Contemporary Chinese Short-Short Stories: A Parallel Text 9780231543637

Table of contents :
CONTENTS
PREFACE
INTRODUCTION
CHAPTER 1. LI AND REN
1. Skull Shave
2. "STAR” GRANDMA Liu Zhengyun
3. CATHARSIS
CHAPTER 2. XIAO
1. FATHER MAKES THE LANTERN
2. LITTLE SHE
3. MONEY ORDER
4. HEAVEN-BOUND, BUT AFTER SUMMER
CHAPTER 3. YIN-YANG
1. TWO MINDS
2. CUILAN’S LOVE
3. FOREVER BY YOUR SIDE
CHAPTER 4. GOVERNANCE
1. THE STONE-PAVING PROJECT
2. THE CLEAR POND
3. BIG SWEET POTATOES
CHAPTER 5. IDENTITY
1. AUNTIE
2. BROTHERS
3. THE LOVE OF HER LIFE
4. WATER IN THE WELL
CHAPTER 6. FACE
1. A GOLDEN RAIN
2. FACE
3. AT THE TEAHOUSE
4. CHICKENS HATE PECKED FACES
CHAPTER 7. (ROMANTIC) LOVE
1. LITTLE HEARTACHES
2. FAKE LOVE LETTER
3. A GENTLEMAN’S LOVE
4. GIVE HIM PEACE
CHAPTER 8. MARRIAGE
1. MARY ZHANG
2. THE COST OF MARRIAGE
3. MISSING ZHANG MEILI
4. THE MINT’S INVITATION
CHAPTER 9. CHANGES
1. FUTURE
2. UNKNOWABLE POSSIBILITIES
PINYIN VOCABULARY INDEX
ENGLISH VOCABULARY INDEX
BIBLIOGRAPHY
(HOW TO USE THIS PARALLEL TEXT TO TEACH CHINESE LANGUAGE AND CULTURE)

Citation preview

CONTEMPORARY CHINESE SHORTSHORT STORIES Ӿ‫ڊ‬ЅҹЩЩЛ

CONTEMPORARY CHINESE SHORTSHORT STORIES A PARALLEL TEXT

Ӿ‫ڊ‬ЅҹЩЩЛఉ߭цؕࢴӆ

AILI MU WI TH M I K E SM I T H

COLUMBIA UNIVERSITY PRESS NEW YORK

Columbia University Press gratefully acknowledges the generous support for this book provided by a Publisher’s Circle member.

Columbia University Press wishes to express its appreciation for assistance given by the Pushkin Fund in the publication of this book. Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2017 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Names: Mu, Aili, editor, translator. Smith, Mike, 1973- editor. Title: Contemporary Chinese short-short stories : a parallel text / Aili Mu with Mike Smith. Description: New York : Columbia University Press, 2017. Includes bibliographical references and index. Identi ers: LCCN 2016050352 (print) LCCN 2017010214 (ebook) ISBN 9780231181525 (cloth : acid-free paper) ISBN 9780231181532 (pbk.) ISBN 9780231543637 (electronic) Subjects: LCSH: Short stories, Chinese. Classi cation: LCC PL2653 .C85 2017 (print) LCC PL2653 (ebook) DDC 895.13/5208 dc23 LC record available at https://lccn.loc.gov/2016050352

Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover design: Lisa Hamm Cover image: plainpicture/Hexx

۵࠹ CONTENTS

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1. ٘фწ LI AND REN

1

1. ᠭ‫ݽ‬ೂ䩢ᖀЈ Skull Shave / Zhao Xin 5 2. “Ҵլ”֔ྥআ䩢ข౜࠭ “Star” Grandma / Liu Zhengyun 15 3. ‫٘ޤ‬䩢℺ᰧာ Catharsis / Nie Xinsen 23

2. ᖮ XIAO

35

1. ୦់䩢ඥжࠃ Father Makes the Lantern / Chi Zijian 41 2. ഫቐਁ䩢टվ‫ ۋ‬Little She / Han Shaogong 53 3. ྡ‫ـ‬䩢Ձ᯾२ Money Order / Bai Xuchu 69 4. РԟॼϳӐЧϳஇ䩢ၢЅՁ Heaven-Bound, but After Summer / Mo Zhongbai 77

3. ം‫ ݵ‬YIN-YANG

89

1. КѨ䩢ࣼᬄ‫ ܗ‬Two Minds / Wang Qionghua 93 2. ᘓ୩ϡЕє䩢ଽᮃᮃ Cuilan’s Love / Li Lingling 105 རῨ䩢ግЅԜ 3. Forever by Your Side / Wu Zhongzheng 115

4. ( ࢅ ) ੽ GOVERNANCE

123

1. ະ੘५䩢‫ر‬ம The Stone-Paving Project / Zhou Bo 129

vi

CONTENTS

2. ֜ᖈ䩢ᓥᔜ The Clear Pond / Cai Nan 141 3. Ͻ‫⥪ێ‬䩢߲‫ כ‬Big Sweet Potatoes / Zeng Ping 157

5. ІϢ䩛‫ئ‬෥䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ䩜 IDENTITY

165

1. ᖷআ䩢ℯਸ਼۱ Auntie / Yu Shengli 171 ಺੣ЙӗϽ䩢‫ر‬ᛌ 2. Brothers / Zhou Tao 191 3. ߩϪ䩢੗੏Т The Love of Her Life / Shi Tiesheng 203 4. ቯϤІҌһЄվ䩢ҙ॔ቾ Water in the Well / Gao Huaichang 213

6. ࠘ӌ FACE

223

1. Գၠ䩢ྴ݉ѐ A Golden Rain / Wu Nianzhen 229 2. ࠘ӌ䩢᪭‫ݖ‬ਯ Face / Wei Yonggui 239 ߖ࣐䩢ವର 3. At the Teahouse / Chen Yong 251 4. ঱‫ܜ‬曛਋࠘䩢ขКે Chickens Hate Pecked Faces / Liu Xinwu 259

7. єЕ (ROMANTIC) LOVE

271

1. Щಁ‫؍‬䩢ᖀᒶ Little Heartaches / Zhao Yu 275 Ⴝ߃ϡє‫ڪ‬䩢ể‫ݔ‬ҏ 2. Fake Love Letter / Zou Jingzhi 283 3. ࣲਹЕє䩢ࣼ⇙‫ ځ‬A Gentleman’s Love / Wang Kuishan 293 4. ҒҝϧЕј䩟ϲўјК‫ݔ‬䩢ԥ੘ᐘ Give Him Peace / An Shiliu 303

8. ࠝ࿧ MARRIAGE

315

1. ‫צ‬ఔ‫ܣ‬䩢ࣳ‫ ܗ‬Mary Zhang / Xing Hua 319 2. ֲࠝюӆ䩢ᖀᒶ The Cost of Marriage / Zhao Yu 327 ॔݉‫צ‬Ѥ‫ܣ‬䩢ౘᓶ࡬ 3. Missing Zhang Meili / Ye Zhongjian 337 4. ૗ႍϡຉՏ䩢೧‫ה‬ᮃ The Mint’s Invitation / Tian Shuangling 349

9. ‫ ډ‬CHANGES

363

1. ‫۔‬ϱ䩢ࣼྤ Future / Wang Meng 369 ϤНҌϡઢѼ䩢۴ۘ 2. Unknowable Possibilities / Ge Fei 377

CONTENTS

vii

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PREFACE

C

hinese short-short stories have been the focus of my research since 2002. A National ndowment for the Humanities research grant (2004–2005) led to my collaboration with Howard Goldblatt and Julie Chiu and to the publication of Loud Sparrows: Contemporary Chinese Short-Shorts by Columbia University Press (2006). Most of the site visits, collection of material, and author interviews for the current project were done in 2007 and 2008 with the support of a Fulbright research grant. My remit with Iowa State University, to teach and research the aesthetic in everyday China while instructing advanced Chinese and translation in the past few years, has enabled me to develop a curricular structure that integrates language and culture learning. This volume is one of the rst products of this emerging structure. The nature of the parallel format dictates that I must translate the texts more literally than literarily, staying as faithful to the original as possible. Although the translation captures the Chinese “accent,” it needed help to bring these stories to closer emotional and cultural resonance with readers of nglish. I am most fortunate to have met my collaborator, the poet and essayist Mike Smith, at the N H Summer Institute “What Is Gained in Translation?” at Kent State University, Ohio, in the summer of 2015. Filled with the unique optimism the act of translation engenders in its practitioners, we embarked on a journey of collaboration to address these issues. After many hours of discussion and deliberation, we hope that we have reached our goals for this project: (1) to take advantage of our di erent cultural, linguistic, and educational backgrounds to produce a timely reader of academic challenge, literary sophistication, and scholarly stature; (2) to ensure that the translated texts stay in cultural and social contexts and resonate in nglish with both intimacy and alterity; and (3) to honor the

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ॶϡӎЗ䩟ϢЙЇবԋϺϦࢴ‫ٷ‬ϡ੡ԡ䩟‫׍‬ЋјЙ٤పϦ‫ۓ‬ϴϡҤ۬Ѻ‫ܠ‬ 䩛ІѺ䩜ϡ֞ࡢ䦚 ‫ڪ‬ЅϢХ‫ש‬ѓϦ‫֧ף‬ѺТϡ‫ހ‬ഫࢬፈ‫ܠ‬ӑ䦚ข≂‫ܗ‬ф፽࢖۪ЁϥϩЅ ҹআ‫࢓ࠧܬ‬ϡѤмѺТ䩮‫צ‬⒲ዧфವඈजϥϱІЅмϡмকѺТ䦚Ϣ‫ֳܨ‬ јЙϡ౒ҹЌࢫಿѸЄѺТ‫ۄ‬ՊϺ଴ᑞ‫ڶ‬ѐϡࢬፈӥᒃЅϱ䦚ϸѦ䩟Хϴ ‫ئ‬ԆҀ‫ࡽن‬Ѧট๛ᐑ䦛ޭၔୋ۴䩟ᯉট⁣䦛ࣼ䩟৸ࡽ䦛॓‫ޔ‬ф჊઩䦛ऎᲆ ာ䩟јЙϨӆ‫ڪ‬ϡϤӎ႒‫ݫ‬ѯϦϢ೩ܾф‫ࡾݨ‬䦚ϢХϴҀ‫ن‬ಣ‫ݵܣ‬фጝፐ ѼҖ֧ӎѺЋࠅњТ୫ԣӛ҂ϡ֞ӑ䩟йߵಣ‫ݵܣ‬Ћట‫ٸ‬ф߭ҹ౱৉ϡׁ юӛ٤పϡ৔भ‫ࡾݨ‬䦚 ϢЪ؄‫ؽ‬ϨЕႍ‫߹߮ܗ‬ϽѺϡЅҹ‫ח‬ϩଽӎբфᓥጘҖ֧ӎѨ䦚ଽӎբ ϡЅҹ‫ܐ‬ӑࠀిսळ䩮ᓥጘцЅҹϡඹᤢ‫ކؘ‬Ѫண䦚ԜϥӹЋϩϦјЙ௩ ࢛‫ڶ‬ѐϡ‫ޥ‬ц䦙ಅӮ䩟йߵјЙ቉߿ੵਯϡ්աۨՖ䩟ϢҥЌϩҞКсө ӆඵѦϡЅҹ‫ܐ‬ӑфЅҹࢬፈᅲѴѯϽр䦚Ϩ‫ױ‬፴‫ז‬јЙঊйѐ஦‫ن‬Һ䦚 зњ䩟Ϣϴ‫ז‬Еႍ‫߹߮ܗ‬ϽѺъԈջЕϸԈ‫ݞ‬ѨϡѺТЙঊй஦ᘁϡ‫ن‬ Һ䦚Ҁ‫ن‬јЙ٤оϡ՜֣фјЙЋԑ‫ث‬҂оϡझҨ䦚јЙϥ‫ࢽڪױ‬Ҁϡϱ ੅䦚 ᢣЕው Еႍ‫߹߮ܗ‬ϽѺ ԏജϣࡏё‫ڠ‬ӊ०Ꮫট

PREFACE

xi

plurality of the original works while anticipating di culties and providing necessary tools to enable and aid (self)learning. xcellent work from four students from the past few years has also been included in this reader. Cara Liu and Meng Jiangnan are heritage learners of Chinese, while Zhang Shuhan and Chen Qiao are international students from China. I hope their exemplary work will encourage more engagement with critical translation from students. Special thanks also go to Cristóbal Matibag, Justin Wang, Nick Korpi, and Lea Johannsen, who have worked with me at the various stages of translation. I am also grateful to Liyang Gan and Yiran Xu for their help in creating the vocabulary lists and for Liyang’s technical assistance in putting the Pinyin and the nglish appendixes together. I am very lucky to have Tonglu Li, an excellent writer of Chinese, and Ling Cai, an expert teacher of Chinese, as my colleagues at the Chinese Studies Program at Iowa State University. My con dence in the Chinese writing I have done in this volume came about only after they carefully checked everything, correcting misuses and improving my rendition of Chinese with many helpful recommendations. I also give my sincere thanks to all students at Iowa State University who have been fascinated by these stories, raised questions, and struggled to understand them. They are the inspiration for this book. Aili Mu, Iowa State University Ames, Iowa Fall 2016

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‫ܧ‬٩Ֆࡄय़ჭϦϢЙጭйТࡖϡЗ‫׺‬䩟ЇӸ‫ݬ‬ϦϤӎм р䦙ҹ٩ԁϪ‫ھ‬ҏҽϡ‫ے‬Ե䦚Ѽґᰫᑳঞ௅䩟ϢЙؑϴՐ ‫ࢹ٭‬й‫܊‬ѸϽϡӤҨϱҶՖԚૠҏҽϡϦ‫ث‬䦚‫ڦ‬аЅмϨ мকѨࠖЅϡӑѓя೯ѷԳ䩟ϢЙНйЃϺ䩟՝ҤѺ‫ܠ‬Ѕм‫ߞܬ‬ϡࣳঙЇ ϽϽҶ‫מ‬䩟Ϧ‫ث‬Ѕмҹ٩ϡջєЇ‫׺‬ӓҙඞ䦚Ԕԁ‫ױ‬ӎЗ䩟࣊ѼХϩЪЄ Ϫߙ‫ڶف‬ЋЅҹ஬‫׶‬ԡѺ䩮цјЙϱЛ䩟ЅмЇ࣊ଓ‫࠻଼੶ظ‬䦚 ۵ӓ䩟ϨѤм‫ڪࢴࡪޥ‬ϡЅмѺТӔսР  Ϫ 䦚ԚԝҏЎ䩟Ѥм ѺТЅϩЌҨ‫ؽ‬ѓЅҹϨЅмѺ‫ܠ‬ϡϪ‫׊‬ᥩᥩѪӪ䦚‫҇ױ‬૮ୂўϢЙϤЏ Ϥ‫ݘ‬Тϣ҇ࠤྋҀ䦚ՉϨё䩟ൖᅸ䦛ྫ৸ာϦϲ٤ՏϢЙ‫ڀ‬Һ䩟ϨԒ ֎‫ܙ‬ЄсҤ䩟䦧юϪࡢϩЄ҇‫ߞܬ‬ЌҨϥ૦ৄϡѴࢣ䩟ґۘຎ֔䦨䦚䩛 Delabatista and Grutman ҷ‫ސ‬䩜ॎѼϽЄّмрђϩϣ҇‫ܥ‬Ҥ‫ߞܬ‬䩟ԔϨϸϣ ԣࢣЎ䩟Є҇‫ߞܬ‬ϡ‫ے‬ᑭٍѓϨϢЙТ҅ЅՉӔϥϤ৏ϡѨӥ䦚ԗ‫ߞܬ‬ԁ ҹ٩ֲׁвϱ䩟ѓࡷЈϡ‫ڌ‬ѺҤܴЧӌцϸϣѴӥ䩟ҥϥцѺТ૎ૺϡ҂ ֚䦚 ጞࡽ঒䦛ࡽ஻ૌԗцࡷЈ‫ڌ‬Ѻϡ‫ߎڽ‬ঞՊϦѸϽϡࠧ࢓ҏЅ䦚ј‫ڶ‬Ћ䩟 Ԫࢬፈࡠ֏Ѓ䩟߭‫ܬ‬ϥϣϬվّϪळϡ‫ߞܬ‬䦚֍ӹϨӊ䩭䦧߭‫ܬ‬Ϥϥࢬ ፈϡ‫ߞܬ‬䩟ґϥЋࢬፈӛѓϡ‫ߞܬ‬䦨䦚䩛&URQLQ 䩜ࡽ஻ૌϡ؇ࡠ䩟Ѫ௅ ϥϨኗ᎝ϣϬϡЈথܴ䩟й۬Ќ‫܀࡙ۯޢ‬ԁϺ䦧‫؝‬ӊ‫۟ف‬Ԯ‫ݱ݆ڍ‬ЅϡԒ ֎䦨䩭䦧Ҩ֝цԝϡϤआԸ٩䦨ϴؒϢЙ䦧Ϥआ‫ޥ‬Ԝ䦨‫׏‬цϡ೫ଯ䦚䩛䩜ӆ‫ڪ‬

1. Տබ՜http://www.iie.org/Research-and-Publications/Open-Doors/Data/Fact-Sheetsby-Country/2015 . 2xQF f93dk ‫ݓ‬ЃѤммক‫ڌ‬ड़൓Ͽ䩛II 䩜2015ё䦭՟‫ݐ‬эӵ‫ۏ‬ ‫ݍ‬䦮ԍ޿ϡّࣝ䦚

INTRODUCTION

G

lobalization compresses the time and space in which we live and accelerates exchanges among nations, cultures, and peoples. It goes without saying that we need even greater e ort to understand one another. As China’s role has grown in world a airs, we have seen a surge of interest in Chinese language in the West and an unprecedented enthusiasm to learn about Chinese culture, yet the myth of the Chinese language as exceptionally di cult to learn and of China as enigmatic remains a truism for many. We feel a sense of urgency when more than 304,000 students from China are currently studying on U.S. campuses,1 while few American students have the language competence to study in Chinese in China. Norman Denison had, as early as 1976, called attention to the fact that there were places in the world where “adult multilingual competence is the rule, not the exception” (Delabatista and Grutman 2005, 12). Beneath the surface of o cial monolingualism of most nation-states, multilingualism has become a fact of life. It is in our students’ best interest to embrace this phenomenon with innovative approaches to language and culture education. Michael Cronin contextualizes the problem thus: nglish is a minority language in translation terms because “it is not a language of translation but a language for translation” (1998, 160). His perspective is a call for a new model of proactive participation in “a world of continuous relational adjustments.” The “constantly shifting power nexus” requires “endless calibration” of our strategy of engagements (161). This book takes a rst 1. Please see the Institute of International ducation’s “Open Doors Data: Fact Sheet: China,” last accessed June 23, 2016, www.iie.org/Research-and-Publications/Open-Doors/Data /Fact-Sheets-by-Country/2015 . 2xQF f93dk.

xiv

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ӛ৪ؒϡ۵ࡣ䩟‫ٷڈ‬ЛϥЋӥѴ᜝⎵ҏ࢑ґጞоϡҷϣ‫܌‬䩟۬ϥЋഷ‫۔ޚ‬ ϱϡԒ֎ԍ‫ھ‬ґцӾЎఉ‫ߞܬܬ‬ҹ٩‫ڌ‬Ѻϡ೫ଯԁҤ֚ՖҲ݆‫ݱ‬䦚

