems series (Black Inc.). She was commended in the UK National Poetry Competition in 2013. In 2016 she moved with her family to southern Germany for 2 years where she started to translate from German into English.
The Blind Boy of Hameln
It’s been quiet since you left, but sometimes
it comes back: that fangled tune you played.
I remember how on a slow June day it crept
between church bells, beneath sunlight,
into the lonely chapel of my ear.
I don’t recall your jigsaw look (how could I?)
but felt the pleasurable dirt give way
to stones beneath my feet. Then the wind
whittled up and tossed away your song.
As usual, I fell back with the crows
at the edge of town. But if I had eyes to hear
I would have followed your stippled notes –
flowing and bidden (like a river, rats or children)
to that place erosion goes.
What it means to sleep
Every night this little death into which
we fall gladly, palms soft and open,
our bodies rolling into the abyss.
Later we might rise above the roofs,
hear the cold crowns of trees breathing,
and hover a while in the chill.
Some nights we barely make it to the ceiling;
gaze down on ourselves as warm artefact,
two victims of Pompeii. But mostly we hope
to lie undisturbed, fully gone from this world
till next morning, when we wake to find
our toenails grown long, our faces suddenly old.
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Dorothy Tse is the author of four short story collections in Chinese, including So Black and A Dictionary of Two Cities. Her collection, Snow and Shadow, translated by Nicky Harman, was long-listed for The University of Rochester’s 2015 Best Translated Book Award. A recipient of the Hong Kong Biennial Award for Chinese Literature and Taiwan’s Unitas New Fiction Writers’ Award, Tse is a co-founder of the Hong Kong literary magazine Fleurs de lettres. She currently teaches literature and writing at Hong Kong Baptist University.
The Door
translated by Natascha Bruce
By the time the men arrived, the sky was a swathe of bruise-dark purple, a red and blue concoction that seeped through the air like melting stage make-up. I leaned from a second-floor window and spied on them as they swaggered up the main street. They wore baggy, factory-issue windbreakers that puffed in the wind, like balloons ready to take flight. But when they reached the front door, their trapped shadows leaked away, leaving them more like deflated dolls.
They did not remove their shoes, which were caked in dust and mud. Instead, they marched straight inside, treading all over my wife’s well-swept floor and throwing themselves onto the sofa, and the chairs that circled the dining table (and, in one case, onto Lily’s wooden rocking horse), asking what I had to eat. I fetched a pear tart from the kitchen and, as I sliced through it with a wheel cutter, made sure to turn and watch them. Just as expected, they were immersed in their own gloomy worlds and failed to notice my wife’s masterpiece. I couldn’t help feeling sad for her, and her meticulous efforts; of course such a refined gesture was wasted, with guests as boorish as these.
My wife had made the tart the night before, kneading flour and water into a soft skin and pressing it into a circle, then laying on slices of pear in a spiral, working out from the centre. When she put it in the oven to cook, the crust rippled like waves and the pears glistened like molten gold.
‘There aren’t many moments in life as moving as this,’ I said to her, watching the transformation through the oven door. She was standing beside me and giggled behind her hand, elbowing me in the arm as though I’d made a joke.
The men devoured the tart in an instant, scraping down to the bottom of the dish and coming face-to-face with my pathetic reflection in its stainless-steel surface. I thought back to the last time my wife made one, and felt its lingering sweetness welling in my throat. She and Lily would probably be on the train by now, far outside the city. Now only the men were in the flat, with their chewing and belching, their periodic hearty slaps at something or the other, and their constantly jiggling legs. I moved to a far corner of the living room to escape them, sitting down on a low stool near the entrance to the kitchen.
I’d never been fond of these manly get-togethers. Inviting them over had been my wife’s idea. A few days holiday were coming up, and she’d put a hand over mine and asked about my plans. I had the idea of building a model castle with Lily (I’d bought a set and hidden it away under the bed). There was also a strip light in the kitchen that hung down at one end, and it was high time I fixed it. But my wife didn’t seem to be paying attention – she went to stretch out on the sofa, closed her eyes, and let out a soft, contented sigh.
‘The thing is, I’ve bought train tickets. I’ve decided to take Lily away for a couple of days, to a faraway guesthouse, and let you have a bit of freedom. Why don’t you invite your friends round?’
And, of course, those ‘friends’ she mentioned were the men I worked with in the furniture factory, fixing and inlaying wood. I didn’t have anybody else.
*
Several years before, in order to live with my wife in the city centre, I’d had to leave the little flat that I shared with my parents in District M, where we relied on one another for everything. At the time, Lily was still inside what I used to think of as my wife’s black aquarium. I would spread my fingers across her rounded belly, and feel the faint, rippling motions of a lonely aquatic creature. Perhaps another description could have been a train without a view? When I left, watching from the train as the icy night swallowed row upon row of squeezed-together houses, I suddenly realised that I didn’t recognise a single person in the fluorescent-lit carriage. My wife and I had known each other less than six months; she was fast asleep against the darkened window-glass, and her illuminated face took on the contours of a stranger, shaking with the rhythm of the train. I placed my hand on the high swell of her stomach and tried to imagine the child’s face, but Lily didn’t have a face yet, or a name. On public transport, nothing is more permitted than feeling like a stranger. I thought I’d miss the familiar people from back home, but the train entered a tunnel and my parents’ voices were crushed by the roar of the engine. Even I changed, turning into the flickers of light and shadow projected into the carriage from outside.
Starting a new life was easier than I imagined. I brought only one suitcase and moved into the flat where my wife had been living all along. Everything was already there. Light fixtures with cloth umbrella shades hung from the ceiling, casting a golden glow over the ripe peaches on the dining table. She had crocheted antimacassars, which extended like cobwebs along the length of her sofa, and there was a thriving tropical plant, grown to the same height as me. A coat pattern she was making spread across the work table in the living room (she dreamed of becoming a fashion designer, but had been drawing up patterns for other designers ever since art school). Pulling back the sunflower-print shower curtain and soaking in the tiny bathtub, I had the feeling that I’d become another part of the house. In her orderly space, I had come alive.
But after moving into my new home, I was much farther from the furniture factory, which was on the outskirts of District M. To get to work on time, I had to wake up at the crack of dawn, when even the dust motes were still asleep, and join the flow of commuters feeding into the sea of drab city faces. And once I became a regular passenger, there ceased to be anything charming about trains. In those years, the crush of passengers was rife with resentments, especially between locals and the many others who came from elsewhere. A good number of times, a muttered comment sparked an on-board fist fight. Nothing ever went quite so far as the poison gas attacks reported in other cities, but suspected bombs turned up at the station on more than one occasion. Eventually, they were all dismissed as pranks, but there were always a couple of skulls or shoulders trampled in the preceding panic.
On days off, I chose to stay at home as much as possible. I read, or fixed furniture, or simply stayed in bed with my wife until Lily pushed through our door, clutching her book of fairytales. She’d climb up and burrow her way in between our lazy bodies, demanding that we go through those crazy stories yet again: a mother who sold her own child to support her desperate craving for cabbage; a daughter who disguised herself in animal skins to escape the lascivious affections of her father; a blue-bearded monster who killed his wives and kept the corpses locked in a secret room.
Once in a while, I’d go with my wife to meet her friends and, to my surprise, did not dislike these gatherings. My wife refused to believe that I’d never really socialised before, because her friends always showered me with praise for my impeccable manners. She didn’t know it was precisely because I had no history in those situations – I didn’t have to act like ‘myself’, so I simply played the role of her husband.
My wife didn’t have the kind of girlfriends who were always heading out to the beauty salon or comparing latest shoe styles, but all sorts of people seemed to feel especially drawn to her. The building’s cleaning lady, for example, who was always taking her aside to share pieces of neighbourhood gossip. Or the man who came to fix the water pipes, who could recognise her from miles away and would wave enthusiastic greetings, even though he’d only been around once in months. Or the solitary old lady who used to sit out on the main street in her wheelchair, taking in the sun, still as a statue; at the sight of my wife, her head would dip and her fingers would suddenly spring to life, rapidly wheeling the chair towards her. My wife never told me what she heard, when she stooped down and pressed her ear to the old lady’s mouth. She’d just smile, firmly gripping the Chinese pear the lady had pressed into her hands. In the evening, once we were home, she’d slide its sweet, juicy flesh into my mouth like a secret, one slice at a time.
As for me, standing behind my wife, all I wanted was to make my presence as unobtrusive as a shadow. With a smile fixed to my face, I carefully remembered the names of all her friends, spoke very little, nodded at the appropriate moments and, every so often, made sure to place morsels of food in her bowl. In this way, it was easy enough to win everyone’s affection.
‘How come you don’t have friends of your own?’ my wife would ask me, and I never had an answer. I had my wife – and later, Lily – and because of my wife I had all her friends, in a way, and this was enough for me. But when she asked the question, my contentment made me doubly ashamed. I didn’t mind not having a social circle of my own. Wasn’t it just further proof that my reclusive character was unsuited for mainstream society? Before my marriage, in an attempt to keep up ‘appropriate’ levels of interaction, I sometimes dragged myself along to the staff socials organised by the factory, or joined my parents on low-cost outings with the local community centre. Afterwards, I was always exhausted, filled with shame and frustration at the thought of my chameleon-like facial expressions, and all the things I’d said but not meant. At the same time, I found it reassuring to have made the effort, as though I’d fulfilled a duty to act like a human being. Once I was married, I attached myself to the goodwill around my wife, like a cold shadow hitched to a warm human body, and found myself winning the approval of others without any struggle at all.
*
The men all lived near the factory, and to reach the city centre they had to endure the torture of the train ride. I’ve already explained what it was like – they liked to stress that, were it not for our great friendship, they would never put themselves through such torment on a day off. But I didn’t believe they would ever have let their dislike for the journey stand in their way. What they declared to be our ‘friendship’ could have been the reason, but there were other possible factors: the exciting buzz of the city, or the table laden with food that my wife prepared for every gathering, accompanied by an endless stream of beer. Perhaps even more to the point, they had bellies chock-full of complaints, and they needed to get far enough away from their own homes to vent in peace.
In the furniture factory, I never went near these men. I worked silently and alone, by a window with a view onto a line of cotton trees. If you walked deeper into the factory, passing through the angry sound of hammers banging against wood and steel, you’d see the irate, exhausted eyes of the men, turned a dull grey by the swirling sawdust. But now, enthusiastically recounting their misfortunes from the comforts of my home, their eyes emitted vivid beams of light. Sometimes, their faces would take on the expressions of dictators, lining up their personal tragedies like obedient citizens. Naturally, they would conclude that their wives were the eyes of every storm, or else their wives’ parents, or those foreigners who kept coming in to find work, or the tropical climate, or the pollen that filled the streets in springtime. If it hadn’t been for them, the men would have been bolder, and lived entirely different lives.
Listening to their endless, meandering talk, it was hard not to let my mind wander. I’d slip away down a little forked alley, walking further and further along, losing myself in my thoughts. In this sense, I had to be thankful for their boorish, oblivious natures, because it meant they were unlikely to notice that my attention was elsewhere. I suspected that even they ended up lost in their own chatter; lost in forests they had planted themselves. Then there’d be a few words that struck them like sharp stones, shocking them back to consciousness. Their faces flushed and their ears went hot, and they worked themselves into such aggressive, emotional states that I felt like a wild animal tamer, with a duty to calm them down. I’d keep their drinks topped up and bring more food from the kitchen.
On this occasion, I brought out the last of the comfort food: the chicken my wife had roasted the previous night. Such a beautiful bird, wings clamped tightly against its glistening body. Its head inclined slightly towards me, with its crest angrily sticking up. The eyes had been shut all morning, but somehow were now wide open and staring fixedly at me, as though sizing me up. I caught sight of my face reflected in the television screen; you couldn’t have called it a warm face, but I watched it crack into a winning smile. This was something I’d learned from experience: a facial expression is like any other domesticated life form, knowing when to nod and wag its tail, or when to burst out laughing.
I was surprised to see this same smile reciprocated on the men’s faces. Usually, they kept up an uninterrupted litany of grumbles and debates, only stopping after a string of reminders that the last train was due. That day, however, they lost interest in talking ahead of schedule, and had no appetite for the food left on the table. But they seemed to have no intention of leaving. I looked away from them, towards the door to the kitchen, thinking of the strip light hanging down at one end, wishing I could go in and fix it. But the men pinned me with their stares. Their silent smiles were like so many nails, keeping my buttocks tacked to my seat. Not knowing what to do, I turned to watch the sky changing colour through the window. At first, a big group of black jellyfish-like creatures seemed to be swimming through it, slowly devouring all other colours, but gradually I realised it was the other way around: the other colours were vomiting the black, and this was why it looked so mottled and fractious. And in front of that ominous roll of blackness, faces were pressing in on me, their hands reaching for my arms, clasping me in a brotherly embrace. One of them patted my back and said, ‘Don’t keep your feelings stuffed in your guts, how are things with the wife lately? If there’s something going on, you should tell us.’ Then he poured the second half of a bottle of beer into my glass, filling it to the brim, and cheerily told me that they weren’t leaving until I confessed the truth.
I took a sip of beer and, as the bubbles dissolved pleasurably in my mouth, wondered whether this was a rite of passage, and they were welcoming me as one of the guys. But all I could do was shake my head, because what could I tell them about my wife? That late every evening, once our kid was in bed, we huddled under the same sheet, tired but happy, discussing the menu for the next day’s dinner? That I liked to go food shopping in the market after work, examining the shape of an aubergine or an onion, contentedly imagining the delicious aroma once it arrived in her hands? That I would bury my head between her thighs and stick out my tongue, tasting her sweet, seaweed flavour? None of those things were suitable for sharing. Not because they were too private, but because they were too close to happiness. Pain and misfortune are the only gifts suitable for friends; only shared tragedy builds friendships. Perhaps because they’d had too much to drink, the men’s eyes glowed red and they encircled me like a pack of starving dogs, eager to gnaw on the bones of my hidden sadness. But what did I have to feed them?
*
There was nothing in my present life that I could really complain about. I couldn’t imagine doing any job other than working in the furniture factory. I loved the scents of the different kinds of wood, and how each had its own distinctive grain – to the point that, every time we shipped out a finished chair or bedframe or, most of all, big wooden farmer’s table, I felt a pang of regret. And my blissfully-happy marriage was surely some mysterious gift of fate, because until I was thirty-eight years old, I’d never even been in love.
It all started with the complimentary ticket to a Christmas party that came attached to my family’s new air conditioner, giving the address as a three-star hotel in the city centre. The moment my father solemnly pressed it into my hand, I knew there was no getting out of this assignment (we weren’t a well-off family and unexpected gifts were bright spots in our lives, certainly not things to be turned down). But when I stepped into the hotel ballroom, which was festooned with streamers and balloons, with my face freshly shaved, dressed in my only white shirt, I immediately regretted that I’d come. I walked into the crowd of men and women I’d never met before, and felt their chatter and laughter weighing against my chest, leaving me unable to breathe. I kept walking straight ahead, my eyes trained on the back of the room, where there was a row of long tables covered in white tablecloths. The tables were laden with all kinds of little delicacies – light glinted off the grease of flaky pastry rolls and the grooves of the fresh cream swirled on top of tiny cakes, and this was my salvation. I marched single-mindedly towards them and piled my plate high. Then, selecting an out-of-the-way corner, I settled into an unoccupied chair and promised myself that I could leave once I had eaten all my food.
I must have been too concentrated on the cakes, because until she whipped out a shiny silver fork, I didn’t notice my wife (although at that stage she was still just some unknown woman). She sat down in front of me and exclaimed: ‘This dessert’s all gone! You don’t mind if I have some of yours, do you?’
As though conducting a symphony, she held her shiny fork poised over the mini donuts on my plate (believe it or not, I’d taken two of every kind). I nodded immediately; I’m sure I blushed. She grinned, revealing a row of widely-spaced teeth. It thrilled me to discover that the gaps between her teeth were much bigger than other people’s; dark and mysterious, like tunnels waiting to be entered.
Her curtains were the gauzy, translucent kind that let light flood in, dispersing the last, muddled dreams of the early morning. I thought she was still in bed, but when I reached for her my fingers clutched at air. I staggered out of the bedroom, calling wildly through the unfamiliar flat, the events of the night before as uncertain as my footsteps. Back then, I didn’t even know her name. I followed the hallway, peering into another room, which led to another room, whose walls seemed to block the way to another. Confused, I walked back along the hall. The woman seemed to have vanished, until her face pressed against my shoulder, appearing as suddenly as a snake darting from a cave. ‘Where have you been hiding?’ I asked, and she smiled but said nothing, curling a hand round to pass me a cup of ink-black coffee and a mini donut dusted with icing sugar.
Her mini donut was much better than the ones in the hotel, just as she had promised. I still remember that morning, and the way we walked out onto the street hand in hand, mouths covered in icing sugar, inviting mockery from passers-by. But I had passed by the kitchen, and there had been no trace of cooking on the gleaming counter tops. I never said anything, but my wife’s ‘disappearance’ wasn’t a one-off occurrence; in her flat, the same thing happened again and again. Was there some kind of secret passage, where she could hide without making any sound? Any time I raised these kinds of questions, she would tap me lightly on the forehead and joke about my over-active imagination.
It’s true that it was just a small, two-bedroom flat. Walking out of the master bedroom, I was confronted by the gloomy hallway. The first room on the right was Lily’s – if I opened the door, I’d see her dolls and wooden building blocks strewn across the floor. To the left was the bathroom, and straight ahead was where we ate dinner every evening, which linked to the living room, which doubled as my wife’s studio. The kitchen was to the left of the living room, and at the back of the kitchen was a door. The door seemed like it must lead somewhere, but when I opened it, all I saw was a headless dressmaker’s mannequin, draped with a coat that hadn’t yet had its sleeves sewn on, a few boxes stuffed with my wife’s yarn and fabrics, stacked on top of one another, and some of her older projects. And if I shoved all this to one side, there was just a murky white wall, pressing in on me.
Before we married, my wife’s flat was like our private express train of snatched pleasures, and I never had the chance to explore it properly. She gave me a tour after I moved in – ‘This used to open out onto an illegal balcony with a view of the street,’ she told me, ‘but it had to be dismantled a few years ago.’ So why did she fail to mention the door? Later, while cleaning the flat, I discovered that, in the hallway, diagonally across from Lily’s room, there was another door; one that I’d never noticed before. It had always been concealed in the shadows, but with the light from Lily’s room spilling into the corridor, I could see its outline. Even in the light, it wasn’t an ordinary door. It looked as though it was afraid and trying to hide itself in the wall, like an enormous creature covered in camouflage. There was no handle and, no matter how I pushed, it wouldn’t budge. I gently stroked the surface, but it refused to respond. The gap between the door and doorframe was too narrow for my fingers to fit.
My wife shook her head when I mentioned it, asking what crazy thing I was talking about now. I brought her over to look but she played it down, saying it was probably just part of the decoration, because a door wouldn’t have anywhere to lead to. Did she think I was some kind of joke? She put her headphones back on, clearly in the middle of listening to something, and burst into hearty laughter. I stared at the black gaps between her teeth, now on full display, but had no way of guessing what they were hiding.