ϸӆఉ߭цؕ‫ࢴܬה‬ӆԗఉ‫ߞܬܬ‬Ѻ‫ܠ‬ԁЅмҹѺ䦙ҹ٩ϡѺ‫๎ܠ‬Ћϣ Մ䩮‫ؚ‬ϡֲพᕴବЌ‫ࡾݨޢ‬Ѻ‫ߞܬܠ‬ϡҙёٛѺТࡽ‫ע‬Ѻ‫߳ܠ‬Ꭿ䦚Ϩϸϣ ‫ܬה‬ᕴବЅ䩟߭ҹࢬፈ‫ࡾݨ‬ԑ‫ث‬Ѕҹ֍ҹ䩟ґԑ‫ث‬ҍϩࡾӊтࣁ౓်ԛ‫ڽ‬ ᗙЌҨ䦚Җ‫ٷ‬ЁϥѺТԁӾѵЅмՖҲ‫ٹ‬Պૠ҃ӛ‫ؑۓ‬ϡ䦚 ЩЩЛϡҹՄ‫ئ‬෥䩟йߵ‫ؚ‬ϨЅмϡܲጷ૦ߵ䩟ٍϸϣҹՄюЋӥѴ‫ݱ‬ ׁܴ‫ߞܬ‬ԁҹ٩‫ڌ‬ѺϡԮඡ䦚ϸϣࢴӆӛ‫ש‬ϡӑԘ䩟ӗ֏ϣડϨ‫ܒ‬ਅ ૼ䩟දԷ޸ׁࠅஇ‫ڌ‬Ѻ䦚ЅҹҙёٛϡѺТḫؑᇓϽ୫ཹ֝фѓ֚‫ڄۯ‬䩮 ‫כܬה‬Ҳϡ۴ܴЋјЙҰ҃‫܀‬ԁ䩟ᓛࣁ䦙‫ڄۯ‬ϸҖҤӌҌࡧ٤పϦ‫ݡכ‬䦚 ѺТ‫࡙ۯ‬сϨЅ߭ҹҏҽ҂‫ے‬ᑭ‫ߎ܀‬䩟ЇЌӸьјЙϨ‫॒ܬ‬ЅѺϿ᫢୫߃ ‫ط‬ϡ‫֏ݬ‬䦚‫ڪ‬Ѕҟ‫א‬ϡҟϬ‫ݞ‬Ѩњ䩟ЁปϩϣϬᆨׁϡ୫ཹѓ֚ԣ䦚ԣ Ѕӛѯоϡӡॶ䩟Ёϥऴӊ؎‫ئ‬ӡ‫ݞ‬ѨϡϼЎҹє॒䩟ґۘϸԈ‫ܒ‬୫䦙ю ‫ܬ‬䦙ཞ‫ܬטڈܬ‬ԣܼϡ‫ث࡙ټ‬౥䦚‫ܒ‬䦙୫䦙‫ܬ‬䦙ѓ֚ҳϡՊ‫ש‬ԁ‫ؚ‬ЙоѴ ϡࠏଛԮ‫ڍ‬ϤϽ䩟ԣЅϡ୫‫ڈܬ‬ԣܼ‫܊܊‬ѓ֚‫ئ‬ቕ䩟т‫ٸ‬ϩԡ֏䩟‫ڈ‬Һ‫ڽ‬ НЌ‫߃ډب‬юண‫ث‬䦚ϩԮҒ‫ح‬Ϩ‫ڌ‬ѺЅٍѓӆ‫ڪ‬䩟Տ‫ؕ܀‬ӆ‫ڪ‬ඵഅϡ䦭‫ܬ‬ ߞҹ٩ϡૠ҃๎֡䦡䦡Ғ‫ٍح‬ѓϸӆఉ߭цؕ‫ڌ‬୰䦮䦚Ѫ‫ڋڹ‬ਢԗ‫ڪױ‬ѓ ӊ૦֡ࠅࡄ䦙֣֠୳ॗࠅ䦙‫ڈ‬ϥϣцϣϡ୳ࢴࠅ䩟༊ࢴϸࢡҹ‫א‬НЌЁϿ ϩӛ∼೯䦚 ӆ‫ڪ‬ϡऴӆԑ݉ߣ‫؀‬ҴϦ䩭Һ௰়୞௢ീ‫ߞܬ‬䩟‫ۓ‬છ‫ڶ‬ѐѺ‫ܠ‬ҹ٩䦚 ‫ڪ‬Ѕϡ‫ݞ‬ѨЁϥӾ‫ڊ‬Ѕмӑ‫ٷ‬ϡ֍ࡷӑԘ䦚‫ؚ‬Й૽ϥӾѵЅмघϿϡ‫ܐ‬ ؕ䩟Ї‫ྱބ‬ϦЅмϪ‫࢕ھ‬ӎԮКϡ՜֣䦚ϨЋϦ‫ث‬ЅмϪя‫׶‬Т҅հϱҤ

2. цЅмЩЩЛҹՄѸ૘࢛ϡೀཾ䩟‫ئ‬Ԇϥ‫ؚ‬ϨРЧ30ёЅϡтࣁф૦ߵ䩟Տ‫ࢯߎ܀‬ ൕԝ਒ϽѺо‫ؗ‬घ2006ёо‫ؗ‬ϡ䦭ᑙᑎϡਝᓗ䩭Ӿ‫ڊ‬ЅмЩЩЛ䦮ϣ‫ڪ‬Ѕϡ৉ߞ䩟 йߵᢣЕውϨ࠶ࡽլᆼо‫ؗ‬घ2012ӛоϡ䦭ЅмфЈਅ൨݁࢓䩭ू੽фҹ٩ϡ‫܀‬ ԁ䦮ϣ‫ڪ‬Ѕ֣Ћ“ЩЩЛҹՄϡ៷в”ϣҹ䦚

INTRODUCTION

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step toward an ambitious goal adjusting current Chinese language and cultural learning strategies for the education of future global citizens who will embrace this new model.

This parallel textbook integrates the learning of Chinese language with the learning of Chinese literature and culture for advanced students. The format helps overcome the plateau in language and culture learning by facilitating reading original Chinese texts with nglish translation and by developing critical skills necessary for in-depth interactions with China today. Because of the genre’s formal properties and its popularity in China, the short-short story2 is key to achieving the goal of integrated learning. Averaging fteen hundred characters in length, the selected stories have proven particularly e ective for classroom study. The parallel format allows students to participate in the construction of a necessarily large repertoire of vocabulary and usages. The active cross-references between Chinese and nglish also accelerate the learning of how to use terms properly in context. A combined glossary and usage guide is also provided for each story, to de ne in context verbal, idiomatic, and local or colloquial expressions that resist interpretative mastery. The selection of words and expressions is based on their uniqueness of usage and pronunciation and the possibility for ambiguity rather than on the frequency of their appearance. For detailed suggestions on how to use this book for a course, seminar, or independent study, please look at the short essay “How to Use This Parallel Text to Teach Chinese Language and Culture” at the end of this volume. This volume is based upon the conviction that the learning of culture complements mastery of language. The selected stories are all original works by contemporary Chinese writers. They o er authentic glimpses of Chinese society and address issues of common concern. However, these stories provide more than convenient access to everyday life in China. 2. For a detailed introduction of the genre in China, especially its development and popularity in the past thirty years, please see the introduction to Loud Sparrows: Contemporary Chinese Short-Shorts (New York: Columbia University Press, 2006) and Aili Mu’s article “The Rise of the Short-Short Genre” in China and New Left Visions: Political and Cultural Interventions (Lanham, MD: Lexington, 2012).

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۬ϡӎЗ䩟ϸԈӑԘѸЋϢЙ٤పϦՖՊ‫ࢅت‬Ѕмϡಬዓ䦚ӹЋ䩟Ѕм ϪҟяҟЗϡТ҅䩟۬ϥЅм࡛ٚёҹ٩ф‫ۯࢅت‬ጯϡз૟ᅲѴ䦚‫ڪ‬Ѕϡ ѧ֐ϣϬ‫ݞ‬ѨੜؕϤӎϡҰ֣дЋ॰‫א‬䩟ҟ‫א‬ϡ‫ݞ‬ѨЁࣻᄴаϣϬ‫޴ࢅت‬ ݉䦚ϸԈ۠ѵകѼᤀਧϨЅмϪТ҅ϡҤҤӌӌϡ޴݉ϥ䩭٘фწ䦙ᖮ䦙 ം‫ݵ‬䦙䩛ࢅ䩜੽䦙ІϢ ‫ئ‬ԛ䩟ӱ‫ڤ‬ф‫ڶ‬ӎ 䦙࠘ӌ䦙䩛‫ࢿع‬䩜єЕ䦙ࠝ࿧ йߵ‫ډ‬䦚 ‫ڪ‬Ѕҟ‫א‬Ёйϣࢡߦҹэࢡ䦚ॎѼ‫ۘ׍‬Ն֘Ћࢴ‫ٷ‬ϡ༊ࢴՄࡑਢӡᶲ ᫙䩟Ԕ‫ؚ‬ϡ৭ࡢϩ৉ࣔࢴ‫ٷ‬ԑ‫ث‬ҹ٩‫݉޴ࢅت‬Һዧϡ‫ۋ‬Ќ䦚ߦҹӛвϡӑ ѓ䩟ϥᇓϽґۘࡳ‫ٷࢴء‬цҟϣ‫א‬Ұ֣޴݉ϡԑ‫ث‬䩮‫ؚ‬Ќ‫ٷࢴࡾݨޢ‬ᓛஞ ‫ݞࢴث‬Ѩϡ؇ఀ䦚ϸԈߦҹ‫܊܊‬ϿঠߵЅмࣄ੗䦙ҹ٩Ѕ‫ئ‬ϩϡ‫ܠ‬ཞ‫ڈ‬Ү ࡑ䦚Է۵ϡ䩟ϥٍࢴ‫ٷ‬цӊ‫ݞ‬Ѩϡԑ‫࣠ث‬ယӊԷ‫ئ‬ӡϡҹ٩‫॒ܬ‬ҏЅ䦚ҟ Ϭ‫ݞ‬ѨҏњЁปϩϣ‫࠶ڍ‬эӵܴॗ‫ڹ‬Ҧ֣䩟й۬೩тՖϣ‫܌‬ϡ༊ࢴ‫ߎڽ‬䦚 Ҧ֣੅ІᢣЕውϨѤм‫ڌ‬ဨϸԈ‫ݞ‬ѨЗϡҮࡑ䩟Է‫ڋޕ‬цѺТНЌϿ߁Ϻ ϡ੡ԡЁϩӛఱц䦚 ӆ‫ڪ‬ӛ‫ש‬ϡѧ֐֧ӑр䩟٧ӊѧϬϤӎळՄ䦚ԷЅѧдҏϣϥҌӜӑ р䩟Ғटվ‫ۋ‬䦙ࣼྤ䦙۴ۘ䦙ඥжࠃ䦙ขКે䦙੗੏Т䦙ข౜࠭䦙℺ᰧ ာ䦙ྴ݉ѐфể‫ݔ‬ҏҳ䦚јЙ‫ڊ‬ԣϦЩЩЛҹՄзҹ਴ϡϣӌ䦚ҷԏण‫ۥ‬ Ӿ‫ڊ‬Ѕм‫ئ‬ϩϡϣणҹѺ਴भ֠‫׭‬Ϫ‫ॵ؃‬ю䦚јЙ‫ڈ‬ϥϨмр‫ڈ‬ओՄϡҹ Ѻ਴भҜพѦ஍‫ڗ‬ੲࠖ䩟‫ڈ‬ϥॵюϸԈҜพϡӑрф൜প䦚зњϣण䩟ॎ ѼϨЅмЇЁϥҪмҌӜϡЩЩЛӑр䩟‫׊‬ЇӎЗϥϱІ‫ٿ‬Ҳ‫׭ٿ‬ϡ૦ ֡‫ښ‬࿲䦚ϧϿϨјЙӾЅтѴభ‫ڪݒ‬䦙ू௞‫؃ܥ‬䦙‫֞ھ‬䦙௕ࣤԍࠖ‫؃‬䦙࣮ ۵Үԑ䦙‫خ‬ԥ䦙఻‫ھ‬䦙േЎ಑ᅔѽ‫ݙ‬ё䩟ࡷ‫ٷ׭‬䦙‫ؔڌ‬䦙Ͽ‫ڋ‬ҳҳ䦚ϸԈ Ϫ䩟ॎѼԁъԈझҨЋІѝϡТ҅ґ୓૓ϡӾ‫ڊ‬ЅмϪЬϩѮАϤӎ䩟‫׊‬ ‫ڊ‬ԣаъԈੵ؇‫ܐ‬ӑ䦙ԗҹѺԁᅮѤӾӑТࡖЅϤН‫ڈ‬ઑϡॵю‫ח‬дϡस ࣠ळՄ䦚ҟࢡ‫ݞ‬ѨњЁปϩӑ‫ߣٷ‬ೀ䩟‫ٷࢴז‬٤పϦӑ‫ٷ‬Ѵ૮䩟‫ܐ‬ӑࠧ ࢓䩟йߵјЙϨЅмӛիӧࣽࡄ֏ҳҞ֥䦚‫ֳܨ‬ϸԈҞ֥Ќ‫ۯٷࢴࡾݨޢ‬ ࡙Ұ҃ՖՊ‫ݞ‬ѨӾЅ䩟‫׍‬ԪЅԅЏц‫ݞ‬Ѩ֍‫ݘ‬сҹ٩Јᔎ‫ئݼ‬ϡЃ֚䦚

INTRODUCTION

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They are also pathways to China’s past and traditions, in that China’s ve thousand years of culture and tradition are best conveyed by the lives of its people. The thirty-one stories are grouped by theme into nine chapters, each of which centers on a traditional concept that still permeates those lives. These nine themes are: li (٘ ritual or propriety) and ren (წ humanity or benevolence); the concept of being lial (ᖮ [LDR); the working of yin-yang (ം‫ ;)ݵ‬approaches to governance ([ࢅ]੽); the sense of identity (ІϢ>‫ئ‬ԛ䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ@); the importance of face (࠘ӌ); (romantic) love (єЕ); the issue of marriage (ࠝ࿧); and the meaning of yi (‫ ډ‬change). ach of the nine chapters is prefaced with a short essay. Though it does not mean to chart the course of the reading experience, the essay does function as a guide to the meanings of the concept in Chinese cultural tradition. The essay should open up rather than limit the reader’s understanding of each chapter’s theme, broadening the interpretative horizons of the stories. When a chapter preface invokes particular Chinese cultural or historical practices or experiences, it anchors particular understandings in their speci c contexts. Reading and re ection are further guided by a series of open-ended discussion questions at the end of each story. Generated from Aili Mu’s experience of teaching these stories in the United States, these questions anticipate and target problem areas of understanding. The thirty authors selected belong to three di erent groups of writers. One third of them are celebrity writers such as Han Shaogong, Wang Meng, Ge Fei, Chi Zijian, Liu Xinwu, Shi Tiesheng, Liu Zhenyun, Nie Xinsen, Wu Nianzhen, and Zou Jingzhi. They represent the genre at its most literary. The second group is composed of literary professionals unique to contemporary China. They either hold o ces in state institutions for art and literature or work as writers and editors for these institutions. The last third, though nationally known as short-short writers, are ordinary people from all walks of life. Among them you will nd a village leader, some government o cials, a migrant worker, a retired civil servant, a project manager, a security guard, a handicapped daughter of a farmer, a business owner, a teacher, and an accountant. They, like many others trying to live a successful life in contemporary China, represent those at the grass-roots level who value writing as an essential part of life. A brief biography of the author follows each story. The additional information on authorship, background, and reception encourages readers to approach each story proactively to gain nuanced perspectives on each story’s culture of origin.

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඄ՖЅм‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡ۵ϡᖝ‫ܕ‬Ϧӆ‫ڪ‬ϡ‫ݱ‬ϬࢬፈРࡄ䦚ϨϸϣР ࡄЅ䩟ϢЙ૽झҨ҂Ϻᇝӥӊ֍ҹ䩟Їࣘд۱ѓϦϢЙϡ߭‫ߞܬܬ‬ҹѺҌ ࡧфцЅмҹ٩ϡϦ‫ث‬䩟ߊҨ‫֚ޕ‬ԗѺТϡѺ‫ּܠ‬೯зϽ٩䦚߭ҹϡІѼ ༿ซϥϢЙ‫ټ״‬Ғϣϡ‫ކ‬ज䩮ϢЙцҟϬ‫ݞ‬ѨᅮѤҺ‫ڏ‬ϡӐѴϣࡋϤ᪄䦚 ϸ҈҂ϡ۵ϡ䩟ϥ‫ٷࢴֳ׈‬ϡԑ‫ث‬Ќ‫ۥ‬ԣߵѦ䩟ܼϺцҹӆ‫ֵৢٹ‬ዧϡө ീ䦚Ћ‫ױ‬䩟ϢЙХߊҨ‫فخ‬ӑԘϡ䦧֍ဝ֍‫ڏ‬䦨䩟ߊНЌЄс߈֙ӑԘϡ൘ ТҀ䦚ϸ҈҂ϡ۵ϡ䩟ϥ‫ٷࢴ҅ࢫֳܨ‬ϡϮ࡞К䦙ᅮ؇‫ڽބ‬ϡЌ҃ԛ䦙й ߵࡷЈтѴϡ҃Ҩ䦚 ‫ࢴܬהױ‬ӆҰϴӌ‫ז‬Ѻ‫ܠ‬Ѕм‫ߞܬ‬ҹ٩ϡЅ䦙ҙёٛѺТ䦚ӾѼ䩟‫ؚ‬ Ї޸ѓӊъԈцӾ‫ڊ‬ЅмЩЛфҹѺϩࣳঙϡϣડࢴ‫ٷ‬䦚ӆ‫ڪ‬ϡ‫ڋޕ‬䩟ў ‫૽ؚ‬Нйѓӑϣ՟ࠅϡҰϴ‫ڌࢴؘ‬୰䩟ЇНйѓӑЄणࠅࡄϡਤࣘ༊ࢴҹ ӆ䩟‫ڈ‬ѓӑІѺࢴӆ䦚Ѻ‫ߞܬܠ‬ϡҙёٛѺТХԗի೯ӊӆ‫ڪ‬ӛ٤పϡழ ࣥϡᔅࡾѺ‫੅ޝܠ‬䦚ϸԈ‫੅ޝ‬ϩࡾӊјЙ‫ݞޟ‬ҌЈ䩟٤ҙఉ‫ܬ‬һ‫כ‬䩟ᓛࣁ Јϡҹ٩؇ࡠ䦚ӾѼ䩟ӆ‫ڪ‬ԁ‫حڗ‬Է‫ؚ‬ҹѺࢬፈϡҰϴ۵ϡ‫׍‬Ѫԏঊ䩟‫ؚ‬ ЇЋࢴ‫ٷ‬٤పѺ‫ߞܬܠ‬ҹ٩Јֵ‫ب‬ϡՄࡑ䦚ϨЛЅҹϡс߇䩟ϸӆ‫ܙڈڪ‬ Нй‫ࡾݨ‬йЅҹЋআ‫ܬ‬ϡࢴ‫ٷ‬Ѻ‫ܬ߭ܠ‬䦚 Ϩӆ‫ڪ‬ϡІਡЅ䩟ϢЙӔ૘਎ϦϱІϤӎ‫ߞܬ‬фҹ٩ϡҖϬѺ‫ٷ‬ҏҽϡ ׁӑ䩟Ї‫ڊے‬Ϧӆ‫ڪ‬ᅇТϡҮР䦚‫ב‬Ўϱ䩟ӆҹԗԳѢᶻ਎ӆ‫ڪ‬ϡ‫࣏ئݼ‬ ܴӛࡢϩϡ‫ۤހ‬䩟දԷϥఉ߭цؕϡҹӆфࢬፈӥᒃӆӱҒ‫ح‬ԐՖ‫ߞܬ‬Ѻ ‫ܠ‬ϡІϢ‫ࣔ܋‬䦙йߵҒ‫ح‬೩т౓်ԛ‫ڽބ‬фҹ٩෬౱䦚Ϩ‫֍فخ‬ҹϡߒ૜ ԛф৪ؒ߭ҹϡԟѤԛҖ‫ٷ‬ҏҽҵྜྷࡋ䩟ϣ‫ׯ‬ϥϢЙ൜‫ܐ‬ϸӆ‫ڪ‬ЗзϽϡ ྻႄ䦚ӹ‫ױ‬䩟ٍѓϸӆ‫ۓڪ‬ϴॸԮඡϡϣ‫܌‬䩟ϲϥϴцϢЙϡ֞ӑ҂ᅮዌ ϡд໯фԐዎ䦚‫ֳܨ‬ϢЙϡፈҹϿўࢴ‫ٷ‬䦧ϩӛක҃‫׍‬ҀϺϤԥ䦨䩮ґъ䦧‫ܩ‬ Ϥ֙䦨ϡҀҢϿࢫಿјЙцࢬፈӑЋЄॶᶻ౥҅҃ϡ‫ڶ‬ѐ‫ߎڽ‬䦚

INTRODUCTION

xix

The goal of facilitating Chinese language and culture learning has compelled the translation process. The texts in nglish attempt to remain faithful in lexical meaning to their Chinese originals but are also informed by our knowledge of both nglish language literature and Chinese culture to maximize learning e ciency. That the nglish must be natural and read well has been a driving principle. We paid close attention to the reproduction of the aesthetics of each story to make sure that connotative meaning might be grasped in addition to denotative understanding. To achieve this, we strove to preserve the “accents” of the original works and as much of their “defamiliarizing” e ects as possible. The intention is to activate the readers’ agency of inquiry, re ection, and discovery. The primary audience for this text is intermediate and advanced learners of Chinese language and culture, but our translations are also aimed at the general reader interested in contemporary Chinese ction and literary translation. The book is designed to serve as both an intensive primary text or supplemental reading text and a text for self-study. Advanced learners of Chinese will also pro t from the wealth of resources included, which will aid in maintaining and improving their Chinese pro ciency or help to develop new cultural perspectives. Of course, the main goal of any literary translation is to allow new readers the experience of learning new aspects of culture and language. In the Chinese-speaking parts of the world, this volume may also bene t native Chinese speakers learning nglish. In the preface we have elaborated on how the collaboration between two faculty members from two di erent languages and cultures resulted in this volume. The following pages describe the bene ts of the particular format of the book, especially how the parallel arrangement and translation practice encourage self-directed language learning, critical re ection, and cultural discovery. Walking the ne line of preserving the complexity of the original and maintaining the integrity of the nglish language has been a most exciting part of this project. Analytical scrutiny of what we have done is a necessary part of the critical composition of using this book. We hope that our translation “disturbs” and that the feeling of “unsettledness” motivates students to consider the interpretive act of translation.