After Lily was born, I often carried her into the hallway and stood in front of the door, pointing at it, saying, ‘Look, Lily, don’t you want to go and play behind the door?’ I would take her hand and try to make her press it into the edges, but she always shook free and threw her arms around my neck, closing her eyes and burying her face in my shoulder. Once, I was firmer about it and forced her fingers into the crack, hoping they’d be able reach past the accumulated dust, but she wailed loudly, as though she’d touched something dangerous. She didn’t stop until my wife ran over, asking what had happened, brow furrowed with concern, and carried her away.
*
Perhaps my wife was right, and the door was just a figment of my imagination. Maybe it was a repeat of another door, one I’d seen in middle school. I had nothing to hide from my wife, but I’d never told her that, once, back then, you could almost have said that I fell in love (possibly, I hadn’t told her because I’d convinced myself I’d forgotten all about it).
Was it the very first day of middle school? I had arrived very early. Because of the sultry weather, or else my aversion to groups, I headed straight for a big, leafy acacia tree. I sat beneath it, enjoying the fresh breeze and imagining my face turning unrecognisable in the shadow, while listening attentively to the voices behind me.
Those two girls must have met before, because they exchanged nicknames and code words that only they could understand, excitedly sharing tales of their fathers being ‘pervy’ – they stretched out the word, making it peeeeervy, as though it had breath and feelings of its own. There was a pattern to their conversation: they took turns to give examples of ‘pervy’ behaviour, and then proceeded to assess it. For example, one girl would tell the other that when her father went downstairs to buy a paper, she’d seen him slipping porn magazines in between the pages. Then the other girl would talk about how her father always took the raised walkways to go home, so that he could ogle the breasts of women below. Sometimes, the fatherly wrongdoings were deemed suitable only for whispers and I couldn’t hear what was said, just the cackles of laughter that followed. After a while, I realised that for them the important thing wasn’t the content of what they were saying, but the exaggerated, mutually-affirming way in which they said it. It brought them closer together.
Once I worked this out, I lost interest and stopped listening. Surveying my surroundings, I saw that the playground had broken up into a series of little cliques. Even the new students had found companions, aside from a few loners who stood off to one side, emanating the wretched air of abandoned animals.
Of course, back then I thought that I was different. For some people, solitude is a choice; for others, it’s something life decides for them. I had actively rejected company, whereas those other students were flawed, and had been squeezed out and abandoned. There was a girl standing by herself, some distance from the other students, grinning in my direction, and I quickly determined that she was one such creature. I had nothing better to do, so looked back at her. A while later, I realised I couldn’t tear my eyes away, and the reason was the wide gaps between her teeth, which made me feel like I knew her. They reminded me of the street market and its row of grinning clowns, lips stretched back so that customers could shoot at their teeth.
When I was younger, there were a few boring streets in District M that would sometimes liven up at night. On the ground, or on makeshift tables, people would lay out random, messy assortments of cheap clothes, toys, household items, and electric appliances. These goods were dusty and dirty, leaving almost no doubt that they were second-hand, but most of the shoppers had no other choice. And thus, despite their sad appearances, the objects still glinted with a desperate kind of life.
For us kids, these rare transformations saw the streets turn into a fairground. A long queue always snaked from the entrance to the space shuttle ride, which charged two dollars to carry children two metres into the air and back again, and crowds clustered around a game of torturing goldfish with a little net. But I only ever had eyes for the wide, flat faces of the clowns. I had an insatiable passion for shooting at their teeth.
Repeated practice meant that my technique was honed to perfection, but even once I could easily have knocked out every single big clown tooth, I always made sure to leave one standing. My father used to accompany me to the market, and refused to let this go; he’d snatch the gun from my hands and shoot out that last tooth himself, winning me the toy bear jackpot but leaving me in tears. He didn’t understand that I couldn’t stand a completely empty mouth, but found a clown with only one tooth left hilarious.
I don’t know why the girl with gaps between her teeth looked at me with such affection, that first day of school. When the scratchy speaker-system voice started repeating orders for us to line up, the clown-girl followed me, and we walked together into the rank of students. Contrary to what I’d first thought, she wasn’t one of the abandoned creatures. As it turned out, she blended easily with all kinds of groups, and was welcomed by everyone. In my case, on the other hand, she was my only friend for the whole of junior high. Perhaps she thought I was the rejected one, and that was why she befriended me? The thought made me want to run away. But then, at lunchtime, when she invited me to sit with her on the old tyres on the school slope, and we traded side dishes from our lunch boxes, my resolve crumbled. And (I have to admit) when she laughed, showing those black gaps between her teeth, I felt indescribably happy.
After class one day, she suddenly asked whether I wanted to come over to hers. She said her mother had bought a lot of chocolate cake the day before, but there was only her at home and she couldn’t finish it by herself. It was the first time I’d ever been invited to a friend’s house. Embarrassed to tell my parents, I crept home to change my clothes, snuck a few pears out of the fridge and into a plastic bag, and then headed out.
The clown-girl lived on top of a hill, in a peaceful little neighbourhood that I’d never been to before, in what turned out to be a three-storey detached house. She came to the door and graciously accepted my bag of unappetising pears. Then, just like a grown-up, she brewed tea for me and served it in proper tea cups, and placed two slices of chocolate cake on two butterfly-patterned dessert plates. Usually, our interactions felt as natural as breathing, but that day, probably because of the unfamiliar surroundings, I felt awkward. For a long time, we sat side by side on the sofa. I was waiting for her to start eating her cake, so that I could follow suit, but she ignored all the refreshments in favour of meaningless chit-chat. I forget what we talked about; all I remember is that she was wearing a silk nightgown that she must have borrowed (stolen) from her mother’s wardrobe. Sitting beside her, every so often I’d glimpse the gentle swell of her still-growing breasts and, whenever she shifted position, feel the heat from her body waft against mine. I don’t know how much time passed before she announced that she was leaving for a bit, but we still hadn’t touched the cake. I watched her walk away and, for several seconds, was unable to react.
I looked up and realised that I was all alone in a spotlessly-clean living room. The ceiling was much higher than the one in my house, and the walls were covered in fragile glass and ceramics. To start with, I barely dared move for fear the house would rock and all those expensive-looking ornaments would come crashing down. But the girl was away a long time and, eventually, I couldn’t sit any longer and found myself walking out of the room. I passed through a room containing a piano and a collection of other musical instruments that I didn’t recognise, and then a room lined with what looked to be very serious books, and then another that was entirely empty aside from a red rug spread across the floor. And then I saw her, on the stairs to the second floor. I followed and remember very clearly that, when I reached the second floor, she was in a hallway not far from me, facing a wall. I called her name, but she didn’t answer. Instead, she vanished. I went to where she’d been standing, and discovered that it wasn’t a wall, it was a door, but there was no keyhole or handle to turn, just a thin seam where the door met the doorframe. I tried to shove it open, but it didn’t budge. Then I shouted for her again, but the house was silent. The door stood defiantly where it was. I gave it a couple of good, hard kicks, but it made no difference at all.
Disheartened, I went back downstairs. I wanted to return to the living room, but suddenly couldn’t remember where it was. I walked all over the house looking, and kept ending up in the room with the red rug. It was like being trapped inside a maze. When I finally made it to the living room, I was pouring with sweat. I went back to where I’d been sitting, and sat without moving a muscle, not daring to drink the tea or touch the cake. There was no clock, so I had no way of knowing how much time had passed, but the little flowers of hazelnut cream on the cake had collapsed, and the rays of sunlight hitting the wall had moved several inches closer to me. When the girl reappeared, I searched her face, convinced that something must have changed, but said nothing. She pointed to my belly and asked what was going on; I looked down, and saw that my trousers were tented like a mountain over my crotch, and my whole body was shaking.
*
I don’t quite know why, but that afternoon I found myself telling my boorish guests all about the door. Afterwards, they looked at me with excited, dream-filled eyes. ‘There’s no such thing as unsolvable!’ they said, telling me that the world’s greatest locksmith was among us.
Giving me no time to think it over or object, the men leapt from their seats. They were like frightened cockroaches, scuttling around the hidden crevices of the flat. The only one I could see was in the hallway, in front of my door (although it hardly qualified as mine). He pressed his nose against it, as if trying to detect its scent. He sniffed up and down all four sides, and then cocked his head and looked thoughtful. Not long after, another man came out of the kitchen with my toolbox. One man – and I have no idea when he’d gone out there – climbed in through the living room window. Another emerged from the bedroom I shared with my wife, hurriedly throwing something on the floor. Surely not the full-length nightgown my wife had been wearing the previous night? Yet another had found Lily’s toy wand and was waving it around. The man in front of the door clapped his hands to get everyone’s attention, and loudly proclaimed his assessment. Without a doubt, most of this speech was just for show, because he added a quiet line right at the end, about only being able to open the door if he had a very fine wire or some other little thing, like a hairpin.
By this stage, the men were gathered in front of the door. What was inside? I watched from a distance, undecided as to whether I wanted them to succeed (not, of course, that I had any real say in the matter). The door looked frailer than usual, like it was barely existing. One of the men poked a piece of very fine wire into the crack, and the door emitted a piercing shriek, as though it wasn’t a door being opened, but a living organism being sliced apart. The whole room broke out in goose pimples.