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‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡ‫ׁݱ‬ ۵ӓϩϣϬѴࢣ䩟ϲϥѺЅҹϡѺТЪЄ䩟ґЌѺϺࡢϩ֠‫׭‬һ‫כ‬ϡ‫׊‬Ъ վ䦚Ғ‫ح‬ԗϣϬϨٟҜԿЌѓߣ‫؀‬ЅҹԁЅмӎ‐ӋӋ੷॥ϡѺТ䩟ഷ‫ޚ‬ юϣϬ‫ګ‬ЏЅмҹ٩䩟ЌԁЅҤтࣁԁ‫فۅ‬൓ӑԮ‫ڍ‬ϡϪҥ䩲ϸϥఉ‫ܬܬ‬ ߞҹ٩‫ڌ‬Ѻḫ‫ݸثۉ‬ϡ՜֣䦚 ԜҒ‫צ‬ᬓӛЯ䦭ԣܼ䦙ᆡ਎䦙ԝࢹ䦙ೀཾ䦮&HQJDJH +HLQOH   ϣ‫ڪ‬ ϡࡣ֣ӛဌܾ䩟ࠖӥϡ‫׏‬ѓϥ۵ӓЅ䦙ҙёٛЅҹ‫ڌ‬Ѻϡ೫ଯࣔ‫ז‬䩟ґ ҹ٩‫ڌ‬ѺϤРϥ䦧ញसӋႯж䦨Зϡᶑհ䦚䦭Ը٩ЅϡЅм䦮&KHQJ  7VXL   ӛᄬԳϡϥ༊ࢴҤ֚䩮ґ䦭ՄࠟЅҹ䦮&KHQJ  7VXL   जԗԳѢ ӵϨϦܾࠟ‫ߞܬ‬ϡЌҨф৔ಌ䦚ٚඵӆϡ䦭Ѕмҹ٩༊ࢴ‫࠶ڍ‬䦮&KHQJ  7VXL 䰭 ॎѼ‫݆מ‬ҹ٩Ѻ‫ܠ‬ϡԳϴԛ䩟ԔԷ۵ࡣϥЋ$3йߵࡣ‫ކ‬٩ ߎՆ҂‫ިކ‬䦚‫ף‬ඵӆϡ䦭‫ݞ‬Ѩф‫ࢅت‬䩭Ѕмҹ٩༊ࢴ‫࠶ڍ‬䦮&KHQJ  7VXL 䰭  ЇࡖϨӎ҈ϡ՜֣䦚ϸԈ‫ڌ‬୰䩟Хϩ䦭սք䦮ࢯൕԝ਒ϽѺо ‫ؗ‬घ   ҳ䩟ЁЋഷ‫ޚ‬ѺТϡӥѓЅҹ৔Ќ҂ϦЪϮϡ֞ӑ䦚ԝҒЋϦ ‫ࡾݨ‬ѺТ֭ষ䩟䦭Ը٩ЅϡЅм䦮ф䦭Ѕмӌӌঠ䦮0\&KLQHVH&ODVV //&   ЁϩҺࡧсҶӸϦ୫ཹٍѓࠏଛҳ䦚ԔԪ‫ݱ‬ՄϼЃ䩟Ѵࡖ‫ڌ‬୰ઑྩӾ ‫ڊ‬ҹ٩ଭ֝䩟Їઑվцҹ٩ҲЋ‫ٹ‬Պ‫ࢅڍ‬ϡԮ‫ڀ‬䦚 ޳‫ޕ‬ѴࡖӊЕႍ‫߹߮ܗ‬ϽѺϡѴࢣࡢϩ૦ৄԛ䩟ъАϢЙНйԐआ䩟۵ ӓѤмϽѺѦѺ‫ܠ‬ЅҹϡѺТ䩟ϱІԷ‫ؚ‬Ѻ॓ф֠‫׭‬ϡϪӔҮϽϽսРҹ ॓ф‫ࢅت‬Ϫҹ֠‫׭‬ϡѺТ䦚ϨЕႍ‫߹߮ܗ‬ϽѺ䩟䦭ѵяЅм䦮ф䦭Ѕмҹ ٩‫ࢅت‬䦮Җ՟ࠅϡѺТϽЄّϱІ‫ڋޕ‬Ѻࡨ䩟֞ࡄѺࡨ䩟఻Ѻࡨ䩟࠱Ѻࡨ йߵ‫ڌ‬ड़Ѻࡨ䩟ђϩվّϥࣄ੗䦙ू੽䦙‫ߞܬ‬ѺйߵϪणѺҳϡѺТ䦚ۘ ҹ॓䦙ۘϪҹ֠‫׭‬ϡѺТҰ҃ϱϼϸणࠅ䩟ϥӹЋјЙԚҞ䩟ϨԷ‫۔‬ϱϡ ੲ‫׭‬ТᄇЅ䩟јЙԁЅмघϿфҹ٩ϡૠ҃䩟۠վϤϿվӊъԈЂՖՊѺ भ֎ӾЅм՜֣֠рϡѺТ䦚Ғѵϡఉ‫ڌܬ‬Ѻ䩟‫ۓ‬છߎഒϺϸԈۘЅҹф ۘЅм୳ૢ֠‫׭‬ѺТϡϣડؑؒ䦚ЋϦўјЙ‫۔‬ϱѸϮсԁЅмӋ‫ے‬Ѭ䩟 ϢЙ‫ۓ‬છЋјЙ٤పЅм‫ߞܬ‬фҹ٩ҖҤӌϡ‫ࢅڍ‬Ҍࡧ䦚

INTRODUCTION

xxi

INTEGRATION OF LANGUAGE AND CULTURE LEARNING Learners of Chinese are many; graduates with professional pro ciency are few. How do we train a student who can greet a Chinese associate at the airport into someone who also understands Chinese culture well enough to develop and sustain collaborative relationships? This is an urgent issue for Chinese language and culture education. As the title of Developing Chinese Fluency by Phyllis Zhang (Cengage Heinle 2010) suggests, the current pedagogical strategies at the intermediate and advanced levels of Chinese instruction are pragmatically oriented and only peripherally concerned with culture. Reading Into a New China (Cheng Tsui 2009) places the emphasis on reading strategies and Chinese in Motion (Cheng Tsui 2011) on performance-based language competency and skills. The ve-volume Readings in Chinese Culture Series (Cheng Tsui 2007–2014) stresses the importance of culture learning but the goal is for Advanced Placement and standardized test preparation. The same is true of the four-volume series Tales and Traditions (Cheng Tsui 2009–2010). These textbooks and Chaoyue: Advancing in Chinese (Columbia University Press 2010) do a ne job of building practical skills, just as Reading Into a New China (Cheng Tsui 2009) and Discussing Everything Chinese (MyChineseClass LLC 2008) help improve retention with increased word frequency, but they generally lack contemporary cultural components and are less concerned with in-depth systematic understanding of cultural behavior. If what happens at Iowa State University (ISU) indicates a national phenomenon, we have far more students from disciplines other than the liberal arts and traditional humanities learning Chinese. Besides a few students from history, political science, linguistics, and anthropology, students from the schools of design, engineering, agriculture, business, and education are the ones most often taking courses on China today and Chinese cultural traditions at ISU. These students are motivated to learn because they are likely to have at least as much real-life interaction with Chinese society and culture in their future professions as those who wish to become China specialists in academia. We must take these nonspecialist students’ general needs into consideration and a ord them systematic knowledge in both Chinese language and culture to facilitate their future engagements.

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ԗ‫ߞܬ‬фҹ٩Ѻ‫ֲׁܠ‬вϱ䩟ϲϴٍѺ‫ߞܬܠ‬ϡРࡄӎЗЇюЋѺ‫ܠ‬ ЅмϤӎϡ٣ߚՄ‫ڍ‬䦙‫ڽ‬ᔪҤ֚䦙ࢗ᏷෴‫ז‬䦙ू੽‫֏ء‬фТ҅ҤܴҳϡР ࡄ䦚ёॼϳ䩟ࢬፈр䦙ԑ‫ڹ‬рᱚྦྷ౱ᐩ䦛ఔຩၔ঒䦛చ৸‫ڌ‬ဨϨѤм мрϪҹऴ‫ؖ‬Ͽ䦭ࢬፈᐤ໹ϢЙѮА䩲䦮ϡჴ‫୳׈‬ॗ‫ڡ‬ϼ䩟э՟ԋ‫ځ‬сವ ਎ϦϣϬѨӥ䩭ҒѵϽрЁҌѬቄҹ٩‫ے‬ԵϡԳϴԛ䦚ԧХ৉ѓϦܼᏛ஻ ැϡҦЋᩊ࢙䩭䦧Ϩѵϳ䩟Ъվϩ‫֧ڃ‬Ԓ֎ҹѺϡ‫ؔڌ‬Ͽ‫ֳܨ‬ԗѺ Тࡳ‫ء‬Ϩ߭‫ܬ‬Մ‫ڍ‬ϡ౒ֵࣻ䦨䦚䩛'DPURVFK ҷ‫ސ‬䩜ҦॎҒ‫ױ‬䩟Ѵ૮‫׊‬ԡۨ Ը䦚చ৸‫ڌ‬ဨцቄҹ٩‫ے‬ԵЇ‫ۘ׾‬ӂ޴䩟֍ӹҏϣϥ䩭䦧ϸԈ‫ؔڌ‬ઑվ޸ѓ ӊ‫ڌ‬ဨቄҹ٩‫ے‬Եϡ‫ڌ‬୰䦨䦚 ‫ײ‬ёϱ䩟ӔҮϩӪϬЅҹЩЩЛϡ߭ҹፈӆӌ‫ص‬䦚 ՀѦ䦛-䦛ࢷϡ䦭Ѕ мЩЩЛ‫ש‬ओ䦮䩛֔ҹо‫ؗ‬घё䩜Ҫӌ‫ש‬ԼϦІࣲ۠ѵϡ‫ݞ‬Ѩ䩮ґ䦭 ᑙᑎϡਝᓗ䩭ЅмӾ‫ڊ‬ЩЩЛ䦮䩛ࢯൕԝ਒ϽѺо‫ؗ‬घё䩜जѸЋؕ ઈ߭‫ٷࢴܬ‬ϡԘ‫ڏ‬ф٣ߚ䦚‫֔ױ‬䩟Хϩ䦭ੵ෿࿒ࡽфԷј‫ݞ‬Ѩ䩭Ӿ‫ڊ‬Ѕм రЩЛ䦮䩛੘ඈо‫ؗ‬घё䩜䦚䦭ϬՄϪ‫׉‬䩭బޭరЩЛ䦮ϡ‫ؤכ‬ӆЇ ӊёо‫ؗ‬0DNH'R 3XEOLVKLQJ  䩮‫ؚ‬ӛᄬԳϡϥӾ‫ڊ‬ЅмТ҅Ѕᄯ ᅇา᳦ϡϣӌ䦚Ѽґ䩟ϸԈ‫ڪ‬ЁϤᇎߵ‫ߞܬ‬Ѻ‫ܠ‬䩟ЇϤйᆨׁ‫ࢅڍ‬сѺ‫ܠ‬ ҹ٩Ћ۵ϡ䦚 ϢЙϸӆ‫ڪ‬䩟ԗЩЩЛҹՄϡ‫ۤހ‬ԁఉ߭цؕϡֲׁ࣏ܴвϱ䩟ЋѺ ТࣀࠃϦϣӏ֡‫ז‬Ѕмҹ٩‫ؘ‬ᤚ䦙ӎЗቄքЅٛϺҙٛ֠‫ߞܬ׭‬ЌҨϡඈ ᅯ䦚ЩЩЛӛ٤పϡϥϩаҹ٩ߒ૜ԛϡ‫ۓ‬ϴֵ‫ب‬䩮ґЅ߭цؕϡ࣏ܴज ϥࢫ҅ѺТѺ‫࡙ۯܠ‬ԛϡ‫ڌ‬Ѻ‫ޕ‬ঞ䦚 ӆ‫ڪ‬ϥҷϣӆйࠅஇ‫ڌ‬ѺЋ۵ϡϡЩЩЛఉ߭‫ࢴܬה‬ӆ䩟‫ؚ‬ϡ຺ड़ю࣏ իϺϦҒЎఉ߭цؕࢴ‫׉‬ϡ೩т䩭ऎᲆ䦛࣬঒॓Ꮫϡ䦭ЅҹߦࢡЩЛ䩭Ј ఌᏝ‫כܬה‬Ҳҹӆ䦮䩛䩜䩟䦭Ѵ‫ڊ‬ЅмҹѺ‫࠶ڍܬה‬䦮䩛ЅҹϽѺо ‫ؗ‬घ䩠䩜ф䦭з૟ЅмరЩЛҹ‫ש‬䦮䩛ϼ֋֔‫ڌܬ‬ड़о‫ؗ‬घ䩜䦚 ϸԈ‫ڪ‬ЁЋࢴ‫ٷ‬٤పϦࢴ‫ܒڶڪ‬ϡҤ۬䩟ٍԷϨ༊ࢴЅϤӐؑϴϤ߾сЧ ‫ݓ‬༊‫ܒ‬ਹ䦚

INTRODUCTION

xxiii

Language and culture learning must be integrated in such a way that the understanding of China’s diverse values, reasoning methods, rhetorical tendencies, systems of government, and ways of life occur in the process of language acquisition. In her opening remarks at the 2015 N H Summer Institute “What Is Gained in Translation?,” translator and theorist Françoise Massardier-Kenney called attention to the fact that everybody knows the importance of cross-cultural communication: “Few teachers of world literature today have any wish to . . . con ne students within the imperial boundaries of nglish” (Damrosch 2009, 4). Yet she is far from optimistic that cross-cultural communication can be facilitated: “That being said, they lack the materials to do so.” There have been a few collections of Chinese short-shorts published in recent years. Harry J. Huang’s An Anthology of Chinese Short-Short Stories (Foreign Language Press 2005) is a comprehensive volume with stories from ancient times to the present, while Loud Sparrows: Contemporary Chinese Short-Shorts (Columbia University Press 2006) pays more attention to nglish readers’ tastes and values. There is also The Pearl Jacket and Other Stories: Flash Fiction from Contemporary China (Stone Bridge Press 2008). Individuals: Flash Fiction by Lao Ma in paperback (Make-Do Publishing 2013) focuses on the absurd and the hilarious in contemporary Chinese life. None of these are concerned with language learning or intended for comprehensive culture study. In the combined short-short genre and the parallel text format we nd a bridge for students to reach the essentials of Chinese culture while crossing over from the intermediate to the advanced/professional level of language pro ciency. The former supplies the necessary content of cultural complexity and the latter the pedagogical setup to activate student agency in gaining language uency. This volume is the rst short-short bilingual reader in nglish and Chinese for classroom teaching. It is inspired by such bilingual texts as John Balcom’s 6KRUW6WRULHVLQ&KLQHVH1HZ3HQJXLQ3DUDOOHO7H[W (2013), the Bilingual Series on Modern Chinese Literature (Chinese University Press 2003–), and Best Chinese Flash Fiction: An Anthology (Shanghai Foreign Language ducation Press 2007). They all provide convenient access to meanings of words and expressions without the need to constantly check a separate Chinese- nglish dictionary.

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ϨϸԈ‫ࢴܬה‬ӆЅ䩟ЈఌᏝфЅҹϽѺо‫ؗ‬ϡҖӆ‫ש‬ѓϦᇟҒҡ਺䩟៭ ᅌ䩟ჀႭ䩟ᖃ‫ێ‬䩟਻Ԫҹ䩟йߵϣԈѸ‫׈ײ‬ϡҒޭ֍䦙ଽᑯҳЯӜӑрϡ ҮਹӑԘ䦚ߊ‫܉‬ϸԈӑрϨЅмҹѺ੗ϼ฼ϩԳϴс֧䩟ԔԷՊ‫ש‬ϡӑԘ ࢡๆРӗ䩟ѯࠅஇ‫ڌ‬ѺհϱϦϤ۬䦚ґॸҪӌೀཾӾ‫ڊ‬ЅмघϿЇϤϥϸ ԈࢴӆԮ‫ڀ‬ϡဖѢ䦚‫ۥ‬ӊЬϩ٤ప‫حڗ‬ᔅࡾ‫ڌ‬Ѻϡ֞ࡢ䩟ϼ֋о‫ؗ‬ϡరЩ ЛओЇԡܼϺ‫ߞܬׁݱ‬фҹ٩Ѻ‫ܠ‬ϡ۵ϡ䦚ЋϦ቉ਤϼ਎ࢴӆϡઑྍ䩟ϸ ϣࢴӆ‫ؘ‬Кख‫ש‬Ϧࡢϩܲጷ‫ڊ‬ԣԛϡӾ‫ڊ‬ЩЩЛ‫ؘ‬Ԙ䩮‫ؚ‬ԗӑԘੜؕЅм ҹ٩ม݉дॵϡ҂֚䩟Н஼‫ࡢݼ‬ϣ۴䦚‫ࢴױ‬ӆХЋϸԈӑԘԥٕϦ‫҇ٿ‬ᔅ ࡾѺ‫ࡢ֞ܠ‬䦚ӛ‫ש‬ϡѧ֐ϣϬ‫ݞ‬ѨЁߦЩНସ䩟޸ׁ‫ࠅࢅت‬இϡЗࡳ䩮ґ ॰Ϭ‫ڝא‬ϡֲพЇҤ۬ϣϬԜ੻Ѻ‫׈‬ϡٍѓ䦚

‫ڌ‬Ѻ೫ଯ ‫ߞܬ‬Ѻ‫ܠ‬ ӆ‫ٍڪ‬ѓ‫ؕ܀ܬה‬ϡ࣏ܴۨՖ‫ڌ‬Ѻ䩟‫׍‬ϤҺ‫ڏ‬ац‫ے‬ক‫ڌ‬Ѻ֚‫ڈ‬ਭዽܴ‫ڌ‬ Ѻ֚ϡਦӡ䦚Ԛ‫ބ‬䩟‫ؚ‬ϤРϥцӔϩ‫ڌ‬ѺҤ֚ϡϣϬਤࣘ䩟ϤРϥѓЈ೫ ଯ‫׏‬цϤआԸ٩ϡ‫ڌ‬Ѻࢲ॒հϱϡЈख‫ږ‬ϡϣϬ൪Ն䦚Ғҝོ֡ԁૠ҃ϥ ‫ߞܬ‬фҹ٩Ѻ‫ܠ‬ϡ۵ࡣ䩟ъАਭዽӊҖ҇‫ߞܬ‬ҹ٩ҏЅ䩟֡Рོ֡ԁૠ҃ ϱӥѴϸϣ۵ࡣ䩟ज‫׏‬ϥзׁলᔓপϡ‫ࡺש‬Ϧ䦚 ӆ‫ڪ‬ಈѓϡҤ֚䩟ђϥ䦧ϨѓЅѺ䦨ϸϣԑ݉ϡϣϬЈ‫ؗ‬ӆ䦚ϸѦ䩟Җ ҇‫ߞܬ‬фҹ٩ϡ‫ے‬ԵӔѼᢊՊ‫׍‬Ҳцؕϡҹӆ࣏ܴӾЅ䩟‫ܼױۥ‬ϺѺѓ ׁϣ䦚ॎѼѺТНйЧЅм‫ڈ‬ЅмԴҎ‫؝‬ଷ‫טװ‬ӳོ֡ૠ҃ϡҜϿ䩟Ԕϸ ҈ϣӆ‫׊ڪ‬НйўѸЄϡϪ䩟ϨІѝࠚҽϡ‫ݔ‬᫬ዝࣻЅ䩟Ҁի䦙Մ‫ڏ‬Җ҇ ‫ߞܬ‬ҹ٩ҽ‫ٹ‬ᲇϡ‫ڽ‬Ђ‫ے‬Ե䦚༊ࢴӆ‫ڪ‬䩟ϲҒӎ೗ϼϦ‫ڽ‬Ђϡ‫ے‬ԵтѴҏ ߫䦚

INTRODUCTION

xxv

The rst two of these bilingual readers select canonical works from such famous writers as Lao She, Lu Xun, and Xiao Hong, or more contemporary ones like Ma Yuan and Liu Rui. As important as these authors are, the length of selected works presents pedagogical challenges for today’s classroom. An eclectic coverage of contemporary Chinese society does not seem to be a focus of these bilingual readers. The ash ction collection from Shanghai, with no instructional tools to facilitate learning, falls short of the goal of integrated language and culture learning. Making up for what these texts do not have, this parallel reader carefully selects contemporary short-short works of broad representation and uniquely groups them with key cultural concepts and accompanies them with various learning tools. Divided into nine chapters for a regular semester course, all thirty-one stories are in manageable sizes for traditional class meetings.

PEDAGOGICAL STRATEGIES

LANGUAGE LEARNING Making adjustments to current pedagogies with parallel format does not negate the communicative approach or immersion methodology. Rather, this volume complements previous approaches with new strategies to meet the challenges of changing instructional environments. If communication and interaction are among the goals of language and culture learning, it is only logical that we also try to reach these goals by way of immersion in the communication and interaction between the two languages and cultures. The methodology of this volume is but an additional way of learning through using, since communication between the two languages and cultures are embedded in the parallel format. Although some students are able to go to China or to their Chinese friends for oral communication opportunities and interactions, volumes like this one will allow many more to experience profound intellectual exchanges in the quiet of their rooms. To use this book is to begin a dialogue of discovery.

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ϸ҈ϡ‫ے‬ԵтѴ䩟‫ڈ‬ी‫ے‬Ե‫ڌ‬Ѻ֚䩟зࡢ٣ߚϡҤӌϲϥԷІϢ‫ࣔ܋‬ ϡЌ҃ԛ䦚ІѺϡЌ҃ԛؑϴϨѺ‫ܠ‬ϡРࡄЅЏϺϤआϡచӡԁೖಿ䩮ґ ‫כܬה‬Ҳϡҹӆ䩟ሂಌЌϨఉ߭цؕϡ༊ࢴРࡄЅԗచӡԁೖಿߵЗ‫ت‬ခ ѯѺТ䦚ϸӆ‫ڪ‬ϡ‫׺‬ҽѦ䩟ϤࡖϨਘࢴ‫ٷ‬ᑸᑋԡჺҏ‫؝‬䩟ӹЋцԁӮ‫ۘ׍‬ ߯٣ϡࡣ‫ކ‬䦚Ӿ‫ݞ‬Ѩӆӱйߵ‫ݞ‬Ѩϡࢬፈ৉вѺТ‫ߎڽ‬З䩟јЙЪНЌϿ ٤о՜֣䩟‫ݘ׍‬Тцҹӆ䩢ፈҹՖҲࡷ߃ԛۨ‫ܐ‬ϡҺ݁䦚јЙНЌϿ৪՜ ‫ב‬ЎϱϿтТѮА䩟НЌϿЋ‫ݞ‬Ѩ൜‫ܐ‬ϣϬЈֲ঵䩟ЋϣϬ‫؀‬୫䦙ϣॵߦ ‫ܬ‬䦙ϣϬ‫޻ݫ‬䦙ᑏ۠ҪҹЂоЈϡፈ֚䩮ѺТԁҹӆϡོ֡‫ے‬Ե䩟Җ҇‫ܬ‬ ߞҹ٩ҽϡૠ҃䩟۬Ϩϸ҈ІҢϡІϢ‫ࣔ܋‬Ѕ෨۟䦚 ٍѺТਭዽӊԟҪϡЅҹࢲ॒ϥϣϬքϱքԡйӥѴϡٓЂ䦚‫۬س‬ϢЙ өѺТ‫؟‬ϺЅм䩟јЙϡЅмॣҎ䩟ъԈцӊ1%$‫ܧ‬լфѤмԵҲ਴भϦ ‫ث‬ЏԝѤмѺТХЄϡЅм‫י‬ж䩟‫܊܊‬ѸϩࣳঙԁјЙϡ஬мԴҎ୞‫߭ܠ‬ ‫ܬ‬䦚Ѕмϡ‫ۉב‬ҜพЇ‫׶׶‬Ћ਌৉ѸЄ߈ѺТґ٤ప߭ҹဨࠅ‫ࠖע‬䦚ϴц Ѕ䦙ҙёٛϡѺТՖҲѸЋϩ‫݌‬ϡ֠‫׭‬ਖ୞䩟‫ۓ‬છϨҟլ‫׈‬ѧϺٚЩЗϡ ࠅஇ‫ڌ‬Ѻҏ֔҂ҹ‫א‬䦚

޴݉䩢ҹӆѺ‫ܠ‬ ૦Ⴠᱚ๥ख़߲ҮЛР䩟ϨѴ‫ڊ‬Ԓ֎䩟ϣϬѐԜիР‫ڌ‬ड़ϡϪ‫ۓ‬છϩР䦧‫ڽބ‬ ܴс䦨ԪϣϬघϿና௄ϺࡔϣϬघϿϡҮࣄ䦚䩛&RRN6DWKHU ҷ‫ސ‬䩜ዐው ာ䦛ᆟࡽ䩠ຩ෻‫׏‬ф૦Ⴠᱚ๥ख़ϡ޴Ѣ䩟‫׍‬ਤࣘѬ䩟‫ڌ‬ड़ϡֵ‫د׏ب‬၉䦧ц ϤӎघϿϡ٣ߚՄ‫ڍ‬ՖҲԝࢹ䦨ф䦧цԒ֎ϡЧЅК٩䦨䦚䩛ҷ ‫ސ‬䩜ԧ൬۠ ‫ڶ‬Ћ䩟‫ڌ‬ड़‫س‬ϥࢬፈ䦚ӹЋϨϣӡҺॶϼ䩟‫ڌ‬ड़ЇϥԪӛԅҞ֥ЅԐವо Ј䩟ӎЗ䩟Җ‫ٷ‬Ї୐йհϱ‫׆‬٩Ћѝ‫ڗ‬䦚ӛй䩟ԧ‫ڶ‬ЋࠅஇҮࡑ‫׏‬ϥϸ҈ ϣϬ‫ݡכ‬䩭ѺТϨѺ‫ܠ‬Ѕҵ‫ז‬ІҌ䩟‫׍‬Ϩ‫ڽބ‬ЅٍІӱтТ‫׆‬٩䦚䩛ҷ ‫ސ‬䩜ࢬፈ‫س‬ϥ‫ڌ‬ड़ϸ҈ϡԑ݉ϴؒࠃพԛ‫ڌ‬Ѻ䩟‫ؔڌس‬ЋѺТࡷ߃ֺխ䦙 ٤పࢲ॒䩟ґ‫ۥ‬ѺТІѝюϲ‫ٿ‬ІϡѺ‫ܠ‬фюӗ䦚

INTRODUCTION

xxvii

The most valuable aspect of this methodology of communication is its self-directedness. Self-directed learners need a rmation and encouragement. The parallel texts communicate these messages right back to them. In the space of parallel text, there is no room for embarrassment, because right or wrong are not evaluative norms. When students re ect on the stories and the translations, it is very likely that the process will provoke questions and desires for creative changes. The communication between students and the text and the interaction between the two languages and cultures thus continue as students think about what happens next or write a new ending to a story or come up with di erent translations for words, phrases, paragraphs, even entire texts incorporated here. To immerse students in a Chinese environment has become a more and more di cult dream to pursue. ven when we send students to China, their Chinese roommates, better groomed with knowledge of NBA stars and American pop artists, are oftentimes more interested in practicing their nglish. Host institutions often o er courses in nglish to draw bigger enrollments. ective training for professional pro ciency at the intermediate and the advanced levels has to go beyond the three to ve hours of immersion in class each week.

CONCEPTUAL/TEXTUAL LEARNING In the modern world, Proefriedt has argued, to be truly educated a person must have undergone the experience of moving from one society to another “in the re ective fashion” (Cook-Sather 2006, 40). Alison CookSather echoes Proefriedt’s view and adds that education should involve “comparing values of societies” and “decentering of the world” (41). She actually de nes education as translation in the sense that it is also about restructuring knowledge in light of newly acquired information. ducation and translation share in the phenomenon of transformation. The classroom experience should be the platform for students to make themselves comprehensible and to allow transformation to take place through re ection (36). The concept of translation as education calls for a constructivist pedagogy wherein teachers create and present contexts for students to e ect their own learning.

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ӾѵԒ֎ϡѴӥ࢙ҴҪ‫ܧ‬٩ϤϿ䩟ЇϤНЌ᪲‫ھכ‬ఓфҹ٩ҏҽϡऴӆ ई஬䦚ӑЋ‫ߞܬ‬ҹ٩‫ؔڌ‬䩟ϢЙХϥҮ‫׶‬ϿထՊ䦧‫ے‬ԵϤ֡ϡᒴ঵䦨䦚ѕ঒ ᚳট৓Рϸ҈ϣϬຎж䩭ӎ҈ϣ‫ݫ‬Ҧ䩟䦧আ‫ٷࢴܬ‬ಶೄϺϡϥ䩟ᱢֿԱϺԲ Ϫϡߥ‫ل‬ЗӚϦ䩮ґፈҹࢴ‫ٷ‬ϡ‫ྱބ‬जϥ䩟फ़ϩϪԚҞࡖϨϸ҈ঊ‫ܞ‬ϡߥ ‫ل‬䦨䦚䩛%RUJHVҷ‫ސ‬䩜ॎѼፈҹࢴ‫ٷ‬ϡ‫׏ބ‬ѪНധۘ䩟ԔјЙЬϩ䦧‫ܴڽބ‬ с䦨ՖҲϤӎ٣ߚՄ‫ڍ‬ҽϡԝࢹ䦚ӹ‫ױ‬䩟јЙϡ༊ࢴѪࡾӊцҷϣࢴ‫ٷ‬আ‫ܬ‬ ҹ٩ϡԑ‫ث‬䩟Їԡй඄Ֆҷϣфҷԏࢴ‫ٷ‬ҏҽϡོ֡‫ے‬Ե䦚 ӾѤмѺТӛҀࣳঙϡ՜֣ԁআ‫ٷࢴܬ‬ӛԮКϡ՜֣ϽԚዓ೛З䩟ϢЙ ‫؎׏‬՘А‫ފ‬䩲‫ޔ‬ᒈ঒䦛޿ၔᵹ‫ڶ‬Ћ䩟Тࡖӊ䦧Ϥӎϡ>ҹ٩@Т‫ݘ‬Կ෢䦨Ѕ䩟 䦧֔мࢴ‫ٷ‬ϣӡϿйϤӎϡҤܴ༊ࢴҹӆ䦨䦚јЙӛࡷ߃ϡ䦧ԚঐѨ‫׉‬ҏҽϡ ஢޳ц߹䦨‫ڈ‬ϥ䦧࣠ӆϤӎϡѨ‫׉‬ҏҽϡӮணԝป䦨䩟ЁϤРϥቄҹ٩༊ࢴӥ ᒃЅϡ૦ৄѴࢣ䦚䩛%RXUGLHXҷ‫ސ‬䩜Ӿ༊ࢴԷ‫ؚ‬ҹѺҹ٩ϡϬՄѪ֚௭ ௳Іѝ‫ئ‬ӡϡ䦧>ҹ٩@Т‫ݘ‬Կ෢䦨ϡࡳ‫ء‬З䩟ӑЋ‫ڌ‬ड़֞ӑ‫ٷ‬䩟‫ބ‬ґЧ‫ݍ‬ऩѺ Т䩟НйцϣϬҹӆ‫ڦ‬Кӛ௰䩟Нйԗ۵ࡣի੃ϡӍϮӾӑҷϣ‫܏ހ‬䩟Н йϣ‫ڏ‬с‫ٹ‬٩јЙӔҌфӂӊ‫ב‬իϡև՝䩟ϸϥ૎ૺ‫ڗ‬ϡ҂֚Ӷ䩲ϨԁЅ мӋ‫ے‬ѬЗ䩟՝Ҥц‫ف‬Ϥӎूԋ‫ٷ‬ϡԮ‫ڀ‬фцЅмҏբϡ‫ڱ‬௅䩟‫׍‬ЬϩϨ Ѕмԍ੃ӾЅ৉вЄվ࢕ም䦚РЧϡѧ֐ЄёЅ䩟՝ҤਭࣿӊѓІѝ়๐ ϡӛ஼䦧॓Ѻ䦨Ҥ֚фѲ‫ݫ‬ϱ‫ث‬໯Ѕмϡѵϳ䦙ব࠻Ѕмϡ‫۔‬ϱ䩟ԔϮՌЇ ϣ‫ׯ‬Ϥϥ‫ئ‬Ԇϩ‫݌‬䦚 १஻঒䦛ጞ঒ԗѓІѝϡ޴݉䩢౒₧Ч‫ࡧڶ‬фპೄ֔мҹ٩‫ݘ‬Ԙϡ҂֚ ीҏЋ䦧‫ڛ‬ई஬Ӿոۜ䦨䦚Էњҝ䩟ϥөࢴ‫ٷ‬Ԫቄҹ٩༊ࢴԑ‫ث‬ϡૺ‫ڗ‬Ѕэ ௳оϱ䦚䩛'LQJZDQH\ DQG 0DLHU ҷ‫ސ‬䩜цᱚྦྷ౱ᐩ䦛ఔຩၔ঒䦛చ৸ фԧϡӎѨ޿༌൛䦛ᴐᏛট䦛म঒ϱЛ䩟ϸ҈ϡэ௳Һ‫ڏ‬аϣϬԛ‫ڱ‬଴Գ ϡ‫ה‬Գᔧᅙ䩭ѺТҩᔧᅙϦ‫ޕ‬ӱ‫؝‬с䦧ѓјϪϡႾ֏ᅮ؇јϪߞҲ䦙Ϭԛ䦨 ϡҜϿ䩮ґ‫ؔڌ‬ज‫޵׹‬Ϧ䦧ϣϬഷ‫ޚ‬ቄҹ٩‫ے‬ԵҏൕԑѬख़ϡԮඡࢲ‫ڝ‬䦨䦚 䩛ёѤммрϪҹऴ‫ؖ‬Ͽჴ‫ڡ׈‬ϡ‫ݍۏ‬䩜ӹ‫ױ‬䩟ӑЋ‫ڌ‬ड़֞ӑ‫ٷ‬䩟ў ѺТ়๐ӾсϪ‫ھ‬ԮКϡ՜֣䩟Ϧ‫ث‬јЙϡ‫ۅڽ‬ԁҲЋҤܴ䦙٣ߚՄ‫ڍ‬ф घϿ‫֏ء‬ҳ䩟ϥϢЙॶϤ‫ب‬᏷ϡૺ‫ڗ‬䦚

INTRODUCTION

xxix

The reality of the world today has shown us that globalization cannot and will not iron out the fundamental di erences between peoples and cultures. As teachers of languages and culture, we often face “impasses of non-communication.” Borges makes this point: “The rst audience appreciated the fact that the whale died when it heard the man’s cry; the second, that there had ever been men who lent credence to any fatal capacity of such a cry” (Borges 2000, 40). alid as the second audience’s response is, no comparison of values “in re ective fashion” happens, which does little to help us understand the rst audience (i.e., the audience of cultural origin) or to facilitate communication between the rst and the second audiences. What do we do when issues of interest to American students are at odds with the concerns of readers of cultural origin? In Pierre Bourdieu’s opinion, “foreign readers are bound to perceive the text in di erent ways” due to their presence in “di erent eld(s) of production”; the creations of “ ctitious oppositions between similar things” or “false parallels between things that are fundamentally di erent” are but a common phenomenon in reading (Bourdieu 1999, 225). If, as a human being, one cannot avoid being limited by one’s particular “ eld of production,” is it responsible to tell students to do what they want with a text, to make acceptability by the target audience the priority, and to continue internalization of the familiar? When dealing with China, the critical focus of the West on political dissent and contestation has not resonated much with the Chinese public. Familiar and “scienti c” methods and applications used to analyze China’s present, to predict its future, have not been particularly e ective over the past thirty-some years. Carol Maier regards the practice of applying our own categories of perception and appreciation to a foreign cultural product as “an uncritical assumption of di erence” that exonerates readers from the task of ever reading cross-cultural texts (Dingwaney and Maier 1995, 312). For Françoise Massardier-Kenney and her colleague Brian James Baer, this means a double deprivation of a serious nature: students lose an opportunity to “see the behaviors and dispositions of others in their own terms,” and educators miss “a crucial step in developing an ethics of cross-cultural communication” (presentation at the 2015 N H Summer Institute). It is therefore incumbent on us to familiarize students with local concerns, practices, values, and systems.

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஦Ѽ䩟ੜ՝Ҥࢴ‫ڏטٷ‬ԗЅҹӑԘ䦧ІѼ٩䦨ϡ҂֚ЇϤѪѬԑ䦚ԔҒҝ ϸ҈҂Ͽ߃юࢴ‫ٷ‬цӊ‫҇ױ‬䦧ІѼ٩䦨ϡ࣊༌䩟ϢЙϡ೫ଯϲؑϴ҂о݆‫ݱ‬ Ϧ䦚ϣ‫ח‬ӑԘϡআ‫ߞܬܬ‬ҹ٩ԁ۵ϡ‫ߞܬܬ‬ҹ٩ϩа‫҇ح‬Ԯ‫ڍ‬䩟ϪЙϡЃ ⃒֚஬䦚ᰟझ᠟ϡ޴Ѣঐল‫ײב‬ണࢫ䦚ј‫ڶ‬Ћ䩟‫֍فخ‬ҹϡϤਧҴ֏䩟ў ፈҹࢴ‫ٷ‬ҀիϺ‫ؚ‬ϡႛҨ䩟Ї‫؎׏‬ϥࢬፈϡϣϬ۵ϡ䦚ј൬۠৏ᔪЛ䩟ࢬ ፈЅٍѓ䦧ԵҲѓ֚䦨䩟৪ؒ䦧ፈҹ‫ߞܬ‬ϡϣ৩ԛ䦨ф䦧цҦડϡ‫ڝ‬ᄊ䦨ҳ䩟ॎЌ ٍ༊ࢴРࡄԵซ䩟ԔϸԈ҂֚հϱϡ۬۱‫׊‬Ͽഡߛ֍ҹֵϨϡ䦧ҹӆ‫׏݌‬䦨 䦚䩛0D\ ҷ‫ސ‬䩜ӆ‫ڪ‬ϡ൜‫ܐ‬䩟ԗѺТԁ‫ߞܬ‬ϡІтૠ҃䩟йߵјЙϨѺ‫ܠ‬ ЅцϤӎҹ٩ϡܷӱҀիঞӊЅКс֧䦚ϸ҈҂૽Ќ‫ࡾݨ‬ፈҹࢴ‫ٷ‬䩟ҍц ᰟझ᠟ϡ஍КϩӛԮؕ䦚 ёჴ‫׈‬䩟ϨѤммрϪҹऴ‫ؖ‬Ͽӊచ‫ئ‬ϽѺ৓‫ފ‬ϡࢬፈ୳ॗ‫ڡ‬ϼ䩟 ϢЙѺϺϦϣϬ‫כ‬႗൓݆֚䦡䦡ўѺТц൘ТҹӆϡՄ‫ڏ‬䩟фԁЈ࡞ҹ٩ ϡૠ҃Մࡑ૽ྻႄҍ౜ቂ䦚ϣϬϩૺ‫ڗ‬Ҁϡ‫ڌ‬ड़֞ӑ‫ٷ‬䩟‫؎׏‬झҨЧ৉т ўѺТҀϺϤІϨϡ‫ڽ‬Ђख‫ږ‬䦚ёٚ֊䩟๛ख़䦛แ‫ئ‬৆Ϩ䦭ҙҳ‫ڌ‬ड़ ‫ۏ‬䦮ϼтԣϦ֣Ћ䦭ϤЋիϺ౜ྍ䩟ϧЋ‫ح‬ϱϼϽѺ䩲䦮ϡҹ‫א‬䦚ҹЅ䩟 јЋ༊ࢴЅ‫ݘ‬ТϡϤІϨ䩟ߵϸ҇ҀҢᖕᡨӛ‫ڽ‬ϡ඗ଏ䦡䦡ԑԛ䩟ՖҲ৏ ᔪ䩟ԗҖ‫ٷ‬ӎ҈؇Ћ‫ڌ‬ड़ϡ҃Ҩ䦚Ϩӆ‫ڪ‬൜‫ܐ‬ϡРࡄЅ䩟ϢЙϩҺ‫ࡺש‬Ϧ ߷оϤӎࣄ੗Ҁիфҹ٩є॔䦡䦡ъԈЪԡϨ՝ҤҮࡑЅ‫װ‬ϺϡҀիфє ॔䦡䦡ϡ‫ݞ‬Ѩ䦚ϢЙϡఉ߭цؕҹӆцзϽࡳ֏сӐѴ֍ҹ‫ݱ‬Մ‫݌‬ҝйߵ ߭ҹ‫֝ڱ‬ϡԮ‫ڀ‬䩟սРϦцፈҹࢴ‫ٷ‬༊ࢴস޸֏ϡԮ‫ڀ‬䦚ϢЙᗆိᅮ፻Ϫ ϡնਯࠃ৷䩟ԗъԈϨЅмҹ٩фЅмϪϡཡዚ޴Ѕ‫׍‬ϤࡖϨ䦙ϱІ߭ҹ ϡЛ֚ԪፈҹЅ࿋ङϦ䦚ϢЙԗ‫ݞ‬ѨੜҰ֣д‫׍א‬Ћҟ‫ߦܐא‬ҹ҂ਡ䩟۵ ϡϥЋϦँվӔҌфӛ়๐ϡև՝ц༊ࢴϡ‫ݾ‬ൢ䩟‫׍‬ᚤୟ‫ڦ‬Кӛ௰‫ثࡺש‬ ࢴфᩊ࢙Іѝ䦧܏ԋҏҴ䦨ϡ෴‫ז‬䦚ϢЙԪԑ‫ڹ‬ϡҙ֏䩟࣊๛цࢬፈϡ‫ߎڽ‬ ࠃพвϦ‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡᕴବ䩟ԪґЌ‫ޢ‬ԗј‫ٷ‬ԛ RWKHUQHVV  ՜֣ঞӊ‫ڶ‬ ӎԁ߇ഭ䩟઼֬ԁԸ஬䩟࢕ምԁइ࡞ϡ҃‫ݮ‬Ԯ‫ڍ‬ЅՖҲ෬ॗ䦚

INTRODUCTION

xxxi

Naturalizing Chinese works for Western audiences can be helpful, but we need to adjust our strategies of engagement if we develop a dependence on naturalization. Among views of the relationship between the target language culture and that of the source, Lawrence enuti’s seems extreme. In his opinion, keeping the opacity and the experience of resistance of the original for nglish readers should be a goal of translation. He goes as far as arguing that uency in the target language, especially the convenience of “current usage,” “linguistic consistency,” “conversational rhythms,” and so on, could be detrimental to the “textual e ect” of the original (May 1994, 6). This volume takes into consideration both what helps target readers and what enuti worries about by putting students’ spontaneous interactions with the languages and their felt experiences of the culture at the center of learning. The 2015 N H Summer Institute at Kent University prepared us for a balanced approach to make student interactions and experiences with unfamiliar texts and cultures pleasant and disturbing at the same time. thically responsible educators should work to cause intellectual discomfort. “You Are Here to Be Disturbed” is the title of Todd Gitlin’s article in the Chronicle of Higher Education in May 2015. He argues for discomfort and its odd-duck partner, reason, and sees them as driving forces of education. So when structuring this book, we selected stories that highlight di erences of historical and cultural sensibilities for which equivalents are hard to nd in the West. When setting up the parallel format, we were more concerned with closer approximation of the macrostructural impact of the original and the quality of signi cation in nglish than the levels of comfort for nglish readers. We followed the reviewers’ advice and eliminated the use of terms nonexistent in Chinese culture and cosmology. We themegrouped the stories with a preface not to reinforce the known or the familiar, but to work against the tendency to cherry-pick elements as support for preexisting views. By theoretically framing the learning of language and culture with the problematics of translation, we anchor the issue of otherness in the dynamics of identi cation and di erence, intimacy and alterity, and resonance and surprise.