The door opened. The men were delighted; they lined up and marched single-file into that place I’d never managed to reach. When the last man had disappeared through the door, I was alone in the flat once again. But I was still sitting on my stool. Strangely, I felt no urge to go through the door myself, and instead just stayed where I was. A long while later, I finally walked over. Now the opening was right in front of me, but it was hard to summon the will to enter. The door seemed smaller than it was supposed to be, like it would be impossible to fit through without stooping. What’s more, I’d always assumed it was a standard rectangle, but now that I looked more carefully, it was actually a trapezoid, its sides slanted at bizarre angles. I contorted my body into different shapes, trying to barge my way in, but the door kept forcing me out.
I couldn’t work out how the men had done it. From what I remembered, they’d walked in quite naturally. I tried to shout into the door opening, but the moment my voice passed the doorframe it stopped, as though hitting a muffler. Gusts of icy wind kept blowing in from the other side. I tried to stick my head through, hoping to see something, but the view was blocked by some kind of internal structure (almost as though the door was growing on top of another door).
The mists parted, although I couldn’t say when, revealing a crescent moon like a razored eyebrow on an infinite expanse of face. There was beer spilled on the table, its bubbles all gone, glowing with a soporific blue light. Minutes ticked past and not a single man reemerged from the door. What had they found in there? I thought I could hear a distant shrieking. Would my wife and Lily be asleep by now? I was very tired, and somehow ended up passed out on the sofa.
When I woke up, the sun had restored some reality to the world, including to the roast chicken, which had been stripped of most of its meat. What remained was a wingless, legless, olive-shaped skeleton, with its eyes wearily closed. I went the door, and found it returned to its original state. I traced my fingers along the rim. It was shallow, like a door-shaped shadow, or an imitation of a door. I crooked a finger and rapped with my knuckle, and it made a low, husky noise, like a voice coming from deep in someone’s throat.
*
After the holiday, aside from her prominent suntan, my wife was the same wife she’d been a few days before, and my daughter the same daughter. I shook the box containing the model castle, and Lily shrieked with excitement outside the front door, immediately letting go of my wife’s hand and rushing inside. Without pausing to take off her shoes, she pounced on the box and began tearing it open. At the sight of the fragments of model castle scattered across the floor, my wife gave me a helpless smile, and then announced she’d bought some squid and a bottle of squid ink to make us squid ink risotto for dinner.
The light in the kitchen was fixed, making the plates and bowls in the drying rack sparkle, and my wife looked extremely pleased. At dinnertime, she served us each a plate of the risotto, and placed a big bowl of peach and rocket salad in the centre of the table. As we ate, our mouths turned jet-black. My wife winked, and said: ‘Pretty good to have a couple of days freedom, then?’ Was she hinting at something? I waved the question away, and asked her and Lily about their trip. They looked at one another and smiled but said nothing, as though, inside their inky lips, there was some secret they couldn’t tell me.
Lily lay on the floor by herself, stacking tiny building blocks one on top of the other, completely absorbed in her castle. While my wife was showering, I knelt beside her and whispered, ‘Won’t you tell Daddy what happened while you were away?’ She shook her head, still focused on the construction. I scooped her up and put her on my knees, pressing my face close to hers. ‘First answer your father’s question,’ I said, ‘then you can go back to playing.’ Lily pouted and burst into tears. My wife walked out of the bathroom and took Lily in her arms, kissing her and saying something into her ear, so that the child was all smiles again. How had she done that? She turned to look at me. I expected her to blame me for upsetting Lily, but she just grinned. I saw the gaps between her teeth, black as black, and couldn’t help feeling a stab of resentment.
That evening, I went into the bedroom without waiting for my wife. But before arriving there, I had to pass the unopenable door and, when I did so, I heard a faint breathing sound, like a cry for help.
I wasn’t sleepy, and lay on the bed with my hands behind my head. I thought of how, early the next morning, before the city was awake, I’d have to rejoin the mass of strangers squeezing onto the train. In a city teeming with resentments, who knew what setbacks lay in wait? And in the factory, the air swirling with sawdust, I knew I’d see those men, swaggering past me in their identical windbreakers. I’d lower my gaze and keep on with my work in silence, avoiding their reddened eyes. I loved my work. An advantage to being a carpenter was that you could immerse yourself in voiceless, wordless wood, and a whole day could pass without the need to exchange a single word with anyone.
My wife had not yet come to bed, and Lily had not yet come to kiss me goodnight. I couldn’t sleep, so I got up again. Walking out of the bedroom, I was confronted with the gloomy hallway. The first room on the right was Lily’s – if I opened the door, I’d see her dolls and wooden building blocks strewn across the floor. To the left was the bathroom, and straight ahead was where we ate dinner every evening, which linked to the living room, which doubled as my wife’s studio. The kitchen was to the left of the living room, and at the back of the kitchen was a door. The door seemed like it must lead somewhere, but there was just a murky white wall, pressing in on me. The house was extremely quiet, and I couldn’t find Lily or my wife; it was as though they’d faded into the air. I went back into the hallway and saw the frail door still hiding in the wall, although its outline was blurred. Sitting down with my back against it, I thought I could hear a faint sound coming from the other side. But it could have been the wind rattling a distant window blind, making it chatter like a row of teeth.
Natascha Bruce translates fiction from Chinese. Recent short story translations have appeared in Granta, Words Without Borders, Wasafiri and Asia Literary Review. She was joint-winner of the 2015 Bai Meigui translation competition and recipient of a 2017 PEN Presents translation award. Current book-length projects include Lonely Face by Yeng Pway Ngon (forthcoming from Balestier) and Lake Like A Mirror by Ho Sok Fong (forthcoming from Portobello). She lives in Hong Kong.
Zheng Xiaoqiong (郑小琼) was born in 1980 in Nanchong, Sichuan. In 2001 she left home to work in Dongguan, Guangdong, and began writing poetry. Her poems and essays have appeared in various literary journals, including Poetry (《诗刊》), Flower City (《花城》), and People’s Literature (《人民文学》). She has published over ten collections of poetry, including Women Workers, Jute Hill, Zheng Xiaoqiong Selected Poems, Thoroughbred Plant, Rose Manor. Her work has won numerous awards and been translated into many languages, including German, English, French, Korean, Japanese, Spanish, and Turkish.
郑小琼
黄昏的车头淅淅沥沥的呜咽着,青山隐于烟雾之外。京广线上的灯盏,庄稼的孕育着一个个俚语的村庄,它先行抵达铁轨的尽头。
溅着几千万民工的颤栗,溅着雨水的头,溅着那头不肯停落的雨滴。
树木,村舍,渐退的山坡,缓慢劳作的农人。幻觉的玻璃之外,退去了一条疲倦而污染哭泣的河流。
暮色从前方插入车厢内,黑暗从铁轨上的黑雨水间涌起。
我看对座的旅客,疲惫而辛酸,残滴着衣锦回乡的松脂,一滴一滴,清澈而苦涩,保持着雨水冲洗过的洁净。窗外,山河呜呜而过,穿过雨水的戳印,向北而行。
官僚们正把一块土地划成块状抵押给水泥,钢筋,化学制品,资本银行。断枝的树木与砍削半边的山岭是最后的赎金,它们的背后,一群失地的百姓像雨水一样哭泣。
看车,看雨水。
看呜呜而过的河流。
看斑斑驳驳的车厢,火车凶狠地鸣叫,
人世间,人们正像一群赌徒一样抵押着一切。
我把行程抵押给铁轨。把痛苦的生活抵押给虚无的理想。
词典里面,是一张从夏到民国的周期表。它们穿汉越唐,过宋经清,像我此行,经湖南,过贵州……缓慢的车是否抵达目的地。
雨水正下,村庄退后。像过去的时间,埋葬在火车行程间,不复再现。
Rainwater Illusions
The dusky locomotive sobbing drips and drops, among the murky mountains veiled beyond the smog. Passing by the lights on the Beijing-Guangzhou Track, by the villages of slang borne to crops, it reaches the end of the line first.
Splashing millions of shivering migrant workers, hitting their heads, the raindrops refuse to stop.
Trees, villages, retreating mountain slopes, slow toiling labourers. Outside the glass of illusions, weeps a weary, polluted river.
Night penetrates the carriage from the front. Between the tracks in the black rain darkness swells.
I look at the passengers sitting opposite, in their homecoming sartorial splendour, miserable, exhausted, dripping resinous sweat, drop by drop, clear and bitter, rain-washed.
Through the windows, mountains and rivers whistle past, through the stamping marks of rain, heading north.
Bureaucrats are carving up land as collateral for concrete, steel, chemicals, and capital. Trees with broken limbs and hills half hewn are the last ransom. Behind them, a crowd of commoners are raining tears.
Watching the train. Watching rainwater.
Watching the weeping river.
Watching the motley carriage. Hearing the train’s fierce shriek.
In this world, people are mortgaging everything like gamblers.
I’ve pledged my itinerary to the trainline, my painful life to illusory aspirations.
Inside the dictionary is a periodic table from Xia Dynasty to the Republic of China. Across Han, over Tang, onto Song, then Qing, my trip reaches Hunan, into Guizhou … Will the slow train ever arrive at its destination? Rain falling, villages retreating. Time past is buried in the journey of this train, never to be seen again.