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߭ఉцؕϡ࣏ܴԁ‫ڽ‬ᗙЌҨ ‫ڽ‬ᗙ ԑ‫ڹ‬р‫ޔ‬ᒈ঒䦛޿ၔᵹ‫ڶ‬Ћ䩟֔мҹѺϡ৉Ֆ‫׶׶‬ϥ‫؝‬ӊҩ‫ࡈݒ‬с֧ϡ‫ܬ‬ ߞ৪ׁ֚ؒԛϡԣѴ䦚%RXUGLHXҷ䰭‫  ސ‬Ѽґ䩟ԪЅм৉ՊϸԈЩЩ ЛӑԘ䩟ϢЙԮКϡϤϥԷू੽‫ۋ‬Ќ䩟ґϥԷֵϨϡᅮѤ‫ڽ‬ᗙၘЌ䦚Ӿѵ ϡू੽Ү௸Ӥԃ৭ӥНЌцЅм‫ߞܬ‬ҹ٩ࣳঙϡтࣁϩ۱䩟Ԕ঎঎ԗѺ‫ܠ‬ фի‫ڌ‬ड़Ӿӑ‫ࠖע‬ӊू੽Ү௸۵ϡϡ੹௱ҏ‫ڋ‬ਘϪ஍ಁ䦚ӑЋ‫ࡪޥ‬фѺ՜ ϡௗ՟Ϫ䩟ϢЙђЂЋѺТөௗ֙‫࡙ۯ‬ᅮ؇‫ڽބ‬ϡҜϿфԿс䩟йўԷϨ цІӱϩࡳࢲ॒фҮࣄ䦧ᩲ஖‫׏݌‬䦨ϡ‫ڽ‬ᗙРࡄЅ䩟ԟюԳϴϡІϢюӗ䦚 ѴϨϡѺТ‫ګ‬Џ䩟Ϥӎϡ޴Ѣ䦙٣ߚ޴䦙‫ڽ‬ЂфҦ‫ܬ‬ҳЁϩІӱϡࣄ੗ фҹ٩юӹ䩟‫ؚ‬Йϡ࣏юфԸ٩ЇЁԁҺࡧ࣏‫઼ܷݮ‬ԚԮ䦚ѺТЇҴՁ䩟 ϨԁԷ‫ؚ‬ҹ٩Ӌ‫ے‬ѬЗ䩟ϩ‫ۓ‬ϴּв౓߯ф‫ૺ܋‬ϡ‫֏ݮ‬䩟๐К‫ۄ‬Պई஬Ӿ Ѕ䦚ӆ‫ڪ‬Һ௰հјЙӐ‫ז‬ӓҵϣ‫܌‬䦡䦡ഷ‫ޚ‬јЙц䦧Ϥӎ‫ھ‬ఓмр‫ؽ‬ҲҤ ܴϡ‫ڶ‬Ҍ䦨䩟ўјЙϦ‫ث‬ϥѮАюϲϦԁІѝТ҅ҤܴϤӎϡТ҅থܴ䦚 䩛 %RXUGLHX ҷ  ‫ސ‬䩜ϸϣ‫܌‬ϡ‫ۓ‬ϴԛϨӊ䩟‫ؚ‬ϿࢫтѺТцϤӎՄ‫ڍ‬䦧ࡖ Ϩࢉ‫ۥ‬䦨ϡࣳঙ䩟‫׍‬৉вц䦧ई஬Մ‫ڍ‬䦨ϡ‫ߎڽ‬䦚䩛$QWRLQH %HUPDQҷ ‫ސ‬䩜 ЇԜϥϸ҈ϡࣳঙф‫ߎڽ‬䩟ٍЏּв౓߯‫ૺ܋‬䦙‫ڶ‬ѐ‫ۄ‬Պई஬ϩϦю‫ۋ‬ӥ ැϡНЌ䦚ԜҒ䦭Ӑ෬ਭࢪϡᐇ୩Ϫ䦮ϡҖ֧ӑ‫ٷ‬ӛ‫܋‬о䩟ണԋϤϥߣ‫؀‬ ϡ䦧‫ڶ‬Ҍ՜֣䦨䩟ґϥϨ䦧Ҧ‫ܬ‬ЅՖҲϡघϿҲЋ䦨䦚䩛6DMDYDDUDDQG /HKWRQHQ ҷ‫ސ‬䩜Ϩᐇ୩䩟ԁϨЅмϣ҈䩟䦧‫࡙ۯ‬ϡਭࢪ䦨ϥϣ҇ᏠЋԵҲϡҲЋҤ ܴ䦚ђϩӾѺТϨҦ‫ৢܬ‬ҋϼцϸϣҲЋҤܴϡख़Ҳ‫݌ۋ‬ϩӛԑ‫ث‬䩟ѐԜ ϡऴӊಀԳϡོ֡ҥϩНЌтТ䦚 ‫ֳܨ‬ѺТ෬ॗϤӎՄ‫׍ڍ‬໎୳ԷࡖϨԑ‫ۥ‬ϡֳ݁䩟Ї‫ؙ‬ড়Ϧӆ‫ڪ‬ӑԘϡ ࢬፈ䦚ԝҒ䩟ፈҹЬϩЋँվ༊ࢴԡ֏ґԗѺТϤ়๐ϡԣܼ䦧ІѼ٩䦨䦚 ϸԈԣܼ‫د‬၉ࣲਹ䦙Үਹ৉ҹ䩟ࣄ੗ਹ‫ݞ‬䩟‫ئ‬ቕҹ٩Ѵࢣ䩟ю‫ܬ‬䩟‫ܠ‬ཞ䩟 ‫ئ‬ቕՄ‫ء‬ϡพюф‫ؽ‬ӑ䩟ц਴भԘ䩟‫ݞ‬Ѩф‫ظ‬ҦϡᎨ৉ҳ䦚ϸԈ൘Тӛ Ϩ䩟ԜϥѺТϩ‫݌‬Ѻ‫ܠ‬Ϥӎ٣ߚ䦙‫֏ء‬Մ‫ڍ‬ф‫౒ۅڽ‬₧ҏ‫؝‬䦚ӹ‫ױ‬䩟ϢЙ

INTRODUCTION

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THE PARALLEL FORMAT AND CRITICAL COMPETENCE

CRITICAL THINKING According to theorist Pierre Bourdieu, literary imports are often dominated languages seeking legitimacy (1999, 222–225). We are more concerned, however, with the critical and aesthetic potential of these Chinese works than their political agency. The political and economic climate may have created the conditions for interest in Chinese language and culture to develop, but education and learning for political and economic expediency is bothersome. In our role as academic gatekeepers, we have no ulterior motive in o ering students opportunities to take proactive account of the “prism e ect” of limited elds of experience and to be able to think re ectively as part of critical self-development. Students today know that views and values, ideas, and discourses are constituted historically and culturally and are shaped by ideology. They understand that it is necessary to suspend judgment and to engage di erences when encountering another culture. This volume takes them further. It allows them to reach an “awareness and knowledge of the ways in which di erent national elds function” in sustaining di erent modes of life than their own (Bourdieu 1999, 226). This is necessary, because it leads to considerations of “the system of these di erences” and “the reasons for this system” (Berman 2009, 31). Both considerations are crucial for successful suspension of judgment and the engagement of di erences. As the authors of “The Silent Finn Revisited” have pointed out, perceptual biases are not simply “an issue of cognitions”; they are “social acts performed in discourse” (Sajavaara and Lehtonen 1997, 269). Only when students understand, at the discursive level, the virtue of “active silence” popular in China and Finland, for example, does true communication based on respect become possible. The desire to allow students to search for systems of di erences and to study reasons for di erent systems also in uenced the translation of this volume. For example, instead of naturalizing expressions of estrangement for students, we translated them literally and footnoted them or listed them as new expressions where necessary. Such words and expressions include citations from the classics and canonical works, historical allusions, cultural speci cities, idioms, local customs, institutional structures

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ϡࢬፈಀԳ֍ҹ䩟ЇϨ‫ۓ‬ϴЗ۱ѓऑ‫ڈڀ‬Т୫‫ث‬౥ҳ֞ࡢЋѺТ٤పԑ‫ث‬ ϼϡ‫ࡾݨ‬䦚 Ѽґ䩟ϢЙࠀѪҺІ⏻੹୺䩟ѸϤ‫ٲ‬ᕑीϸѦϡࢬፈሂϺϮ‫؝‬䦚ϢЙϡ ֍जфӥᒃЁऴӊϸ҈ϣϬ₪‫ڹ‬䩭ϢЙѯоϡϤРϥϣϬࢴ‫ٷ‬ፈӆ䦚ϢЙ ϡ۵ϡ䩟ϥԗѺТ݆҃вϱ҂Іѝϡࢬፈ䩟ࢫಿјЙ‫ۄ‬ՊϺ෬ଷҹ‫۠ܒ‬Ԯ Գϴ䦙‫ݖ‬ѪࣤঝϡԸ҃ҏЅ䩟ϩӛӑЋ䦚ϸЇϥϢЙ‫߭ࡺש‬ఉц࣏ܴؕϡ ֍ӹ䦚ϢЙ‫כܬהֳܨ‬Ҳ૮‫ݮ‬Ѕ䦧ጊґ‫ݸ۔‬ϡҌࡧ䦨ЌٍѺТ༧оԈ‫ܙ‬䦧ъҌ ࡧϡӆѐ䦨䦚0DLHUҷ‫ ސ‬

ఉ߭цؕϡ࣏ܴ ఉ߭‫כ‬Ҳцؕϡ࣏ܴঐলϥϬ੼ছϡ‫ࡺש‬䩟දԷϥ઩ࡽ䦛ख़ѦܼՉϩЯӜ ‫ڹ‬आϨ܏䩭䦧ࢬፈϲϥ䦦ϤНЌ䦦ϡࡔϣϬЛ֚䦨䦚䩛'HUULGD ҷ‫ސ‬䩜Ѽґ䩟 ࡔϣϬӎ҈ЯӜϡ޴Ѣज‫ڶ‬Ћ䩟ըছԁҜ߁࢕ࡖ䦚ϢЙϤ؎䩟ЇϤЌԗࢬ ፈЃӑϥөӑԘԪϣ҇‫ߞܬ‬ҹ٩࿴‫ؽ‬Ϻࡔϣ҇‫ߞܬ‬ҹ٩䩮Ϩі޴ৢӌцፈ ҹೈࢂؒᯎӥ٧Ў೫䦚ԥ๛‫ݚ‬䦛ᐑᅸ‫ݍ‬ᭆϢЙ‫߯ڒ׾‬်䩟ԗ‫ؘ‬ҨओЅϺࢬ ፈ҅҃ӆӱӛࡢϩϡၘҨϼ䦚ј౗ѓ०޿ඕ঒॓ԝ঒䦛᠍၆ԝϡϣϬঐۘ ґϥϡԣܼ䦡䦡䦧๨ҮҮҹડϡІ੽䦨䦡䦡ϱ࣏‫ب‬ϣ‫ח‬ӑԘф‫ၘؚ‬ϨϡНЌ ԛҏҽϡԮ‫ڍ‬䦚䩛%HUPDQ ҷ‫ސ‬䩜৆൛䦛‫ح‬แёज‫ڶ‬Ћ䩟Ϥӎ‫ߞܬ‬ҏҽ ࡖϨа䦧ଞᚙґϤНᛯຣϡૠ௑䦨䩮Ԝϥϸϣૠ௑Ԯ‫ٍڍ‬ЏϿҺюЋНЌ䦚 䩛+HMLQLDQ ҷ‫ސ‬䩜৭Ғख़ѦܼϡࡔϣϬЯӜ‫ڹ‬आӛߞ䩟Ғҝ䦧ЬϩѮАϥ Нፈϡ䩮ъϣܷЁϥНፈϡ䦨䦚䩛'HUULGD ҷ‫ސ‬䩜ࢬፈ҅҃ЅϺ‫؝‬ Ёϥц઼⃮ԑԛख‫ږ‬ϡ‫׺‬ҽ䩭‫ٶࣘ૽ؚ‬ϦҺॶό࠱ϡҜϿфսք֍ҹՖҲ ࡷҺԣܼϡНЌ䩟ҍϥц֍ҹфፈӆϤНবҌϡЄׄၘЌϡϤआᅲѴ䦚 ၍෈䦛ᕡਜ਼ᅸϨ‫ߎڽ‬Ҧ‫੹ܬ‬䦙Һࡧ࣏‫ݮ‬фࢬፈҏҽϡԮ‫ڍ‬ЗԣܼϦϸ҈ ϡЂ֚䩟䦧ЂϴශϤ‫׹‬ѐс௄ယϣϬ‫ܒ‬䩟ϢЙؑϴөࢲᄴϨϸϬ‫ࣻرܒ‬ϡ‫ݱ‬ Ϭ‫ߞܬ‬Ё࿴Рϱ䦚䦨䩛-DDzH ҷ‫ސ‬䩜ԏ֐ёӓ䩟၍൛䦛ႰာцϸϣЂ֚ϩՖ ϣ‫܌‬ϡᶻ਎䩭ҟϬ‫ܒ‬䦙୫ЁϩЄԳଭॶ䩟ϸϥӹЋ䩟ҟϬ‫ܒ‬䦙୫ЁНѓӊ Є҇є॒䩟ӎЗҟ֧ࢴ‫ٷ‬ϡ༊ࢴ۵ϡЇϽԚዓ೛䦚䩛0DVRQ ҷ䰭‫ސ‬䩜

INTRODUCTION

xxxv

and practices, and references to artwork, myth, and mythologies. It is precisely at these unfamiliar places that e ective learning of di erent values, systems, and categories happens. Yet we do not assume a position of authority or claim absolute su ciency of our translations. The paradox of our principle and practice to present a reader’s version in order for students to engage themselves in the act of translation encourages students to immerse themselves in critical unsettledness and asks them to take action. The parallel format was chosen exactly for this reason. We hope the “unsettling knowledge” that the parallel texts embody enlightens students about “the nature of that knowledge itself ” (Maier 2006, 163).

THE PARALLEL FORMAT The parallel format may seem a risky choice, especially in the light of Jacques Derrida’s famous statement “translation is another name for impossible” (1998, 57). There is, however, an equally well-known view that regards risks and opportunities as two sides of the same coin. Translation should not and cannot be viewed as transference of a work from one language culture to another; to decry its defects at the micro level is not a productive endeavor. Antoine Berman advises us to move away from judgment and to focus instead on the potentialities of translation. He borrows Abdelkebir Khatibi’s paradoxical term “scriptural autonomy” to describe the relationship between a text and its potential (Berman 2009, 73). Lyn Hejinian believes that there is a “resilient reciprocity” between one language and another that makes knowing possible (2000, 297). Indeed, as another famous line of Derrida’s goes, when “nothing is untranslatable; . . . everything is translatable” (1998, 57). There is space in translation for rigorous intellectual challenge, full of opportunities to negotiate meaning, to create free expressions from the constraints of the original, and to render the unpredictable plurality of both the original and translated texts. When contemplating the relationships between discourse, ideology, and translation, va Ho man expressed the idea that “in order to transpose a single word without distortion, one would have to transport the entire language around it” (Ja e 1999, 47). Two decades ago, Ian Mason further elaborated on this idea. Words are invested with multiple meanings by virtue of the various contexts in which they are used and by di erent readers for distinct goals (1994, 23–34). Both Ho man and Mason make

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ᕡਜ਼ᅸфႰာӛߞ֜௟сԣҴ䩟Ѫ‫ڹ‬ϥϨ‫ܒ‬୫䦙‫ط‬жХϥҪҹϡৢҋϼ䩟 ֍ҹфፈҹЁϤϿϩҺॶϼϡԟҪԳׁ䦚ъА䩟ϸϬֲ‫ڹ‬ц‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ Һ‫ڏ‬аѮА֦䩲 ЇϲϥЛ䩟ӾѺТҺࡧϺ䩟ϸѦፈҹϡϣ‫ܒ‬ϣ‫ط‬ЁоІԋ‫ۓث‬Ѽϩࡳϡ ፈ‫ٷ‬ϡϬϪӍϮ䩟ϿϩѮАֲҝ䩲ϢЙ‫ֳܨ‬ѺТϿѓϤӎϡҤܴϱѺ‫ܠ‬ϸ Ԉፈӑ䩮ԷЅҏϣϥհа‫૆מ‬ϡϮ࡞Кᢛ௒ፈ‫ٷ‬ϡ៚ࡺ䦚ҟϬ‫ڶ‬ѐѺ‫ܠ‬Ѕ ҹϡѺТࢴϦҷϣϬ‫ݞ‬ѨњЁϿ՜䩟ЋѮАѓ䦧6NXOO 6KDYH䦨҂߭ҹࡣ֣䦚ϸ ҇Ђϴख‫ږ‬ፈ‫ٷ‬ϡྸֳ䩟Ϥ঎ϿўјЙІѺ䦧‫ݽ‬ೂ䦨ϣ୫ϡЄԳҺ‫ڽ‬䩟ХϿ հјЙҵՊϣϬ༈Щϡࡂۗ‫י‬жϡКࢽ‫؝ٹ‬䦚ѺТЙϨ༧оࢬፈЅӛϩϡ ‫ࡺש‬ЁϥНй౓߯ϡϸϣѬԑҏњ䩟јЙϡ‫׏ބ‬ЛҴ䩟ԪፈҹЅѺ‫ܠ‬ԁϨ ࢬፈРࡄЅѺ‫׶ۘܠ‬Ԛঐ䦚Ԫ࣠ӆϼЛ䩟Җ‫ٷ‬Ёϥ䦧ϣϬ‫ڶ‬ҌРࡄ䦨䩟ЁϨ 䦧୳ૢ䦙ᅮ؇‫ڶ‬Ҍ䩢Ҍࡧϡӆ‫ڱ‬䩟йߵϣܷ‫ئ‬ӡ䦥‫ڶ‬Ҍ䩢Ҍࡧ䦦й‫҇ح‬Ҥܴ‫ٹ‬ ယӊࡢՄє࣏ҏЅ䦨䦚䩛+HMLQLDQҷ‫ސ‬䩜 йఉ߭цؕҹӆϸϣ࣏ܴԗҌࡧ䦧‫ٹ‬ယ䦨䩟‫ܙڈ‬зЌ‫ث‬ӵ‫ڽ‬Ђ䦙ࢫтІѺ ջє䦚ϣ֧ѺТ߲Үҩ‫ݞ‬Ѩ䦭‫٘ޤ‬䦮Ѕ䦧ሱࡤ䦨ϣ୫ϡҷԏҋٍѓӛ੡༜䦚 ӊؔዑՌᬐአᅿࣼϣડᨦԃϣϬҩघϿᥳ০ϡϪ䩟јЋѮАϴ䦧ሱࡤ䦨䩲ϸ Ϭ՜֣඄ٍϸ֧ѺТцҹӆ҂ϦՖϣ‫܌‬тᜨ䦚ԧ‫ݓ‬༊Ϧҹ٩Ͻཪ‫ܞ‬ϡࣄ ੗䩟෬ૢϦ䦧ϳсᅿ֬ؔ䦨ϡҹ٩‫ࢅت‬䦚э‫״‬ԧйЋ䩟Ϥϥӑ‫ٷ‬ӮѓϦ䦧ሱ ࡤ䦨䩟ϲϥፈ‫ٷ‬ӮፈϦ֍ҹ䩮ֲҝ䩟цϸϣ௅՜ϡ෬౱юϦԧ‫ྟث‬Ҫࢡϡᒧ ጦ䦚ϨϸѦ䩟ఉ߭цؕϡ࣏ܴ૽ϥࠃพҖ҇‫ߞܬ‬ЌҨϡ֞ࡢ䩟ҍϥ඄ՖҖ ҇ҹ٩ૠ҃ϡѲ‫ݫ‬䦚ЋѮАцϨ‫ئ‬ӡϡҹ٩З‫׺‬Ѕϡ‫ئ‬ӡϪळϱЛ䩟ϸ҈ ‫ڈ‬ъ҈ϡЛ֚ф҂֚ϲϥ੻ᗀ֦䩲ѺТϡ‫ߞܬ‬䦙୫ཹфԑ‫ث‬ЌҨϡ٤ҙ䩟 ֡Рцϸϣ՜֣Ѹ‫ࡻٹ‬ϡԑ‫ث‬ЏйӥѴ䦚 ࣘдт༯ѺТϡЌ҃ԛЇϥ൜‫ܐ‬ӆ‫ڪ‬ϡ‫۪܋‬䦚ҮР‫ߎڽߒބ‬䩟ϢЙз‫ټ‬ Хϥԗ䦧૸఻ࣁϿ䦨ፈюϦ䦧6WDWH)DLU䦨䦚ϢЙ‫ۉ׈‬Ϯ࡞ϡѺТϿӹ‫ױ‬Ч‫ݓ‬Ѓ䩟 ϸҖϬࡢϩНԝԛϡ҅҃Ϩ‫܀‬ԁ‫ٷ‬䦙‫܀‬ԁࣳঙ䦙ॵ௼Ҝพф҅҃۵ϡҳ Ҥӌϩ‫ح‬஬ӎ䦚ҷϣϬ‫ݞ‬Ѩֲഅ‫؝‬ϡ‫ޕ‬՜‫ط‬䩟䦧‫י‬ж՘АЌϤࡕ֦䩲䦨䩟Ϣ ЙϡࢬፈϩҺࡧсԁ֍ҹࠁэϦய‫ڒ‬䦚ϸࢡЩЛϡࢴ‫׶׶ٷ‬ಃଯ‫ݞ‬ѨЅ ԏЩ䦧҂ۜ䦨ϡюд䦚ЋϦө‫ڀ‬ҺҨச䦧҂ۜ䦨ϼ৉䩟ϢЙԗϸ‫ط‬ҦࢬፈюϦ