入楚
山鬼隐于水泥地板庄稼的化学药品间,穿豹皮的勇士们就已去了城市之间,剩下那头金钱豹已尸骨无存,急剧退却的河流,菖蒲与艾草,一朵盛开的荷花隐于时间之中。
日月星辰,风雨雷电,春夏秋冬,云海苍穹正化着一支箭,越过沼泽井泉,田土宅厝,命中注定的鸟兽虫鱼们,花树藤蔓们,它偏执于相对安好的命运。
灶台鸡笼的神,育鬼育魅育妖精育花鼓腔调中的菩萨与亡灵。
一只苦闷的鸟深入湖泊的深处,它来自远古,有着兽样的面孔。
它沿着京广线漂泊着,出川入楚,她怀抱着原始的直觉,返回一只鸾鸟的原形。
旧世隔得太远,隔了几个轮回,剩下苍茫的记忆,在一棵苦楝树的枝杈间寻找人世与兽面的花纹。
入楚。她已似回到前生的眸间。
湘鬼或者傩女,在巫的气息里,人们对她的回忆已成为山,成为水,成为河,成为日常俚语。花烛燃烧她的脊柱。
天空飞来古代的鸟与记忆,八百里的湖泊干涸的滩头。
撒满白花花的时光,三吨重的传说入水。
原来是一只鸟,掠过。
她的翅膀入楚,入楚之穹庐,入楚之乾坤。
她白色的翅膀划过一道道巫的魂迹,在光的波澜间。
万物正呼吸,怀孕,育动,分娩。
入楚,她黑暗的记忆不断衔接着前世,返回那些完好无损的巫咒与傩语。
她尘世间隐匿着,隐匿了她数千年轮回的鸟翅,隐匿了她的兽面。剩下记忆不断在梦境中返回前世。
万山已入暮,惟有白雪喧哗着黑夜。
Reaching Chu
Mountain Ghost hides under the concrete floor, among chemicals and pesticides for crops, in the city left behind by warriors once clad in leopard skin, though the bones of the last leopard are long gone. Rivers retreat, and the calamus, and the wormwood. A lotus blooms inside time.
The sun, moon, and stars; the wind, rain, thunder and lightning; the four seasons, the seas of clouds and the infinite skies – all become an arrow. It flies across swamps and wells, meadows and houses, doomed birds, beasts, bugs, fishes, flowers, trees, and vines, aiming for a relatively peaceful destiny.
Goddess of stove and chicken coop, you give birth to the demons and spirits, and the Bodhisattvas and dead souls in folk song and dance.
A sullen bird flies deep into the lake. It comes from the past, with the face of a beast.
It drifts along the Beijing-Guangzhou Track, out of Chuan, into Chu. Bearing an original instinct, it returns to the phoenix form.
The Old World is too distant now, a few reincarnations removed. All that remain are indistinct memories, like the beastly and humanly patterns amid the branches of a chinaberry.
Reaching Chu, she has restored the gaze of her former life.
A sorceress or a witch, in the voodoo vapour, memories of her turned into mountains, rivers, colloquial vernacular. Candles burn up her vertebrae.
Ancient recollections fly from the sky, over the dry sandbanks of Dongting Lake.
Sprinkled with white time, a legend, three tons heavy, slides into water.
A bird, gliding.
Her white wings soar into Chu, into its firmament, its cosmos, sweeping over traces of sorcerous souls in the surf of light.
Everything is breathing, conceiving, burgeoning, birthing.
Reaching Chu, her dark memories reconnect with history, recovering the untouched spells and folk lingo.
Hiding in the mortal world, she’s shrouded her wings over a thousand lives and veiled her beastly face. Remnants of her memories linger in recurring dreams.
Ten thousand mountains sink into the night. Snow is the only noise, whitening the dark.
乔木
山冈的栎木站成猛兽,微小的积水敲落了楝果。
栲树的前生是明月,梓木梦见楚王与浮云,樟木从梦中脱身来到庭院。剩下山楂在岐路上点灯,照亮了故乡与谜语。秋天落地长出了桔梗,夏天的栗树林把时光隔成过去与未来,榆木的瘩哒是结实的今生,有枢木把眺望送到远方。
葛藤为你饱尝悲痛,去年正是樟木的另一侧
刺槐开花,松木在追悼着什么人,它们之间的关系就像我的一场梦。
有雨水降落葡萄架下,白杨树站在发亮的铁轨间,我梦见庄子与蝴蝶。
必须唤来周公为我解梦,昨夜我用一根桃木挡住汹涌的大海。
这是人间生活,从无到有,从人到人,剩下灰喜鹊在梨木上慢慢聚集,那些发亮的鸣叫着的喜鹊,像那些无知的时光,停了一下便飞走了,剩下一树白梨花开着,又谢了。
楠竹有着无尽的缠绵,它们的悲伤青碧着日日夜夜。安身立命的杉树林站在路上期待着什么,星辰与月色像黄叶一样,仿佛一条镜中的河流,它要找到归向大海的路程。
我等待一棵梧桐,繁华散尽,剩下我,原本是孤独的一只凤凰。
站在回忆间的枥木,它的面容变幻。
柏木站于墓穴,从石廊到曲径,稠密的银杏移来十月的光阴,银白的花开满了十三世的孤独,我做了十二轮树木,才轮回成今生的行人,我沉默了十二轮,积聚着太多的言语。
哦,这些与我一般沉默的乔木,它们看透了人世沧桑,它们是前世或者来生的我
如果,我与它们一样,站在此与彼之间。
平静地度着每一滴时光。
Trees
Oak on the hill rears into a beast. Dripping droplets knock down chinaberry’s fruit.
Beech’s former life was a bright moon. Catalpa dreams of King Chu and floating clouds. Camphor laurel frees itself from a dream and comes to the courtyard. Hawthorn, left behind, lights a lamp on the side road, illuminating hometown and riddles. Autumn falls to the ground and grows into bellflowers. Summer’s chestnut forest partitions between past and future. Elm’s knot is the solid here and now. Thorn-elm casts its longing into the distance.
Arrowroot has endured your sorrow. Last year was just the other side of camphor laurel.
Black locust blooms. Pine mourns someone. The relationship between them seems a dream of mine.
Rain descends beneath the grape trellis. White poplar stands between gleaming train tracks. I dream of Master Zhuang and butterfly.
Must call on the Duke of Zhou, the God of Dreams, to interpret for me: last night I used walnut wood to ward off a surging sea.
Such is a worldly life, from nothing to something, from mortal to mortal. The last magpies slowly gather on pear tree, shiny, chirping, like those innocent days, staying briefly before flying off, leaving a tree of white blossoms, which then fade.
Mao bamboos have endless sentimentality. Their grief turns the nights and days green. Fir forest by the road, established and settled, is waiting for something. The stars and the moon drift like yellow leaves, like a river in a mirror, looking for its way back to the sea.
I wait for a parasol tree. While the bustling has dispersed, I remain, formerly a lonely phoenix.
Hornbeam, unmoving between memories, its face everchanging.
Cypress stands at a grave. From stone verandas to winding paths, dense gingko trees transport October’s light and shadow. Their silver flowers bloom thirteen lives’ solitude. I was a tree for twelve lives before becoming this traveller. I was silent for twelve rounds, and amassed too many words.
O, trees silent like me, have seen through life’s vicissitudes. They are my former or future selves,
If I could stand like them, between here and there,
Peacefully passing each moment.
旧堂
月光很白,三株腊梅开放院上。青石板上,唐朝檐滴,点点落于宋代的雕龙
星大如斗,照着明代的溪流,长流不息的草木,年年盛开,年年凋零,红尘里往事。落魄的书生读着清代的八股文。
有鱼跃出,有鸟长鸣,有花开放,老虎出没村头的山冈。
有人谈论嘉庆年间的往事,乾隆皇帝三下江南,有人坐在庭院的槐树下谈论收成,因果报应的鬼神,时光怀着忧伤,清晨在鸡冠花上凝成露滴,夜晚在星座的疼痛间彷徨。
男人们抽着旱烟,种五谷蔬粮,桃花开得艳,有人落发为僧。
女人们纺着纱线,织绸缎锦绣,鹧鸪叫得伤,落红沉默千里。
他骑毛驴,进京城,读四书五经,论语楚骚,读朝代更换,帝王君臣。经书里的人生开始变瘦,瘦成毛驴里的一根肋骨,瘦成古驿道里杉树林的一阵风。
他骑着黄河与长江,骑着秋风与夕阳,骑着满树的枯枝与愁肠。
他骑着一轮浅浅的海峡,骑着东风无常的人生。
人们在戏台上虚拟着欢乐和喜欢,善恶轮回。
它倒了,倒在一场积雪的冷中。
我坐在荒草径间,看落日心怀黯然,岁月滚滚而去。
槐树依旧茂盛,椿树依旧开花,燕子依旧回来,筑巢旧梁。
Old Manor
Under white moonlight, three ice laurels flower in the courtyard. Upon the bluestone slate, Tang Dynasty roofs drip onto Song carved dragons.
Giant stars illuminate Ming rivulets. The everlasting flora flourish and fade like history in red dust. A shabby scholar is reading Qing octopartite essays.
Fish jump, birds sing, flowers bloom, tiger roams the village hills.
Some discuss the past in the Jiaqing Era, and recount Emperor Qianlong’s three visits down the South Bank. Some sit under the pagoda tree in the courtyard, speaking of the harvest and the ghosts and spirits of karma. Time, laden with sadness, condenses into dewdrops on the celosia at dawn, and at night shuffles among the agonised constellations.
Men smoke tobacco and plant crops and vegetables. Peach flowers open bright. Shaved hair falls at ordination.
Women are spinning yarn, weaving satin splendid. Partridges cry mournfully, and the thousand miles of fallen red remain silent.
He rode a donkey, arrived at the capital, read Four Books Five Classics and Chu Songs, studied dynasties, emperors, kings and their courts. Life in the scriptures began to shrink, thin as the donkey’s rib, thin as the gusty wind on the ancient trade road through the fir forest.
Riding the Yellow River and the Long River, riding autumn wind and setting sun, riding trees of dry branches and sorrow.
He rode a shallow strait, a life of capricious easterly wind.
On the theatre stage, people simulate joy and love, good and evil.
It’s collapsed, down in the cold of the snow.
I sit on the forlorn path, watching sunset in dejection, watching time rolling by.
The pagoda tree is still lush. The red toon still blooms. The swallows return to nest on the old beam.
Isabelle Li is a Chinese Australian writer and translator. She has published in various anthologies and literary journals, including The Best Australian Stories, Southerly, and World Literature in China. Her collection of short stories, A Chinese Affair, was published by Margaret River Press in 2016.
Luo Lingyuan was born in 1963 and is a German-Chinese writer. After studying Journalism and Computer Science in Shanghai, she has lived in Berlin since 1990 and published works in German and Chinese including four novels, two short story collections and numerous pieces in literary journals. In 2007 her short story collection Du Fliegst für Meinen Sohn aus dem Fünften Stock [You Fly for My Son from the Fifth Floor] received an Adelbert-von-Chamisso Advancement Award, a prize awarded to works written in German, dealing with ‘cultural change‘. In 2017 she was Writer in Residence in Erfurt.
Photograph: Dirk Skiba
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Empty Chairs
by Liu Xia. Translated from the Chinese by Ming Di and Jennifer Stern; Introduction by Liao Yiwu; Foreword by Herta Müller
ISBN 978-1-5559772-5-2
Reviewed by RAVI SHANKAR
On April 1st, 2018—that rare conjunction of Easter Sunday with April Fool’s day in the West—Chinese painter, photographer and poet Liu Xia celebrated her 57th birthday as she has every single year since 2010: under house arrest. Better known as the wife of the late Liu Xiaobo, the dissident Chinese academic who was jailed for the last years of his life after co-authoring Charter 08 (that seminal manifesto meant to emulate Czechoslovakia’s Charter 77 by making a public case for
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Mary Jean Chan is a poet and editor from Hong Kong who currently lives in London. She was shortlisted for the 2017 Forward Prize for Best Single Poem (UK), and came Second in the 2017 National Poetry Competition. Her debut pamphlet, A Hurry of English, was published in 2018 by ignitionpress (Oxford Brookes Poetry Centre), and was recently selected as the 2018 Poetry Book Society Summer Pamphlet Choice. Mary Jean is a Ledbury Emerging Poetry Critic and an editor of Oxford Poetry. Her debut collection will be published by Faber & Faber in 2019.
Cantonese
Spark of wind, gust of neon. The evening swells with the clamour
of voices. A dialect does not recognize the written word, exists if
uttered aloud, sleeps like an emaciated dog when abandoned, tail
wrapped around itself for comfort. That is what my Cantonese is,
a stray canine: I’ll admit – one I care for sporadically. Whenever
mother calls me on the phone and we speak, the dog is brought in.
come home to this body, this unhomeliness
as portrait / sourdough / bitter gourd
like a uniform / a chest-guard / a mask
called girl / boy / anything your mother wants
masquerades
under a pile of laundry / your own shadow / a sudden mourning
having failed your mother / your lover / to be its true self
where we are meant to survive / my birthmark lingers / joy is more than a crumb
Last Words from Montmartre
by Qiu Miaojin,
translated by Ari Larissa Heinrich,
New York Review Books,
New York 2014
ISBN 9781590177259
Notes of a Crocodile
by Qiu Miaojin,
translated by Bonnie Huie,
New York Review Books,
New York 2017.
ISBN 9781681370767
Reviewed by NICHOLAS JOSE
Last Words from Montmartre begins with an epigraph from the Brazilian writer Clarice Lispector (1922-77) that refers to a moment in life when youth transitions into adulthood by relinquishing happiness in favour of something less compromising: ‘an unsettled exaltation that had so often been confused with an unsustainable elation’. Such a state is hard to know and harder to live with. The discovery that ‘one could even live without happiness’ occurs in a story by Lispector called ‘Love’. Qiu Miaojin’s second and final book likewise expresses an emotional ultimate—unconditional, unendurable—that admits no alternative and allows no going back.
Last Words from Montmartre takes the form of twenty letters that can be read in random order, with brief witness statements before and after. They are written in extremis, about love, desire, sex, relationship, betrayal, attachment and detachment. They are sharply observant, insightful, scratchy and desperate, with that ‘unsettled exaltation’ written into every sentence, even unto death. Published in Taiwan in 1996, the work might be considered the last epistolary novel, created not long before email and social media would make the exchange of hand-written letters a thing of the past. You can imagine the envelopes travelling by air from Paris to Taipei, addressed in calligraphic full-form Chinese characters. Written in Chinese in the original, Last Words is translated into English with a matching, etched intensity by Ari Larissa Heinrich. If this is translation, it is an act of love too, for a genius who expressed herself and left. It reflects, Heinrich tells us in a fine afterword, an encounter that might have happened in life in either city, but didn’t. It happens through language now, two decades after Qiu’s final testament first appeared, published after her suicide in France at the age of twenty-six.
If the mid-1990s was Qiu Miaojin’s time, her moment has come round again: 2017 sees the publication of her earlier novel, Notes of a Crocodile (1994), for the first time in English, translated by Bonnie Huie, joining Heinrich’s translation of Last Words from Montmartre in the NYRB list of classic reprints, among few books by Chinese or indeed Asian authors. As Taiwan moves to legalise same-sex marriage, ahead of other Asian countries in doing so, Qiu Miaojin has become a LGBTIQ icon. That’s one reason for reading her. She is a Taiwanese literary icon, a figure of the transformations (personal, political, creative) that have marked Taiwan since the end of martial law in 1987, and she is a feminist icon, writing a script for an alternative Chineseness, outside patriarchy. These too are reasons for reading her.
Born in Taiwan in 1969, Qiu Miaojin (Chiu Miao-chin) studied psychology at National Taiwan University and the University of Paris VIII. Her first book, Notes of a Crocodile, is a campus novel set in Taipei between 1988 and 1991. It charts the narrator’s emerging lesbian identity through shifting relationships with women and men, recounted with insouciance and anguish: ‘fragments from the first semester of sophomore year’ is how the narrator, nicknamed Lazi (laduzi=diarrhoea), refers to one of the eight notebooks that make up the novel. Notes of a Crocodile might also be a how-to book for creative writing students with its vivid invention, variety of cultural reference (from the ancient Chinese Book of Songs to Haruki Murakami’s Norwegian Wood), verve and wealth of quotable aphorisms. It starts with writing:
Locked the door. Shut the windows. Took the phone off the hook and sat down. And that’s how I wrote. I wrote until I was exhausted, smoked two cigarettes, and went into the bathroom and took a cold shower. Outside were the torrential winds and the typhoon season. … Then a sudden clatter, as if the power-station had been rocked by an explosion. I was enveloped in pitch-dark silence. The power had gone out. Nobody else was around, so I ran out of the bathroom completely naked … I threw open the balcony door and stepped outside to cool off. I hoped to catch a glimpse of other kindred souls standing naked out on their own balconies. That’s how it is, writing a serious literary work. (5-6)
Then crocodiles start to appear, walking into shops wearing mink coats, taking baths. Are they disguised humans, or are some humans in fact crocodiles? What’s under their skin? What’s going on? This zany satire catches some of the peculiarities of Taiwan, a country that isn’t permitted to be a country because of China’s claims to it, but where localist and independence movements have grown strong: ‘In the past several years, a great deal of importance has been attached to the issue of crocodiles and their existence. However, each and every citizen … must agree to maintain confidentiality in the event that the domestic crocodile situation reaches a critical state, as we as a nation could very well find ourselves shunned by the international community…. Or perhaps our land may become a void on the world map….’ (81) Taiwan was in transition at the time Qiu wrote Notes of a Crocodile. Her characters face transition too, experimenting with ‘post-gender relations’, confronting non-existence, where opposites combine impossibly and happiness can only be transient: of her lover, the narrator writes, ‘My salvation—Shui Ling—was as short-lived as a rainbow.’ (123). The book is tender, sentimental, strung-out and brave. It is set, as we are repeatedly reminded, in 1989, at the same time as across the Taiwan Strait in Beijing another young generation was hitting a wall of state violence in response to agitation for change, for liberation. It is intriguing that among Qiu’s admirers today is Wang Dan, one of the student leaders at Tiananmen in 1989. He is quoted as saying that he ‘felt a secret intimacy with Qiu Miaojin from the first page’. (157).
By 2016, Taiwan would have a female President in Tsai Ing-wen, elected leading the pro-independence Democratic Progressive Party—a single woman, as her enemies in Beijing insinuate with incredulity. But in 1989 in Taiwan the way had not yet been found, as Qiu’s affecting novel reminds us: ‘Our desires guided us down a fogbound road marked by one sign or another…. Then a right turn onto a one-way street led to a detour in unchartered territory….’ (142) How a new discourse of sexuality and queer self-making emerged in public spaces in Taiwan in the 1990s as part of a movement for political and social change is explored with clarity and nuance by Fran Martin in her landmark book, Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture (2003). ‘Modernity in Taiwan is defined more by rupture and disjuncture than by any universal or unifying qualities’, she writes (11). Her chapter on Qiu’s work situates it in the context of Taiwan at the time, explaining how ‘the lesbian xianshen [coming out] effected by The Crocodile’s Journal [Notes of a Crocodile] accrues its meaning from its positioning as a resistant response to a specific and local representational regime’ (235). Martin concludes that:
At the close of the twentieth century, the combined effects of Taiwan’s colonial histories and its contemporary positioning within accelerating transnational circuits of knowledge and capital produced a situation in which an array of discontinuous discourses on sexuality coexisted in a radically heterogeneous discursive field. (249)
While not necessarily paradigmatic, Taiwan was a harbinger of defining millennial concerns, of which Qiu Miaojin is a concentrated expression.