INTRODUCTION

xxxvii

it clear that there can be no lexical equivalence between the source and target languages at the level of word, sentence, or entire work. What is the implication of this for language and culture learners? And what will be the impact on students when they realize that every word we put down here results from the personal decisions of translators of necessarily limited perspectives? Among the many di erent ways students may re ect on the works translated here, one, we hope, will be a stronger curiosity concerning the translators’ decisions. very serious student of Chinese language who has read the rst story will probably question our choice of “Skull Shave” as its title. In their desire to challenge the translators’ intervention, they not only (self)learn the multiple implications of “‫ݽ‬ೂ,” they may also nd a way into the psyche of a scared eight-year-old child. Student reaction to the realization that all choices are open to criticism has proven to us that learning through translation is much like learning in translation; it is “fundamentally an epistemological project” that “studies scrutinizes the nature of knowing and the way in which any particular ‘knowing’ is circumstantially embedded” (Hejinian 2000, 296). To be “circumstantially embedded” within the presence of a parallel format can be especially liberating. A student was once confused by the second use of “ሱࡤ” in the story “Catharsis.” Why should the person giving an outcast the royal treatment be “ሱࡤ”? She further engaged the text by looking into the history of the Cultural Revolution and by delving into the cultural tradition of “ϳсᅿ֬ؔ.” In the end, what she thought was a misuse or a mistranslation became key to unlocking the meaning of the entire text. In instances like this, the parallel format is at once a tool to build bilingual competence and an instrument to generate bicultural interactions. Linguistic, lexical, and semantic pro ciency is achieved through a deeper understanding of why certain ways of saying and doing things are imperative for a particular people at a particular cultural moment. This project is built with students’ active agency in mind. We debated and translated “૸఻ࣁϿ” into “state fair” because we hope curious students will look into the similarities and di erences in the constituencies, interests, organizers, and agendas of two comparable events. The translation of the rhetorical question “‫י‬ж՘АЌϤࡕ֦?” at the end of the rst story departs from the literal on purpose. Readers have tended to miss the “acting out” parts of the story. By rendering the sentence “We can’t blame the kid for acting out” we call attention to them. But more importantly, the change of subject from “‫י‬ж” in the original to “we” in

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䦧:HFDQ䦦WEODPHWKHNLGIRUDFWLQJRXW"䦨䦚ХϩѸԳϴϡϣৢ֍ӹϥ䩟֍ҹϡ Ұ‫ܬ‬䦧‫י‬ж䦨ϨፈҹЅԸюϦ䦧ZH䦨䩟ϸ҈ϲҍѯѺТࡷ߃ϦϣϬтᜨҹ٩‫ܠ‬৩ ф‫ߞܬ‬থܴई஬ϡҜϿ䦚 ӎЗ䩟ఉ߭ц࣏ܴؕϡ۠ԮԳϴҏ‫؝‬ХϨӊ䩟‫ٍؚ‬ЏЂ۱ѓ୼ᇄ䦙ྔ Ӹ䦙ѢᗼҳѲ‫ݫ‬ԗІѝϡ޴ѢфᅮѤঙ‫מڏ‬Ӹѯҹӆϡ҂֚ԡϼӸԡ䦚Ԕ ϸХϤϥϢЙ‫ࡺש‬ϸϣ࣏ܴϡҪ‫ח‬ԑ‫ۥ‬䦚ఉ߭цؕϡ࣏ܴХԗ౓߯ϡ‫ڀ‬Һ ҨుဖϨࢬፈϡҰ޴ԛϼ䦚ϢЙϡ߭‫ؗܬ‬ӆԁ֍ҹԝ෰ґ߹䩟ҳ‫ۉ‬ҟ֧ࢴ ‫ٷ‬ϡᅮ؇ф౓߯䦚䦧ࢬፈ‫ח‬ϬӑԘϲϥԗԷঞՊРᏟҏЅ䩟ٍԷ‫؝‬ӊጊґ‫۔‬ ‫ݸ‬ϡ૮‫ݮ‬䦨䩮䩛+HMLQLDQ ҷ‫ސ‬䩜Ӿԑ‫ث‬тТд᥋З䩟‫ڶ‬ѐ‫ߎڽ‬фѺ‫ܠ‬ϡҜ ϿЇϲϱϦ䦚䩛%HUPDQҷ‫ސ‬䩜ӹ‫ױ‬䩟ѺТэ‫״‬ಶೄ߯პҏЗ䩟Їϲϥј ЙՖՊҹ‫ܒ‬ҏழࣥЄॶфҹӆҏэӵЄׄҏЗ䦚ђϴјЙϤࣿҞϢЙ‫ڈ‬ϥ ‫حڗ‬ԷјϪϡࢬፈ䩟ґϥԗԷӾӑ৉֩ІѝтѴЈҺϡҜϿ䩟ъАஈҺϡ ࡷ߃۬Ӕэ‫״‬Ϧ䦚

ւҏ䩟ϸϥϣϬЋЅҹҙёٛѺТ‫ڋޕ‬䦙ϩϽ֝ᔅࡾѺ‫ܠ‬ϡֵ‫ب‬䦙Ҥ۬ ٍѓϡఉ߭цؕࢴӆ䦚‫ؚ‬ӎЗЇϥϣϬԗӾ‫ڊ‬ЅмҹѺࡆԈԳϴ‫ٸل‬հՊ ߭‫ܬ‬Ԓ֎ϡࢴӆ䦚ϸԈ‫ٸل‬䩟Է࣏юիϺϦЅм‫ئݼ‬ϡᅮѤԘ۴‫ؙ‬ড়䩟ӎ ЗЇዽ්аЅм‫ئݼ‬ϡᒩ޴ԁі޴ҹ٩ԑ݉䦚ӌц‫ڪ‬Ѕϡࠅҹ䩟ҟϣϬѐ КѺ‫ܠ‬ϡࢴ‫ٷ‬䩟ђϴ‫فخ‬эӵК‫ݮ‬ґϤЧಅֲ‫࡙ټ‬ԑ‫ث‬䩟јԁҹӆϡૠ೯ ོ֡ϲэ‫״‬Ϧ䦚Ї‫ܙ‬䩟Ѻ‫ߞܬܠ‬䦙ҹѺфࢬፈϡҤܴԁϢЙ‫ۉ‬Ϫ‫؝‬ѨϡҤ ܴ‫׍‬ѪϤӎ䩭йಀԳϡ‫֏ݮ‬ՖҲ‫ۓ‬ϴ‫܊ے‬З䩟ؑϴ෧ᐧјϪϡ‫੶ظ‬ԡ‫ث‬䦚 ϸ҈ϡ෧ᐧ䩟‫ܙڈ‬ϿюЋϢЙ࢕ӎҀիԁдұ‫ߞܬ‬ҹ٩ҏѤϡ‫ֳܨ‬䩟‫ٍ׍‬ ϢЙЌ‫ޢ‬ϨҀիфдұҏЅսքӾѵъԈϨϪळс෢Ѕਢ֎䦙‫߇҇ٿ߃ء‬ ഭϡ௬݉䦚 Еႍ‫߹߮ܗ‬ϽѺᢣЕው ѧࡠರ߮߹ϽѺጞࡽ䦛੗઼ট

3. ࣼⳎϨ 2014ё֣Ћ “ Ѕҹԏ֔‫ؔڌߞܬ‬ቄҹ٩ЌҨтࣁϡ‫ ” ߎڽ‬ϣҹЅॗ‫ڹ‬ϦЋѮ А“I like your shoes” ‫؎׏‬ፈю “ϧϡࠉжѐϮЃ” ґϤϥ “ϢӍӧϧϡࠉж”䦚ј‫ڶ‬Ћ ϥҖϬҹ٩цІϢϤӎϡЃ֚фӡ֧‫ݸ‬ӡϦϸ҈ϡࢬፈ䦚䩛130–131䩜

INTRODUCTION

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translation creates another occasion for students to dig into di erences in cultural habits and speech patterns.3 The parallel format, as a critical mechanism, makes it di cult for us to impose our own perspectives or poetics through omission, addition, and embellishments. We chose it, however, for yet another important reason. The parallel format brings critical attention to the subjective nature of any translation. Our nglish versions are there beside the originals for every reader’s critical scrutiny. “To place a work in translation is to place it in transition and to leave it there unsettled” (Hejinian 2000, 297). When differences in understanding occur, opportunities of critical contemplation and learning occur too (Berman 2009, 73). When students start to evaluate, they enter the rich polysemy and indeterminacy of words and meaning; when they do not treat our translation, or anybody’s translation, as absolutely authoritative, but rather as a guide and opportunity to create their own meaning, poetry is probably in the making.

This volume, designed for advanced students of Chinese with su cient paratextual elements to that end, also facilitates the bringing over into nglish of important voices in contemporary Chinese literature; voices shaped by particular aesthetics and informed by distinct micro as well as macro cultures. When readers come to the texts in this volume, all that is required to start a bene cial communication with them is an earnest desire to learn and a willingness to allow whatever understanding to remain, at times, elusive. Perhaps we should encounter languages, texts, and translation much the way we engage people with whom we are committed to interact with respect while allowing them to remain enigmatic. Perhaps we, in so doing, can transcend the current obsession with borders and separateness by way of the felt and shared beauty of languages and cultures. Aili Mu, Iowa State University Mike Smith, Delta State University All translations are by Aili Mu unless otherwise indicated. 3. In his article “Re ection on the Development of Cross-Culture Competence in CSL Teacher ducation” (Chinese Language Teaching and Research [‫ܬܗ‬ҹ‫ڌ‬Ѻ୳ૢ] 11, no. 1 [2014]: 127–49), Heng Wang discusses why “I like your shoes” should be translated as “ϧ ϡࠉжѐϮЃ” instead of “ϢӍӧϧϡࠉж.” He argues that the two cultures’ di erent perceptions of the self dictate the translation (130–31).

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REFERENCES Berman, Antoine. 2009. Toward a Criticism of Translation. Translated by F. MassardierKenney. Kent, Ohio: Kent State University Press. Borges, Jorge Luis. 2000. “The Translators of the Thousand and One Nights.” In The Translation Studies Reader, edited by L. enuti, 34–49. London: Routledge. Bourdieu, Pierre. 1999. “The Social Conditions of the International Circulation of Ideas.” In Bourdieu, A Critical Reader, edited by R. Shusterman, 220–28. Oxford: Blackwell. Cook-Sather, Alison. 2006. Education Is Translation: A Metaphor for Change in Learning and Teaching. Philadelphia: University of Pennsylvania Press. Cronin, Michael. 1998. “The Cracked Looking Glass of Servants: Translation and Minority Languages in a Global Age.” Translator 4 (no. 2):145–62. Damrosch, David. 2009. Teaching World Literature (Options for Teaching). New York: Modern Language Association of America. Delabatista, Dirk, and Ranier Grutman. 2005. “Introduction.” Linguistica Antverpiensia 4:11–34. Derrida, Jacques. 1998. Monolingualism of the Other; or, The Prosthesis of Origin. Translated by Patrick Mensah. Stanford, Calif.: Stanford University Press. Dingwaney, Anuradha, and Carol Maier. 1995. “Translation as a Method for Cross-Cultural Teaching.” In %HWZHHQ/DQJXDJHVDQG&XOWXUHV7UDQVODWLRQDQG&URVV&XOWXUDO7H[WV edited by Anuradha Dingwaney and Carol Maier, 303–24. Pittsburgh: University of Pittsburgh Press. Gitlin, Todd. “You Are Here to Be Disturbed.” Chronicle of Higher Education. May 11, 2015. http://chronicle.com/article/A-Plague-of-Hypersensitivity/229963. Hejinian, Lyn. 2000. “Forms in Alterity: On Translation.” In The Language of Inquiry, 296– 318. Berkeley: University of California Press. Ja e, Alexandra. 1999. “Locating Power: Corsican Translators and Their Critics.” In Language Ideological Debates, edited by Jan Blommaert, 39–67. Berlin: De Gruyter Mouton. Maier, Carol. 2006. “The Translator as Theoros: Thoughts on Cogitation, Figuration and Current Creative Writing.” In Translating Others, edited by Theo Hermans, 1:163–80. Manchester, UK: St. Jerome. Mason, Ian. 1994. “Discourse, Ideology and Translation.” In Language, Discourse and Translation in the West and Middle East, edited by Robert de Beaugrande, Abdullah Shunnaq, and Mohamed Helmy Heliel, 23–34. Amsterdam: John Benjamins. Massardier-Kenney, Françoise, and Brian Baer. 2015. Opening Day Presentation for N H Summer Institute “What Is Gained in Translation.” Kent, Ohio: Kent State University. May, Rachel. 1994. 7KH7UDQVODWRULQWKH7H[W. vanston: Northwestern University Press. Sajavaara, Kari, and Jaakko Lehtonen. 1997. “The Silent Finn Revisited.” In Silence: Interdisciplinary Perspectives, edited by Adam Jaworski, 263–84. Berlin: De Gruyter Mouton.

CONTEMPORARY CHINESE SHORTSHORT STORIES Ӿ‫ڊ‬ЅҹЩЩЛ

ҷϣ‫א‬

٘фწ 

ѓ

䦧٘䦨ф䦧წ䦨эࢡҺϨйᭉрҹ٩ϡ‫ࢅت‬ਧ؇Ӿ‫ڊ‬Ѕм䦚ᭉр ൕԑϡЅКϥ䦧٘䦨䦚Ϩ‫ױ‬䩟ϢЙНйԗ䦧٘䦨ԑ‫ث‬ЋϨя‫׶‬ Т҅Ѕй䦧٘䦨ϡҲЋഷड़䦧წ䦨ϡԘ۴䩮ґ䦧წ䦨‫س‬ЋწϪфЕ К䦚䦧٘䦨‫׶׶‬ҩԑ‫ث‬Ћ䦧٘ဟ䦨‫ڈ‬䦧੻౒ϡҲЋҤܴ䦨䩟ѓϱ‫܋‬Ϩ‫ئ‬ӡϡє॒ ЅЏՄ٘൯ϡߞҲ䦚ґ䦧წ䦨जଭॶ࡙ܲ䩟‫ؚ‬ጷ‫܋‬ᭉрѬख़ࡣ‫ކ‬䦙֍जф॒ ֎䦚 䦭ট໐‫׫‬ᎻѺ‫॓ښ‬䦮Ѕ䦧ᭉѺ䦨ֺ۵ЅцҒϼӛ਎䦧٘䦨ԁ䦧წ䦨ϡԮ‫ڍ‬ϩϸ҈ ϡᶻ౥䩭 ႘ж‫ࣔڌ‬Л䩟۱јϡख़Ҳ䩟‫فخس‬घϿ֬фҨӛ‫ۓ‬ϤНվϡख़Ҳ䩟ђϩ ъԈӔҮѺϿϦІಋϡϪҥϿϩ䦚ѺϿІϢࡽ‫ء‬ϲҺ‫ڏ‬аϴѺ‫ܠ‬ф௢ ീ“٘”䩟ЇϲϥЛ٘ဟϡ࣏ܴфЏՄϡ੻౒䦚ϣϬϪ֡РϸԈ٘ဟф ੻౒ԣܼцϼٛ䩢ӗ‫ٷ‬ϡಀ෧䩟ҲٍІѝϡघϿੲૺ䩟‫׍‬ϨԣܼфҲٍ ϡРࡄЅߋЏцІѝϡಀ෧фᯂႬ䦚ϣϬϪϨЛҟϣ‫ط‬Ҧ䦙‫ފ‬ҟϣխѨ ոЗЁϴߎഒϥਦᔃӾ䩭“ۘ٘༅؇䩟ۘ٘༅Ա䩟ۘ٘༅ߞ䩟ۘ٘༅ ҃䦨䦚䩛䦭‫ܬڹ‬䦮12.1䩜

  ϸࢡߦҹ੅ӊЄёϱ༊ࢴЅҹ‫ؗ‬йߵϤӎ߭ҹ‫ؗ‬ӆϡ䦭‫ܬڹ‬䦮䦚ӆҹϡ‫ܐ‬ӑදԷЏ೯ ӊ䦭ট໐‫׫‬ᎻѺ‫॓ښ‬Ҫ‫ڪ‬䦮䦚ӛ‫ؕ܀‬ӽۖϡӽժЋ䩭KWWSSODWRVWDQIRUGHGXHQWULHV FRQIXFLXV䦚䦭ট໐‫׫‬ᎻѺ‫॓ښ‬Ҫ‫ڪ‬䦮ٍѓϦц՝Ҥࢴ‫ٷ‬ϱЛ֡ཞ‫ګډ‬ϡม݉ф‫ߞܬ‬䦚 ‫ڪ‬ЅԮӊ႘жфᭉрҹ٩ϡֺ۵૽‫ࢅڍ‬ҍߣೕ䦚

CHAPTER 1

LI AND REN 1

T

o start the volume with li (٘Oү) and ren (წ rén) is to see contemporary China through the lens of its Confucian tradition. Confucian ethics is anchored by the centrality of li, understood as the performance of rituals that cultivate ren, the ethical character of benevolence or love. Often translated as “ritual” or “right behavior,” li denotes respectful conduct appropriate to a particular context; ren is understood more broadly, signifying Confucian virtues and general excellence. The entry on Confucianism in the Stanford Encyclopedia of Philosophy has a paragraph on li and ren that speaks to these distinctions: Confucius taught that the practice of altruism he thought necessary for social cohesion could be mastered only by those who have learned selfdiscipline. Learning self-restraint involves studying and mastering li, the ritual forms and rules of propriety through which one expresses respect for superiors and enacts his role in society in such a way that he himself is worthy of respect and admiration. A concern for propriety should inform everything that one says and does: “Look at nothing in de ance of ritual, listen to nothing in de ance of ritual, speak of nothing in de ance or ritual, never stir hand or foot in de ance of ritual” (Lunyu 12.1).

1. This short essay comes from years of reading The Analects (‫ ܬڹ‬Lunyu) in Chinese and di erent versions of translations in nglish. The Stanford Encyclopedia of Philosophy (online at http://plato.stanford.edu/entries/confucius) especially bene ted the writing of this essay. Its entry on Confucius and Confucianism, which uses concepts and language that are easy for Western audiences to understand, is among the most systematic and concise introductions to these subjects.