I worked on an exhibition of contemporary Taiwanese art for the Museum of Contemporary Art, Sydney, in 1995. I picked up on some of this emergent energy when I wrote of Huang Chin-ho’s work ‘Fire’, 1991-92, ‘he exposes the hybrids of a crossover society, pumped-up beasts in bikinis, robots with dictator faces, transsexual, hermaphroditic party animals all crossdressed-up with no place to go … human existence in which the world of spirits hovers, perhaps trapped, within the fiery, brightly coloured world of passion and mortality’ (ART TAIWAN, 1995, 16). I would have understood better if Qiu’s work had been available to me at the time. One of the significant works selected for the show was ‘Silent picture’, 1992, by Chen Hui-chiao, the female artist who co-founded the artist space IT Park. It consists of hundreds of needles piercing a blank ground, their shining threads curving and tangled in aesthetic, introverted pain. I recognise it now in a phrase from Notes of a Crocodile: ‘Her despair was her beauty’ (195).
After she moves from Taipei to Paris in 1994, Qiu Miaojin declares her literary ambition in the strongest terms. ‘My goal is to experience the depths of life,’ writes Zoë, her narrator, ‘to understand people and how they live, and to express this through my art. All my other accomplishments mean nothing to me. If I can only create a masterpiece that achieves the goal I’ve fixed my inward gaze upon during my creative journey, my life will not have been wasted.’ Other young writers have felt same, but Qiu’s singularity combines with a universality beyond self that distinguishes her. Her concentration on her art is akin to the devoted practice of an adept in quest of enlightenment: ‘a crystal-clear perception of what’s real’. In that sense this art is anti-art, eschewing artifice: sentences break off, pronouns shift, characters morph, popular song lyrics and cute fantasies interleave with radical critique. The emotional switchback is a torment as well as a tease, allowing disregard and fracture. The influences are from experimental film as much as literature, from Tarkovsky and Angelopoulos. And yet Last Words from Montmartre is a novel too, breathing situations, scenes, drama and narrative detail, and managed by an intelligence that lives on nerve endings and gets it down in words. ‘Oh … if one were to call this book an unintelligible collection of hieroglyphics with no words and a plot that had long since disappeared, one would be right,’ the narrator speculates ironically, knowing the risk and the pay-off in reckoning with her impossible subject: ‘”Love” is the experience of this whole, its unfinished parts, including those of one’s own in relation to those of the other.’ In its derangement, diffusion and obsessive focus on self/not-self, the book approaches a truth of being.
Qiu was a student in Paris as she was writing Last Words from Montmartre. As she learns enough French to follow her teacher, Hélène Cixous, she absorbs a new literary heritage. Cixous’s écriture féminine encapsulated tradition in its critique, from the Francophone dialogic legacies of philosophes such as Diderot (in Rameau’s Nephew) and Madame de Stael, through to modern precursors of transgressive autobiographical writing including Proust, Gide, Genet, Duras and Yourcenar, and in English Woolf and Plath, and further afield perhaps the Argentinian Julio Cortázar, who wrote Hopscotch (Rayuela, 1963) in Paris, a novel with numbered chapters that can be followed in multiple sequences. Cixous was herself discovering Lispector at the time. Radical procedures were needed to forge emancipatory creative expression, including for cinema. This was a jumping-off point for Qiu, with seemingly little of it coming from her own culture in its standard form. Yet here she is at her most fascinating and powerful as she gathers it all up, all this advanced work in the languages of Europe, and re-creates it even more radically in Chinese. In cognitive rupture and a dissolving of binaries, she connects with deep subversive/transcendent capacities in Chinese language and thought. It’s as if it’s just parochial until she converts it into her larger reality. She has to become the teacher herself.
In an essay in A New Literary History of Modern China, edited by David Der-wei Wang (2017), Ari Larissa Heinrich calls Last Words a ‘lesbian I Ching’. It’s a neat phrase. The cosmology of I Ching (Yijing), The Book of Change, is based on yin and yang, concepts which can be understood in gendered terms as female and male. I Ching is a text to interact with, to question through divination with sticks or coins. It allows no position outside its ebbs and flows, its creative and destructive energies. It exists only in the occasion of being consulted—another ‘unintelligible collection of hieroglyphics with no words’. Yet it is at the root of Chinese thought, setting out the dynamics of body and mind, matter and spirit, human being and social embeddedness. This is what Qiu writes about in those troubled letters to Xu and Yong, the two women to whom her character Zoë is most bound. She does so in a Chinese tradition of revelatory, intimate fiction, formally fluid and indirect, with eros as a central energy. The late Qing dynasty memoir Six Chapters of a Floating Life by Shen Fu is just one precursor, where lesbian desire powers the narrative as a mystery at its core. Last Words is written in a similar vein.
Is it erotic writing? Of course, provided the erotic is understood to couple joyous, unflinching recognition of carnality, vividly depicted, with the questioning of existence that comes with the severest pain, meditated on rather than turned away from. Eros, the ‘bittersweet’, to use the description that Anne Carson takes from Sappho, is as philosophically demanding as it is rapturous and rhapsodic: ‘Here is contradiction and perhaps paradox,’ Carson writes. ‘To perceive this eros can split the mind in two. … Each crisis calls for decision and action, but decision is impossible and action a paradox when eros stirs the senses.’ (Eros the Bittersweet, 1998, pp.3, 8) It’s the condition that Qiu explores, always excessive, never stable, constantly in a state of arousal that as quickly deflates, comic in that way as well as tragic. It is an ultimate human experience, available, fully blown, to a young Taiwanese woman who comes to Paris in the mid-1990s with piercing psychological insights and a gift for writing:
When her own body reached a certain degree of arousal she’d bore into me like a small snake and slide swiftly into the mouth of my groin …. She knew what rhythm to follow and when to enter my cunt, to brush against all those obscure curves, the creased cliffs, the canals, climbing the steep slope of arousal and suddenly planting a crimson flag there. The Virgin Mother of burgeoning flowers reproducing asexually and gushing forth in clusters from the slender internal palace….
That ‘internal palace’ is a deeper interiority, a possibility of infinitude, for a long moment, a site of eternity, beyond which is non-existence.
What I’ve wanted most in this life is this level of intimacy: to be able to form the deepest creative connection with another human being. And I’ve attained it. I’ve achieved inner happiness. But if I were to actually send you these letters of my pure openness, of my truest values, I would just be hurt all over again….
And that is the paradox of writing. For the writer, at this highest erotic pitch, the writing becomes a lover of another kind, more demanding perhaps, more secret, truer. Erotic writing moves from carnality to abstraction, aware of the loss while recognising it as necessary for artistic survival. Finally Zoë writes to Xu: ‘I can’t face speaking to you. I can’t be myself. I’m sorry I have to write in this circular and torturously convoluted way.’ But that is what she does. It hurts. It is isolating. And it becomes this unique, mesmerising masterpiece that the author knows she has inside her, at the cost of everything.
*
I remember when I was first introduced to Clarice Lispector. It was in the dark streets of Surry Hills in those same mid-1990s when Qiu Miaojin was gestating Last Words from Montmartre in Paris. I say ‘dark streets’ because that part of Sydney has never been very well lit. The houses were built of dark materials; the street lights were dim; unruly trees and thickly painted iron lace got in the way of illumination; the places where we ate had narrow interiors and didn’t give much away to passers-by. The streets weren’t wide either and were cut off or cut through. But it appealed, as Montmartre might appeal. The person who excited me about Lispector was an Italian academic friend who was visiting from Rome. She had probably come to Lispector by way of Cixous, unless there was a more direct flow between the Lusophone Brazilian writer and Italian feminists via the actions of the Milan Women’s Bookstore in the 1980s. I mentioned Lispector to a Sydney friend of mine, a literary scholar who was happy to place her alongside Elizabeth Riley, whose All That False Instruction she had just come across. Elizabeth Riley is the pseudonym of Kerryn Higgs and her coming of age novel, then billed as a ‘Novel of Lesbian Love’, later a feminist classic, is sometimes called the first Australian lesbian fiction. It was published in 1975, two years before Lispector’s early death in faraway Brazil.
Firsts are funny things. It can mean the first book you read consciously in a certain category. For that reason I see Beverley Farmer’s superb first novel Alone, published by Sisters in 1980, as prior to Elizabeth Riley’s book because it came to the surface for me earlier than All That False Instruction. Alone had been written ten years before, and was set even earlier, in 1959. It is a book to honour, painful, courageous, moving, as we commemorate Farmer’s life and work in this year of her passing,
All That False Instruction is a terrific book too, valuable for its depiction of coming of age in the stifling and censorious Australia of an earlier time, a novel of self-fashioning and survival. Its social analysis is astute, and Maureen, the protagonist, has a great sense of humour and, finally, a resilient sense of herself in the world. ‘A hard road, but familiar’ (196), is how life presents itself to her. On that basis she can conceive a future: ‘I stood in the warm night street, gathering my strength, and hoped for the best.’ (247) For her the ‘good fit’ she achieves with the woman she loves is what it is. It is appreciated and left behind. For Lazi, by contrast, in Notes of a Crocodile, the ‘perfect fit’ is achievable in writing. Relationship can only be a source of contradiction, causing ‘unceasing tremors of all kinds—tremors of love, tremors of desire, tremors of hate, tremors of pain’ to coalesce inside her. (228) Where the world of the Australian novel is solid, if changing, Qiu Miaojin writes from the endless flow of Chinese cosmology. ‘The only way I can deal with you is by making you fully comprehend the kind of “landscape” you have carved into my heart’, her narrator says (Last Words, 42).
Long loops of language and vagaries of translation enable many of our most memorable literary experiences, generationally, geographically, as signed-up members of mobile reading communities who are always on the look-out for the next thing, for us in particular, exchanging them as tokens of friendship and affinity. As we do so, we give those authors a continuing life, even when their non-writing lives can be so sad. That’s what I want to do for Qiu Miaojin in this essay, more than twenty years after her death. Let me conclude by quoting one of the oldest, most quoted of all Chinese poems, from the Book of Songs (5th century BCE):
In life or in death, however separated
We pledged our word to our wives
We held hands
We would grow old together.
Shen Fu echoes these lines in Six Chapters of a Floating Life, the memoir in shuffled fragments that was not published until after his death. The poem, quoted here in Ari Larissa Heinrich’s translation, forms the whole of Letter Eighteen in Last Words from Montmartre. It is head-noted ‘(The period of tender love: Xu is in Taiwan, Zoë is in Taiwan.)’, when there is no separation. There are those four lines and no more. Blank space has never been more bittersweet.
NICHOLAS JOSE has published seven novels, including Paper Nautilus (1987), The Red Thread (2000) and Original Face (2005), three collections of short stories, Black Sheep: Journey to Borroloola (a memoir), and essays, mostly on Australian and Asian culture. He was Cultural Counsellor at the Australian Embassy Beijing, 1987-90 and Visiting Chair of Australian Studies at Harvard University, 2009-10. He is Professor of English and Creative Writing at The University of Adelaide, where he is a member of the J M Coetzee Centre for Creative Practice.
The Stolen Bicycle
by Wu Ming-Yi,
Translated by Darryl Sterk
ISBN: 9781925498554.
Text Publishing 2017.
Reviewed by CHRISTINE SUN
Award-winning novelist Wu Ming-Yi is perhaps the only Taiwanese author ever invited to the Melbourne Writers Festival (MWF) in the past two decades. It seems easy to forget the island democracy ever exists, for any attempt to recognise Taiwan as an independent, sovereign state is frowned upon and accused as “interference in China’s domestic affairs” by Beijing. Worse, as the world becomes increasingly wary of China’s political and economic dominance, it is often the oppression faced by Chinese and even Hong Kong authors that draws attention from international literary festivals. “No news is good news” is the consensus about Taiwan, where approximately 40,000 titles are freely released by more than 100 publishers every year.
Hence it is difficult for Taiwanese authors to emerge on the world stage without any political, cultural and even ethnical reference to China. In Australia, for example, Chinese authors Sheng Keyi and Murong Xuecun received much coverage as they discussed censorship and the “potentially dangerous undercurrents in China” in Griffith Review and during the MWF, the Brisbane Writers Festival and the Festival of Dangerous Ideas in 2015.[1] In contrast, media professionals, critics and reviewers only had Wu’s literary merits to rely on when featuring his appearances in Melbourne and at the University of Sydney in 2017. In the words of Readings: “[Wu’s] work, noted for its depth, complexity and vividly observed natural detail, has been compared to that of distinguished writers as diverse as Margaret Atwood, Haruki Murakami, W.G. Sebald, David Mitchell and Yann Martel.”[2]
But what does it all mean, exactly? Especially when anglophone readers have long been swamped and spoiled by China-related literary themes such as oppression of universal human rights, inequality and violence against women, individual struggles for freedom and independence, and trauma caused by political and social turmoil such as the Cultural Revolution and Tiananmen Square Massacre? It seems fair to suggest anyone intending to understand contemporary Taiwanese literature within a “Chinese” framework will meet a dead end. The “One China” policy is doomed when it comes to literature, always the best indicator to a nation’s psyche, for 70 percent of people in Taiwan under the age of 40 – and 78 percent of people aged 29 or younger – now hold an exclusively Taiwanese identity. That is a sharp contrast to survey results in 1991, when one-fourth of Taiwan’s residents identified themselves exclusively as “Chinese” and nearly half claimed to be “both Taiwanese and Chinese”.[3]
More importantly, Taiwan, like many other countries around the world, boasts an ethnically, culturally and linguistically diverse society. The island’s turbulent past – first inhabited by the Austronesian Peoples and then invaded by Dutch and Spanish forces, before being colonised by China and Japan – adds much complexity to its status as a strategically important gateway to Asia. While Chinese migrants arriving since the mid-16th century laid the foundation of modern Taiwanese history, there is no denial that Taiwan’s indigenous peoples and the Japanese occupation made important contribution to the formation of what is known today as the Taiwanese identity. Rich in conflict, reconciliation and determined pursuit of peace, it is an identity burdened with loss yet blessed by perpetual intellectual and emotional struggle for harmony.
This Taiwanese identity, with the passing and re-discovery of many precious memories, is carefully, confidently and compassionately explored in Wu’s The Stolen Bicycle. As the first-person narrator “I” searches for his missing father’s stolen bicycle, he starts collecting similar man-powered two-wheelers that were once an essential part of ordinary Taiwanese trade and transport under Japan’s rule. In the process of researching and tracking down the missing parts, repairing the damaged “iron horses” and restoring their former functionality, he is also piecing together the history of his family and that of Taiwan’s war-torn generations. In the same way that the value of daily objects derives from their being constantly and continuously used, the past lives on as long as we remember it.
And what a scarred and sorrowful past Wu has given us via his vivid and veracious representation of the Second World War’s legacy on the Taiwanese people. Yet a strange sense of peace lingers as each of the characters finds fulfilment in understanding and accepting their profound loss. Abbas, the philosophical photojournalist, pinpoints what is lacking in his art after discovering the bicycle that his father buried deep in the jungles of Northern Burma decades ago is now wrapped in the centre trunk of a huge tree. Pasuya, the aboriginal warrior uprooted and broken by the bloody Malayan Campaign in which he was forced to participate, finds solace in his reunification with a war elephant. Old Tsou, the shabby soldier who has hated the Japanese “savages” all his life, spends his remaining years in a gloomy, derelict village looking after a bird that he believes is a Japanese air cadet. And Shizuko, an orphan of war who lived through the February 28 Incident in 1947 and the following decades of White Terror in which tens of thousands of civilians were massacred, imprisoned or simply “disappeared” in their struggle for Taiwanese independence, is comforted by the fact that a handful of zoo animals were cared for after the destruction of Japanese operations in Taiwan by American warplanes in 1944.
Some may argue it is closure that these characters have found, but it is precisely the journey they undertake in search for the meaning of their loss that nourishes and sustains them, allowing them to realise the point is not and has never been what they lost. Instead, what is important is what they once cherished and what they now choose to remember.
The Buddhist concept of the Four States of Phenomena in the Principle of Physics – formation, existence, destruction and emptiness – may help illustrate Wu’s conceptualisation of objects such as bicycles. However, what makes The Stolen Bicycle unique is Wu’s focus on the significance of objects in the context of our attempt to find/form/foster/facilitate meaningful existence out of nothingness. Take A-hûn, who transforms the macabre into art in her work of making butterfly collages:
Some of the butterflies weren’t completely dead, and when she made the cut, their mouthparts thrust forward and their legs would suddenly constrict. She found it strangely fascinating, and at the moment the beautiful wings were separated from the ugly body, she seemed to touch something akin to her soul… A collage’s value was determined by the complexity of the design, the number of butterfly wings and the variety of species used. Basically, the more lives sacrificed, the more beautiful the result.[4]
Another example is Squad Leader Mu, who survived the most horrendous battles against Japanese forces in Northern Burma:
When that time came looking for him, when pain came knocking out of nowhere at his door, he’d slip away into the woods… Every time he opened his eyes after a brief nap in Fort Li in the days they spent facing off against the Japanese, he saw the tree was still growing new leaves and the sun was still shining through the gaps. It was the most beautiful experience in his entire life. It reminded him he was still alive and that the tree was still alive.[5]
Such diminutive yet determined defiance against the unstoppable may be seen as a major and uniquely Taiwanese theme in The Stolen Bicycle. As the first-person narrator “I” explains: “The word for fate in Mandarin is ming-yun, literally ‘life-luck’ or ‘command-turn’. But ‘fate’ in my mother’s native tongue of Taiwanese is the other way round: ūn-miā. It belies fatalism, putting luck in front of life, suggesting you can turn the wheel of fate yourself instead of awaiting the commands of Heaven.”[6] Instead of letting the past be gone, lamenting the destruction of life experiences and memories and staring at the void that is left behind, the characters in The Stolen Bicycle take the initiative to remember. In the process of remembering they learn to understand all that has been while paying tribute to what remains eternal in their ever-changing world.
It must be said that Darryl Sterk, an expert in Taiwan’s local literature and indigenous cultures, did a fine job translating not only Mandarin and the Taiwanese dialect but also the indigenous language Tsou into English. The resulting writing in The Stolen Bicycle is eloquent and thought-provoking, as Sterk well conveyed the science and philosophy of Wu’s efforts to shed light on traces of extraordinary human spirit across the dark land that is Taiwan’s wartime history. Meanwhile, the MWF should be recognised for compensating its previous lack of attention to Taiwanese literature by offering not one but two events featuring both author and translator. It is rare that readers get to glimpse the fascinating difference between Wu’s and Sterk’s personal styles, to explore how truth, kindness and beauty can transcend across cultural and linguistic barriers, and to celebrate the successful marriage of two distinguished literary voices. It remains this reviewer’s hope that we will meet more Taiwanese authors and their translators at Australian literary festivals in the near future.
Notes