2 ٘ ф წ

䦧٘䦨ॎѼϩаพюфԣܼ䦧წ䦨ϡЅКс֧䩟ϸϬс֧‫׍‬ϤҺ‫ڏ‬аϴўϬ Մ䩢Ϭԛ໔ԪӊϣюϤԸϡҲЋথܴ䩮ЇϤϥЛϩ䦧٘䦨ϲϥܼϺϦӛ஼‫ݔ‬ ঝ䦙‫࡙ټ‬ϡѬख़‫ݮ׶‬䦚䦧٘䦨ф䦧წ䦨ϱІӊϣϬघϿ‫ئ‬ӡϡ‫ܠ‬ཞфӥᒃ䩟ϥࢽ ҅‫ؽ‬ѓϡ‫ۯڄ‬䩟‫׊‬ҍЌսք‫ئحڗ‬ӡϡ‫ܠ‬ཞф੻౒䦚ϨЅмҹ٩‫ࢅت‬Ѕ䩟 Ͻрԍ‫ڶ‬фᗆိϡൕԑ੻౒৉ࣔаԘख़ϡഷ‫ޚ‬фฮࣇ䩮ӎЗ䩟ϸԈ੻౒Ї ‫ڦ‬ЗҽϡѸ༗фघϿࢲ॒ϡԸ޼ϩӛ݆‫ݱ‬䦚ϸԈ੻౒‫ؽ‬ѓϡߒ૜ԛ䩟ԚҞ ϧϨ༊ࢴӆ‫א‬ϡ‫ݞ‬ѨЗϿϩӛՄࡑ䦚 Ϩᭉрൕԑ޴Ѕ䩟Ѭख़фᅮѤϤНдኘ䦚ԁјϪӎКӎख़䦙фጒԚ‫؝‬ϥ ѤϮϡ䦚ъԈЂ҅Џ૽ϩѬख़ҍϩѤҀϡϪ䩟ᗆိ䦧٘䦨ґܼϺ䦧წ䦨ϥјЙϡ ‫ۥۓ‬ҏբ䦚Ўӌӛ‫ש‬ϡҟϣϬ‫ݞ‬ѨѦ䩟ъԈߣ‫؀‬ϡ৖৓ф‫ؚ‬Йհϱϡྻႄ ЁϿӸ‫ٹ‬ϢЙцТ҅ҏѤϡҀի䦚 䦭ᠭ‫ݽ‬ೂ䦮‫܇‬ϡϥ՘҈৉֩ϣϬЩԲ‫י‬ՖՊѴࡖϡ䦙ਘј֐д੡༜ϡ घϿ٘ဟ੻౒ϡ‫ݞ‬Ѩ䦚䦭䦧Ҵլ䦨֔ྥআ䦮Ѧ䩟ϱІϤӎҹ٩ϡ֔мϪናϲ ϣ֧ЅмҡϪϡ٣ߚ޴䦙‫ܠ‬৩䩟ᑏ۠ᄯᅇϡߞҲ䦚јЙй٘Ԛ‫ۉ‬䩟ᅲѴწ ख़䦚䦭‫٘ޤ‬䦮ЅъТӚ╨ԮϡЗࡻࣁܾϦ‫ࢅت‬ൕԑ٣ߚҒ‫ح‬ϨࣣԒЅҮի ߎࡑ‫׍‬Џй෨۟䦚 ϸԈ‫ݞ‬ѨѦϡϪ‫׉‬ҏҽЬϩൺцԮ‫ڍ‬䦚‫ٍس‬ϥъԈ‫ێ‬ਛഈ䩟Ϩಜ‫ޥ‬ӗՒ Ѧ䩟ЇϤРϥԈϤҌІѝϨ҂ѮАϡ‫י‬ж䦚ՏЃϧϥਦЌԪЎӌϡ‫ݞ‬ѨЅ ҀիϺ䦧٘䦨ф䦧წ䦨Ϩϸ‫ף‬ϬҤӌϡՄѴ䩭䩜ۘцଝԛϡТ҅‫֏ݮ‬䩮䩜цӸ ‫מ‬Ԯ‫فخڍ‬фጒϡ‫ڀ‬Գ䩮䩜цϪणԜЌ֝ϡཟҞ䩮йߵ䩜цख़ЅҏѤϡ ൐ೄ䦚

LI AND REN

3

The centrality of li in constituting and expressing ren does not mean subjugating one’s individuality to set patterns of behavior; nor does it mean achieving a static, nal state of virtue. Flexible and cumulative, li and ren come from a society’s speci c customs and practices, while still transcending any particular set of norms. In Chinese cultural tradition, shared norms of ethical behavior guide the development of and instruction in morals; at the same time, they change with time and adjust to various social contexts. You will experience their complexity when reading the stories in this chapter. In Confucian ethics, the moral and the aesthetic are two sides of the same coin. It is beautiful to be in sync with others and live harmoniously with them. Following li to achieve ren is the path of those who want to live both beautifully and morally. In all of the following stories, simple acts of kindness and joy deepen the beauty of life. “Skull Shave” tells how a little boy is initiated into the established yet confusing norms of the community. In “ ‘Star’ Grandma” the people from a di erent culture accommodate Chinese values, habits, and the quiddity of life with li and, in so doing, exemplify ren. The pivotal moment in “Catharsis” shows how these traditional ethical values endure even in times of chaos. There is no antagonistic relationship in these stories. ven the Red Guards are, for the school principal Qi, simply kids who do not know what they are doing. See if you can nd the following aspects of li and ren in all three stories: (1) a nonconfrontational attitude, (2) emphasis on strengthening relationships and preserving harmony, (3) trust in the positive potential of humankind, and (4) appreciation of the beautiful in the ethical.

1

ᠭ‫ݽ‬ೂ ᖀЈ

Ϣ

ЩЗԃԑтϤ‫چ‬ԑт䩟‫چ‬ᠭ‫ݽ‬ೂభжѦϤ‫܉‬Շϡӳтӗӗ ϦӾѼјЏϥϬԲϪ‫ٷڈ‬Բ‫ י‬䩟ϣಋϴ‫ڛ‬ఋжᠭϣಋϴө ‫ݽ‬ೂᠭЏ‫ׇׇؘؘ‬䦚ᠭϡРࡄЪߣ‫؀‬䩭ϨસѦਮϼҖᬿһ䩟 һջϦ䩟ẔϺ࠘ᄹѦ䩟өӳтϱϱҘҘ‫ޤ‬ϣ‫ޤ‬䩟Ѽњ‫܊‬ො࣠ոϣ‫ܩ‬䩟ѯϧ ᠭ‫ݽ‬ೂϡϪϲЎϦఋж䦚јЙѲѦϡఋжЁϥ੏ఋжෆఋж䩟ఋࠧധ䩟ఋ ᨳҍ᧥䩟ъϤϥᠭґϥᅜ䩟ඔᩨᩨ䩟ඔᩨᩨ䩟ϣఋϣఋᅝЎЧࡕЏՊ୔䩟 ࡕЏ໎К

ϢϥభѦз‫ܜ‬ᠭ‫ݽ‬ೂϡϪ䦚ЃԋϩϪᠭ‫ݽ‬ೂ䩟ϢϲЂϺϦ৹૧, ૧ ҩ৹Ӛҏњϴѓэһႆ䩟ѼњөࢂᅜЎϱ, ਗ਼оՁႳϡ୷‫ޔ‬ф៽ᅯ䩟 фϪᠭ‫ݽ‬ೂϩԈԚည䦚Нϥߛ‫ܜ‬ᠭЇЏᠭߠ䩟ЂདЇདϤРЧߠ! ёϢӗϺϦࡂۗ䦚ъёॼϳϢ؎ϼѺϦ䦚 ುҌѬϢߛ‫ܜ‬ᠭ‫ݽ‬ೂ䦚ುфϢ࠱֝Л䩭ԏЩ䩟ՒЃϧϴϼѺϦ䩟өϧϡ ‫ݽ‬ೂᠭᠭщ䩔 ϢЛϤᠭ䩟ᠭ‫ݽ‬ೂфϼѺϩѮАԮ‫ߠڍ‬ ುЛᠭᠭЃа֜ഫљ䩔ϧѧϬЄ֊Ьᠭ‫ݽ‬ೂ䩟ЃаՌϬᆷѽ֯ ϢЛᆷѽϲᆷѽ䩟ᆷѽϪрЇўϼѺ

1 SKULL SHAVE Zhao Xin Translated by Cara Liu

W

hen I was little, we didn’t call what you get from a barber a “haircut,” we called it a “skull shave.” In the village, it didn’t matter who you were when your hair grew long (so long as you were a man or boy, that is); all had to have their whole skull shaved clean by a blade. The process of shaving was fairly simple: you rst put two dipperfuls of water in a large pot and, after heating it, poured the water into a basin, where your hair would be washed thoroughly. Then the person giving you a shave would seat you at the foot of a wall and start his work. He always used wide blades of iron; so thick and dull was the edge of the blade that it scraped the skull more than it shaved it. Shhk, shhk! With every rasping stroke came a pain that seeped into your bones, into your very core! Of all the villagers, I dreaded getting my skull shaved the most. Whenever I saw someone getting shaved, I thought of the way pigs were slaughtered. After a pig was killed, its body was put into boiling water before the hair was shorn, revealing its tender white belly and the ridges of its spine. To my mind, skull shaving was a similar process. But as frightened as I was, I had to do it. There was no way around it. In 1947, I turned eight years old. I was about to start school that summer. Papa knew I was terri ed of having my head shaved, so he talked it over with me beforehand. “Little man, you’re going to start school, why not have your head shaved?” I said no. What did skull shaving have to do with going to school? Papa said, “After you shave, you’ll look handsome! You haven’t shaved your head for three whole months. You look like a girl!” “So what?” I said. “They would still let a girl go to school!”

6 ᠭ ‫ ݽ‬ೂ

ುЛ䩭ԏЩ䩟ϥѺ‫ޥ‬ϡҡؔўϧᠭ‫ݽ‬ೂϡ䩟ҡؔЛѯϢϮӪҘϦ䦚ϧᠭ Ϥᠭ" Ϣଭа‫ٶ‬ՒϡॊһфುܼюϦ൓৷ҷϣ䩟ᠭ䦚ҷԏ䩟ϴՏభѦϡᖀ֜һ Ͻඃᠭ䦚֜һϽඃϥᠭӳҙѲ䩟ᚳᚳϩӜ䩟ҪభжϪЁЛјϡఋжь䩟ఋ ֚Ϯ䩟ЎѲ‫ڴ‬䩟ᠭ‫ݽ‬ೂϣѢոЁϤࡕ䩟ХЪস‫ע‬䦚 ҷѧᠭϡЗԃುϴϨ೨‫׷‬ௗаϢ䩟ѯϢฅ༈䩟ӹЋ‫ۗ֐ף‬ਅૼϡ֜һϽ ඃӱ୰Წ᭘䩟Ҥ࠘ϽՒ䩟୺ըṯṯ䩟ቧ՟ᖻ݊䩟‫܊‬јٰӓϣۖ䩟ϢϩԈ༈ Щ䩔 ುϣߞ‫۔‬Ϧ䩟֜һϽඃϱϦ䦚 ъϥЅ۹䩟ນ⅒Ϫኡড়ϡЗԃ䦚ԱЛ֜һϽඃϴѯϢϸϬ‫י‬жᠭ‫ݽ‬ೂ䩟 ࡨжѦࣻϦϤվϪ䦚ϢЙࡨѦϩᇣᄼϣ҈ϡҡ‎ஔ䩟ஔऱոЪϽ ஔ᩻Ъ ൦䦚 ϢϨ५᠔ϼ‫ܩ‬а䩟֜һϽඃϨϢՒӓ߹а䦚јࣻаϢ‫׆‬Ϧϣଊ䩟Ѽњѓ Ѳ‫ޛޛ‬ϢϡњࠧЛ৿‫ׯ‬Ϧөଧ৿‫ׯ‬ϦԲжఉ䩟ϧ‫ܜ‬ѮА" Ϣ֐дࠤ‫צ‬䦚ϢЛϽඃ䩟Ϣ༈Щ јՀՀϽԙ䩟өఋжϣᎄ༈ЩѮА䩲Ϣᠭ‫ݽ‬ೂϤࡕ јϣఋЎϱ䩟Ϣϡ‫ݽ‬ೂϼ䦧૶䦨ϡϣ‫ل‬䩟ϣөӳт޻ϨϦϢϡ‫ᤫژ‬ϼ䦚Ϣ ҍශѪࢉ‫ۥ‬сЂвϦ৹૧ᅜࢂϡԿ࢓䩟ӱжϲᐔϦϣЎ䦚 ֜һϽඃϤҙࣳϦϧᐔѮА"ϧᐔѮА" ϢᤝᤝсЛࡕ ֜һϽඃѸϤҙࣳϦ䩟‫ۂ‬аѯϢᅜϦӪఋϧϽ‫ل‬ЛϥѐࡕХϥ޳ࡕ" ϢЛ䩭ѐࡕ䦚઻ߠ䩟քϱքࡕ䩔 ֜һϽඃఠଖϦ䩟ּвఋжцϢುЛ ᖀ֜ф䩟ϧЃԋϦщ" ӾаϸАЄ േ֬ϡӌ䩟ϧոжୡϢϡनж䩟वϢϡӜ‫ل‬䩟ೞϢϡѲ਴䩟ϸ‫ݽ‬ೂϢϤᠭ ϦϢᠭРϡ‫ݽ‬ೂԝсѦϡ՝ଌЁЄ䩟ՇЛРࡕ"

SKULL SHAVE

7

Papa said, “Little man, it’s your teacher who wanted you to get a shave. She’s already told me several times. So are you going to do it or not?” Holding back tears, I o ered my father a compromise with three conditions: First, I would do it, of course. Second, I wanted to be shaved only by Uncle Qingshui Zhao, a master shaver, who was renowned for his quick blades, skilled work, and gentle technique. When he shaved your skull, it didn’t hurt a bit; it might even feel pretty good. Third, when I got my skull shaved, Papa must stand at my side to give me courage. The forty-something Uncle Qingshui was a burly man with a square face and big eyes. He had the air of a drill sergeant about him and a voice to match. When I came face-to-face with him, I would cower in fear! Before Papa could agree, Uncle Qingshui showed up. It was around twelve o’clock, and the villagers were taking their midday break. When they heard that Uncle Qingshui was going to give me a shave, many of them gathered around my courtyard. There was an old locust tree there with an umbrella-like crown that cast a broad, dense ring of cool shade. As I sat on the stool, Uncle Qingshui towered over me. He circled me once, then patted me on the back. “Straighten up, young man. Up! What are you afraid of?” I was extremely nervous. I said, “Uncle, I am scared . . .” He roared with laughter, and with a swish of his blade, he added: “What’s there to be scared about? When I shave a head, it doesn’t hurt at all!” With a downward arc of his blade, I heard a sha! and a handful of hair fell onto the aps of my clothes. Irrationally, I remembered the slaughtered pigs and how their body hair had been shaved. My body trembled. Uncle Qingshui was unhappy. “Why are you trembling? Why?” I squeaked: “It hurts!” Uncle Qingshui grew more upset. He gave me a few strokes of the blade and demanded, “Speak up! Is it really hurting or are you just scared?” I cried, “It really hurts. Ouch! It’s hurting more and more!” Uncle Qingshui was furious. He put away his blade and turned to my father: “Qinghe Zhao, did you see? Your son is ruining my reputation in front of so many village folks! He’s tarnished my name and sullied my craft. I will not shave his head any more! I have shaved more heads than there are watermelons in the elds, and who has ever said it hurts?”

8 ᠭ ‫ ݽ‬ೂ

ು٬ࠤၜѲࠁј಺੣䩟ϧԆфϢрԏЩϣડԋࡧ䩟јХϥϬ‫י‬ж ֜һϽඃ෾ӗґЧ䩟Ϣϡ‫ݽ‬ೂӅӅᠭϦϣ‫ٻ‬䦚 ࡨжѦϡϪഘഘՀՀсҵϦ䩟߈Ўϣђআ঱ϨъѦ෍੖с‫׆‬෍䦚 ෋аϢϡ䦧ം‫ݵ‬ӳ䦨䩟ъϳЎ۹ϢЬ‫ٲ‬о՟䦚ುЎсҏӓѯϢЛ䩟ԆߥԆ ઠԆϼ‫ڮ‬䩟ԉϼјϣӡЂ‫֚ފ‬䩟өϢъ‫ٻ‬Ϭ‫ݽ‬ೂϼϡӳтᠭ‫ݾ‬८䦚 ъϳԉϼ֊݊ЪϽЪஆ䦚ϢЙӅӵЎ‫ۮ‬ಒ䩟֜һϽඃϲӤᚦሣሣсާϺ ϢЙрѦϱϦ䦚јѯು‫ٹٹ‬сැϦϣϬ٘Л ࢯљ䩟цϤв䩟ԡ঩‫י‬жЛࡕ ֦䩟֍ϱϥϢ‫ڛ‬ӮϦᠭ‫ݽ‬ೂϡఋж䦡䦡䦡ϸөଓఋжϢϮӪёϤٍϦ䩟‫י‬ жЌϤࡕӶ" ӊϥϢҍ‫ܩ‬ϨϦ५᠔ϼ䩟֜һϽඃҍ‫ڛ‬вϦϣөᠭӳఋ䦚 Ҵ݊ϡ֊ሒѦ䩟Ͻඃ՜ϢԏЩ䩟ࡕӶ" ುϨ೨‫׷‬ሉᒷϣ‫ل‬䩟Ϣ٬ࠤЛϤࡕ䩟Ϥࡕ䩟৿স‫ע‬ ֜һϽඃЛ ࡕϲࣚаѢո䩟ᠭ‫ݽ‬ೂ‫ڃ‬ϩϤࡕϡ" јЙЛϤࡕъϥฦட Ϣ䩟჋৓Ϣ јЙϩјЙϡѓК ϤРϲϥࡕ䩟ϧЇϤЌӾаϽ඗ոӌЛ䩟 ϧ‫ګ‬ϸϬѬԑӶ" 

SKULL SHAVE

9

Papa quickly reached out his hand to grab him. “Brother, please, there’s no need to mind my son. He is but a child.” Uncle Qingshui simply walked o , and I was left with a half-shaven head. The people in my courtyard chuckled and walked away, leaving nothing behind but a hen wandering carefree. I felt my “yin-yang head” with my hand and didn’t dare to go out that afternoon. Before Papa left to work in the elds, he asked me to not worry or throw a t. He assured me he would nd a way to get the other half of my head shaved that evening. That night, the moon was full and immense. We had just nished eating when an out-of-breath Uncle Qingshui sprinted up to our house. He gave my dad a deep, solemn bow and said, “ lder brother, I am truly sorry. It’s no wonder the kid was in pain. It just so happened that I grabbed the wrong blade I have not used this old blade for many years. We can’t blame the kid for acting out.” Thus, I was soon back on a stool, and Uncle Qingshui once again took up his shaving blade. In the luminous moonlight, Uncle Qingshui asked me, “Little man, does it hurt?” Papa, who was standing beside me, gave a cough. I quickly responded: “No, it doesn’t. Actually, it feels quite nice!” Uncle Qingshui added, “If it hurts, just endure the pain for a bit. Since when was shaving your head entirely painless? Those who told me it didn’t hurt were trying to get it over with or do me a favor, and they had their reasons. But as painful as the whole process may be, you can’t say it aloud in public. Do you understand the sense in that?” (2012)

10 ᠭ ‫ ݽ‬ೂ

VOCABULARY AND USAGE ‫ݽ‬ೂ

n odai

head; skull; brain

੘࡮ୡଦϦјϡ‫ݽ‬ೂ䦚

ϣಋ

yíl

all; without exception

Բѽҡվ䩟ϣಋ‫כ‬ҳ䦚

‫ׇؘ‬

j nggu ng

with nothing left

јөр‫׭‬఍Џ‫ׇؘ‬䦚

ᬿ

piáo

gourd ladle; wooden dipper

૿૿өᕸ᎕ܷэ҂ϦҖϬᬿ䩟 ѓᬿ‫܅‬һҤ۬ЄϦ䦚

Ẕ

y o

scoop up/out

ϢԪસѦẔоӪᎃު䦚

ఋᨳ

d or n

blade

ϮྜྷϴѓϨఋᨳϼ䦚

ᅜ

gu

scrape

੏՟ᅜϦϢϡӞ䦚

໎К

zu nx n

pierce to the heart

ϸϳոߤЏ໎К䦚

֜ഫ

q ngxi

handsome; pretty

ϸЩಪਔЄ֜ഫљ䩔

ЎѲ

xiàsh u

put one’s hand to; start

ѴϨЎѲХϤԉ䦚

ฅ༈

zhuàngd n

embolden

Ϣ‫ܦ܅‬ϥЋϦѯІѝฅ༈䦚

Წ᭘

kuíw

big and tall; burly

јഢ‫ރ‬тܼ䩟ЪᲬ᭘䦚

୺ըṯṯ w if ngl nl n

with great dignity

ј‫ܕ‬ϼ‫୺עݳ‬ըṯṯ䦚

‫܊‬

w ng

go (in a direction)

ϧ‫܊‬ϸ‫׷‬ϱ䩟ϸոϪվ䦚

ٰӓ

g nqián

in front of; close to

ԧЪьާϺٰ֑֑ӓ䦚

ນ⅒Ϫ

zhu ngjiar n

peasant; farmer

ນ⅒Ϫ‫҇ۻ‬сТ҅䦚

ኡℲ

xi sh ng

take a noon break

ԧϩኡℲӒ۹Ңϡ‫ܠ‬৩䦚

‎ஔ

huáish

locust tree

‎ஔэՐЗ‫ܫ‬Ӥᐇᇙ䦚

ࢉ‫ۥ‬

yuányóu

reason

ϸԿѨ‫ݞ‬ϥϩࢉ‫ۥ‬ϡ䦚

ᤝ

qi

timid; cowardly

ӌц‫מ‬ൺјශѪᤝҺ䦚

ୡ

zá

smash; mess up; ruin

ϢϡТҺўјܹୡϦ䦚

नж

páizi

brand

ԆୡϦЈ‫ݘ‬Ԙϡनж䩔

ϣડԋࡧ y b njiànshi

lower oneself to the same level as someone

ӭҌ‫ܼڪ‬ԑ䩟ԆٰϤ‫ګ‬ѨϡЩ ‫י‬жϣડԋࡧ䦚

෾ӗґЧ yángcháng rq

swagger o

јө‫י‬жϣૐ䩟෾ӗґЧ䦚

get angry

ϸҦϿўҡϪϼ‫ڮ‬ϡ䦚

gasp; be out of breath

јಹ‫ځ‬ϡЗԃӤᚦሣሣ䦚

salute; show courtesy

ѺТ‫ז‬ҡؔැ٘䦚

ϼ‫ڮ‬

shànghu

Ӥᚦሣሣ qìchu nx x ැ٘

sh l

SKULL SHAVE

11

ٍ

sh

use

ϸӈ‫ݽ‬ଓϦ䩟ϤϮٍϦ䦚

ฦட

h nong

fool; deceive; tongue in cheek

ϧϥϨЛϮԱϡฦடϢ䩟ϢϤ ϿϼӾϡ䦚

჋৓

táij

show favor/respect ϧ‫چ‬јҡؔϥ჋৓ј䦚

ѓК

yòngx n

motive; intention

ϧѯҡؔ‫٘؟‬ϥѮАѓК䩲

QUESTIONS FOR DISCUSSION 1. Why does the story need the metaphor of the slaughtered pigs? 2. Did Uncle Qingshui really use the wrong blade? What might Papa have done that afternoon? 3. How is everyone, especially the child, granted maximum “face” in the story? 4. What brings about the reconciliation in the nal scene? 5. Confucius says, “Restraining yourself and reenacting li constitute ren [ࡽ ѝߒ٘Ћწ NqMүIOүZpUpQ].”2 How does the story illustrate this Confucian teaching? 6. If li may take a lifetime to learn, would you say that the boy is o to a good start? 7. Should absolute honesty be secondary to a sympathetic understanding of fellow human beings, mutual respect, and making people happy? Why?

1. ЋѮАϸϬ‫ݞ‬Ѩϡᡵ਎Ѕؑϴϩ৹૧ϡъϣ‫ݫ‬Ҧ䩲 2. ϢЙ৭ܷҌѬ֜һϽඃѐϡѓӮᠭఋϦӶ䩲ъϳЎ۹ࠜࠜНЌϿϩРѮ А҃ӑ䩲 3. ϪЙϡӌж䩟දԷϥъ‫י‬жϡӌж䩟Ϩ‫ݞ‬ѨЅЁϥ՘҈իϺ‫ؘ‬КԮؕϡ䩲 4. ϥѮАհϱϦϸࢡЩЩЛзњϣ௷ϡф‫ث‬䩢фጒ䩲 5. жᯡ䩟“ࡽѝߒ٘Ћწ䦚”ϸϬ‫ݞ‬Ѩ՘҈ՄѴϦ႘жϡ‫ࣔڌ‬䩲 6. ҒҝѺ‫”٘“ܠ‬ϥϣТϡࠅࡄ䩟ϢЙНйϤНйЛϸϬ‫י‬жϩϦϬમϮ ϡэઉ֦䩲

7. цӎ඀঳᫇ϡє॔䩟ϪԁϪҏҽϡԚૠಀԳ䩟йߵјϪϡьӂҳ䩟ϸ Ԉ‫؎׏‬ԝࠀцϡ஦ӥϱЏѸԳϴӶ䩲ЋѮА䩲

2. This Confucian saying from The Analects (‫ ܬڹ‬Lunyu) has become part of everyday language in China.

12  ᠭ ‫ ݽ‬ೂ

AUTHOR BIO Between the 1960s and the 1980s, Zhao Xin (1939–) followed a path typical of an underprivileged “literary youth” (ZpQ[~H TҸQJQLiQ ҹѺ‫ݙ‬ё) of the time. After getting a college degree in Chinese in 1963, Zhao Xin taught at a middle school. He started to write creatively in the 1970s when he went to work at the county cultural center. He subsequently became a communications o cer for the county publicity department, then an editor for the Baoding prefectural government and Baoding Federation of Literary and Art Circles. In 1994, when Baoding became a municipality, he presided over the local China Writers Association. Among his representative works are the full-length novels Hunyin Xiaoshi (ࠝ࿧ЩѨ) and Zhang Wang Li Zhao (‫ࣼצ‬ଽᖀ); the novellas Zhuangjia Guandian (ນ⅒޴Ѣ), He Dong He Xi (૯և૯՝), and Er Yue Ba, Luan Chuan Yi (ԏ֊ࡂ, ࣣ‫;)ژܕ‬ and the short stories Yi Ri San Can (ϣяѧ࠼) and Shuidaoqucheng (һϺ ᓀю). Although he began his career publishing longer forms of ction, Zhao Xin has focused increasingly on short-shorts and has championed the genre for several years. His works, including the story here, earned him the Lifetime Achievement Award from Selected Short-Shorts (ЩЩЛ‫ש‬ᑂ), a leading journal of the genre, in 2013.

2

䦧Ҵլ䦨֔ྥআ ข౜࠭

Ϣ

֔ྥআϨԧё‫ڴ‬ϡЗԃ䩟ϨϢЙъոҤஆ䦡䦡ϢԪЩϥϨ఻ భӗϽϡ䦡䦡Ӫ֐ѦϥϬ䦧Ҵլ䦨䩟ϩѢՌѴϨϡ‫צ‬ᅸർ䦚Ѫ ۘ‫צ‬ᅸർϥϣϬࠟӈ‫ؙ‬ϡ䩟Ϣ֔ྥআϥϣϬᕶӗ҅ϡ䦚ԧᕶ ӗ҅ϨҤஆӪ֐Ѧ‫ئ‬Ԇо੃䦚ԧӱҙϣܶٚӪ䩟Ԕϥԧԉё‫ݍ‬ऩϢ䩟ѧѦ բъАӗϡ๶ᇜж䩟ԧԪϸӳኘϺъӳϤ‫ׯ‬ଧ䦚ԧѯϢ߈Ўϡ୼‫ݘ‬ϲϥϸ Аϣ‫ط‬Ҧ䩟ԧЛ䩟ኘ๶жϡЗԃНϤ‫ׯٲ‬ଧ䦚Ғҝϧ‫ׯ‬ҷϣҋଧ䩟‫ב‬аЂ ‫ׯ‬ҷԏҋଧ䩟ҷѧҋϡЗԃϧϲϤЂӐდЎଧኘ๶жϦ䦚 ӾЗϢ֔ྥআӹЋϥϣϬ䦧Ҵլ䦨䩟ӛйϢЙ‫ࣻر‬ӛϩϡсҰ䩟цԧЁۘ ‫׶‬ಀԳ䦚ԱЛϢ֔ྥআϴٰՇ৕ऎ䩟ърсҰϲۘ‫׶‬ҙࣳ䦚ԧϺ‫ڃ‬ϬсҰ р䩟сҰЁϴөјрϡոж‫ڶ‬ϺϢ֔ྥআٰӓ䦚ϢЩϡЗԃ䩟тѴϢ֔ྥ আϩϣळ‫ݾ‬ոжҪϥсҰ䩟Ϻ‫ڃ‬ոЁϩϪஃԧਔ䦚ӛйзњ૓сҰϢ֔ྥ আϥ‫ئ‬ԆϡϤӎҺ䦚ԧЛсҰ‫ئ‬ԆϮ䦚сҰϡոжԋϢϲஃਔ䩟ХЌϤϮ Ӷ䩲䦧ҹ٩Ͻཪ‫ܞ‬䦨ъЗԃӵ䦭Ձࢂѽ䦮䩟ԧ՜ϸϬѨтТϨ‫ڃ‬Ѧ䦚ӾЗϢ ЇϤҌѬ䩟ϢЛНЌϥ૯‫ܚ‬щ䦚ԧЛ૯‫ܚ‬ϡсҰϤϮϤ࢙Ҵ૯۪ϡсҰϤ Ϯ䦚

2 “STAR” GRANDMA Liu Zhengyun

W

hen she was young, my maternal grandma was a “star” in our local area I grew up in the countryside whose radiance spread for dozens of miles around. She was somewhat like Maggie Cheung is today. The only di erence is that Maggie Cheung acts in movies and my grandma worked in the elds as a hired hand. My grandma’s exceptional farmwork was well known throughout our region. She stood only about ve feet tall, yet she told me once that she could cut a whole row of wheat, one and a half kilometers from end to end, without straightening her back. Her legacy to me is this simple piece of advice: When harvesting wheat with a sickle, don’t even think of straightening up. If you do it once, you’ll soon want to do it a second time. If you do it three times, you’ll never want to bend down and get to work again. Because of my grandma’s “star” status, all the landowners in our region respected her greatly. very landlord was thrilled when he knew my grandma intended to sign a work contract with him. No matter who he was, he would bring his sons to be “adopted” by her. When I was little, I found that my grandma had a bunch of foster sons, all o spring of landlords. Wherever she went, there would be someone there calling her “Mom.” Naturally, later on, she was especially abhorred by those who fought against the landowners. She said the landlords were very nice people. “How could they be bad when their sons all call me ‘Mom’ when they see me?” The White-Haired Girl, a movie about how peasants su ered at the hands of a landlord, was shown during the Cultural Revolution. She asked where it took place. I didn’t know, so I made a guess: probably Hebei. “Just because landlords in Hebei are bad,” she said, “doesn’t mean the ones in Henan are bad too.”

16 䦧 Ҵ լ 䦨 ֔ ྥ আ

ёϡЗԃϩҖϬख़мϪϺϢ֔ྥআрЧЃϦϣЃ䦚ϢٰјЙϣ࡮ո Ч䩟јЙٰϢ֔ྥআঠϦϣಙҦ䩟ҢЏ‫ئ‬ԆϮ䦚 ϸҖϬख़мϪϣϬϬжӗЏۘ‫׶‬ҙ䩟Ͽఉ‫ܬ‬䩮ϣϬӗЏЪᘬ䩟ϤϿఉ ‫ܬ‬䦚 Ϣ֔ྥআ՜ϽϬж䩭䦧ϧр֙Ϩ‫ڃ‬Ѧ䩲䦨 јЛ䩭䦧Ϣ֙Ϩख़мϡ‫׷ܚ‬䦚䦨 ԧҍ՜ЩϬж䩭䦧ъϧ֦䩲䦨 䦧Ϣ֙Ϩख़мϡ۪‫׷‬䦚䦨 Ϣ֔ྥআ՜䩭䦧ъϧЙൟ՘А‫ࡧڶ‬ϡ֦䩲䦨 өϸҖϬख़мϪ՜ᔦϦ䩭ϥߠ䩟ϢЙൟ՘А‫ࡧڶ‬ϡ䩲ϢҢаϸЇϥϣϬ Ԓ֎ϼЪ࣠ӆϡ՜֣ߠ䦚 ЂϦ‫ٻ‬ϳ䩟ϸϬϽϬжϡख़мϪЪ྇ࢪ䩟Л䩭䦧٬ओ䦚䦨 Ϣ֔ྥআԑ‫ث‬Ϧ䦡䦡љ䩟٬ओ‫ࡧڶ‬ϡ䦚 ԧЛ䩭䦧ख़мܹ䦥ҹ٩Ͻཪ‫ܞ‬䦦ϦӶ䩲䦨 ҍөϸख़мϪ՜ᔦϦ䦚䦧ܹϦЬܹљ䩲䦨 䦧Ьܹ䦚䦨 Ϣ֔ྥআޭϼϲାϦ䩭䦧ࢂҰຟўܹ䦥ҹ٩Ͻཪ‫ܞ‬䦦䩟ϧЙЋѮАϤܹ䩲䦨 ϽϬжЂϦ‫ٻ‬ϳ䩟ҍҘমЏЪஆ‫ٶ‬䩟Лख़мϪЪෆ䩟Ͻ‫ח‬дϤ‫ګ‬Ѕм Ҧ䩟ӛйࢂҰຟЛϡҦјЙЬԱ‫ګ‬䦚 ֔ྥআҍ՜䩭䦧ъϧЙख़мҟϪਢЄվсљ䩲䦨 ϽϬжॎѼ֡ఉ‫ܬ‬Ԕϥ࢛‫ڝ‬ϼܹЏϤϥ‫ئ‬Ԇ‫ؘ‬৭䩟ᣆфдܹϤ֜䩟ј Л䩭䦧ࡂд䦚䦨 Ϣ֔ྥআϣԱࡂд䩟Ԫሚжϼ↖ϣЎۖвϱϦ䩟⇳аᘣ᭯䩟 ࣻаϽϬж‫׆‬Ϧϣଊ䩟Л䩭䦧ϧϸАҙϡϬж‫ܜ‬ѷϤ౟䦚䦨 ख़мϪЂЇЌѷ౟љ䩟߷ѼЛ䩭䦧ᔙᔙ䩟Ϥц䩟ࡂᣆ䦚䦨 Ϣ֔ྥআҍаାϦ䩟ҍ⇳аᘣ᭯‫׆‬Ϧϣଊ䩟Л䩭䦧ъϧ፟೤ոի‫ڄ‬Ϧ䦚䦨 

“STAR” GRANDMA

17

One day in 1992, two German men visited my grandma. I went with them. They chatted with her for a while, and it all felt very pleasant. One of the Germans was extremely tall and could speak Chinese. The other was extremely short and didn’t speak Chinese. My grandma asked the tall German, “Where do you live?” He answered, “I live in north Germany.” She then asked the short German, “And you?” “I live in south Germany.” “Then, how did you get to know each other?” my grandma asked them. The two Germans seemed stunned: “That’s right, how did we come to know one another?” I thought this was really a fundamental question. After thinking for a long while, the tall German said, good-humoredly, “At the country fair.” My grandma got it! “Oh, you met at the country fair.” She asked, “Did you have ‘the Great Cultural Revolution’ in Germany?” The two Germans were again stunned by her question: “Did we have it or not?” “No. We didn’t.” Hearing that, my grandma became upset, “Chairman Mao said we should have ‘the Great Cultural Revolution.’ How could you not to do it in Germany?” The tall German thought for a long time, and then gave her another perfect answer. “We Germans are dumb. Since most of us didn’t speak Chinese, we missed what Chairman Mao said.” My grandma persisted, “How much land does each German get?” Although the tall German knew Chinese, he wasn’t particularly clear on the details of measurements, the di erence between mu and fen, for instance. “ ight fen,” he responded. My grandma sprang to her feet upon hearing this. Leaning on her cane, she circled around the tall German and said, “A big guy like you will go hungry.” The German thought it over he actually had plenty to eat. It suddenly came to him: “Grandma, I was wrong. It was eight mu.” My grandma got worked up again. Circling around the tall German once more, she leaned on her cane and said, “Your wife must have her hands full!” (2011)

18 䦧 Ҵ լ 䦨 ֔ ྥ আ

VOCABULARY AND USAGE Ҥஆ

f ngyuán

surrounding area; radius

ϸոҤஆ֐ѦѪϪ࢒֙䦚

Ѫۘ

wúf i

simply; only

༔ϸ‫ڡ‬ӞѪۘϥьϣѢո䦚

ᕶӗ҅

kángchánghuó work as a farm laborer on yearly basis

јϤРϥϬᕶӗ҅ϡ䩟‫׊‬ӹЋ ҅‫ݾ‬ЏϮЪիಀ෧䦚

о੃

ch zhòng

outstanding

јҥ‫ܗ‬о੃䩟ԘѺᄦ‫ހ‬䦚

๶ᇜж

mài tàngzi

rows of wheat

ϸѦ೧Щ䩟๶ᇜжЇϤӗ䦚

୼‫ݘ‬

yích n

legacy

֔ྥআϡ୼‫ݘ‬ϲϥϸ‫ط‬Ҧ䦚

৕ऎ

qi nyu

sign a contract

ԧ҂Ѩո‫܇‬஦ҞϤѓ৕ऎ䦚

‫ڶ‬

r n

‫ݾ‬ոж

g n rzi

enter into a certain relationship; adopt ԧѵϳ‫ڶ‬ҖϦϬ‫ݾ‬ոж䦚 godson; honorary son

ஃ

h n

call; address a person as

ј୨ϢёઓϽԈϲஃϢ‫ݟ‬䦚

ӵ

fàng

project on the screen

ъЗ䩟ӵӈ‫ؙ‬ϥϬ৔भ҅䦚

short

ҖϬख़мϪ䩟ϣҙϣᘬ䦚

ᘬ

i

ᔦ

l ng

be taken aback

ЬЂϺ֔ྥআϿϸ҈՜䩟јൟ ϣЗᔦ֙Ϧ䦚

྇ࢪ

y umò

humorous

ϢӍӧ࿆ਜ਼Ъϩ྇ࢪҀ䦚

٬ओ

g njí

go to a market/fair

ѵϳϢЙЧ໋‫ڵ‬٬Ͻओ䦚

ܹ(ཪ‫)ܞ‬

g o (g mìng)

start; make; carry on

јЛܹཪ‫ܞ‬ϥЋϦ‫ݨ‬ඬϪ䦚

ஆ‫ٶ‬

yuánm n

perfect; satisfactory ‫י‬жўԧҀϺяжஆ‫ٶ‬䦚

ෆ

b n

slow-witted

ϸख़мϪНϣѢոЁϤෆ䦚

ਢ

huà

assign; allot

భѦԳЈਢϦс䩟өЧԒϦϡ ϪϡсਢѯϦЈТո䦚

֡

t ng

know well

ј֡ࡏм‫ߞܬ‬䦚

࢛‫ڝ‬

xìji

detail

ѨєϡࡢՄ࢛‫ڝ‬ϢϤ֜௟䦚

‫ؘ‬৭

j ngqu

precise; accurate

॓ѺϡҤ֚ϣӡ‫ؘ‬৭Ӷ䩲

ᣆ

m

a unit of area ( 0.0667 hectares)

д

f n

a fen (1/10 of a mu)

↖

c ng

whoosh!

֔ྥআҢЏ䩟ϣ‫ݐ‬Ϫрࡂᣆс ѿЄ䩟ࡂдҍѿվ䦚 ϢϣԐ՟䩟Щధ↖сٟϦ䦚

“STAR” GRANDMA

zh

⇳

lean on; support oneself with a stick

19

јҡϦ䩟ଆऑϤࢽϦ䩟ҵբϴ ⇳ᘣ᭯䦚

ᘣ᭯

gu izhàng

walking stick

‫(ܜ‬ϥ)

pà (shi)

I’m afraid; perhaps

ϧϡٓ‫ܜ‬ϥԡйӥѴϦ䦚

ի‫ڄ‬

shòul i

be put to much trouble

ϢϱԉϦ䩟ўӭի‫ڄ‬Ϧ䦚

QUESTIONS FOR DISCUSSION 1. What’s your impression of the grandmother? 2. How is the story structured? How do di erent parts of the story relate to one another? 3. Do we need to know the reason for the Germans’ visit? Why or why not? 4. If “information” is not accurately communicated through their conversation, what is? 5. Why does the tall German go out of his way to humor the grandmother? 6. Why is it important that the story ends in a humorous “miscommunication”? 7. How does the story suggest that li and ren are not exclusively Confucian ideals?

1. ՏЛЛϧц֔ྥআϡ୅ࢣ䦚 2. ‫ݞ‬Ѩϡᕴବֲพϥ՘҈ϡ䩲Ϥӎϡ‫ח‬дҏҽ‫ۻ‬ѮА‫בۂ‬䩲 3. ϢЙϩ‫ۓ‬ϴҌѬख़мϪЧъոϡԍ‫ݾ‬Ӷ䩲ЛЛЋѮА䦚 4. Ғҝख़мϪф֔ྥআϡ‫ے‬ঠЬϩ‫ކ‬৭с‫ے‬ԵҞ֥䩟ъјЙϡцҦ‫ކ‬৭с ‫ے‬ԵϦѮА䩲 5. ЋѮАъ֧ҙϬжϡख़м‫ۺ‬ϪЂҤ‫֚ޕ‬ϴў֔ྥআҙࣳ䩲 6. ‫ݞ‬ѨϨ྇ࢪϡ“Ӯணԑ‫”ث‬Ѕֲଚ䦚ЋѮАϸ҈ϡֲഅЪԳϴ䩲 7. ϸϬ‫ݞ‬Ѩ՘҈ԣҴ“٘”ф“წ”Ϥ঎঎ϥᭉрϡҹ٩ԑЂ䩲

20  䦧 Ҵ լ 䦨 ֔ ྥ আ

AUTHOR BIO The author Liu Zhenyun is a well-known writer in China. Born in Henan in 1958, he developed a great attachment to the land and its people. He served in the military (1973–1978) before studying literature at Beijing University. Having received degrees from Beijing Normal University and Lu Xun Institute of Literature, he is now a professor of literature at Renmin University of China. His published works include eight full-length novels, four novellas, four collections of essays, and ve screenplays. Four of his works have won major national awards, and his novel Cellphone (ѲҜ) was made into a lm, a T series, and a stage play. He adapted his 2009 novel %DFNWR (‫ݞޟ‬1942) into a screenplay; the lm, released in 2012, featured Tim Robbins and Adrien Brody. Liu Zhenyun received the highest cultural award from gypt’s Ministry of Culture in January 2016. The award honors his literary impact, especially that of Ta Pu (໙ະ), Cellphone, and A Word Is Worth a Thousand Words (ϣ‫ط‬ৌϣ‫)طݚ‬, on gypt and the Arabic world. A serious writer of popular appeal, Liu Zhenyun earns some of the highest royalties in China. This story may give you an idea why. Based on real life, the story is Liu’s tribute to his grandmother, who features prominently in Liu’s writing.

3

‫٘ޤ‬ ℺ᰧာ

ϸ

ϥё‫ڠٹ‬ϡϣϬ١ԉ䩟ࣲ‫ڵ‬ᙓᖈ‫ूכ‬অ䦧‫ີޤ‬ဩ䦨ၰஇො ຍϼϡେ‫ވ‬䩟ᖻ݊сዎϦ॰Ў䦚 ੜ੻ӡ䩟ၰஇॹ‫׭‬ϺԉϼࡂѢϲЎ‫ڡ‬Ϧ䦚ઈ‫ۺ‬Չѝҵ ߊ䩟֞ӑϪ‫؃‬Ї૖۟ҘрϦ䩟ђൊЎᆶဩ‫ڡڡ‬ӗӊӗТфЩၵ੣‫צ‬ধϨӋ ࿷ਛТ䦚ӪϬϽဩжѦϡһЁѝӵ‫ݾ‬䩟ဩ݄䦙ဩቋЇЁ୸᥊‫ݾ‬८Ϧ䦚֍ӆ ϩӪϬ઩ҽ䩟ѴϨࠤࠤсԮа䩟Ѧӌӵаަᆶᄹ䩟Щࢭ䩟ߖӪ䩟ᆶᄹϼԥ аߤջһऻӳ䦚਺ЏՐ‫ـ‬ϡઈ‫ۺ‬НйІѝ݆‫ڝ‬һ‫ޟ‬䩟Нй‫ޤ‬Рၰњস‫ע‬с ఑ϺЩࢭϼ䩟НйՏϪԐ‫ڛ‬ੜಎ䩟Нй‫܅‬ϣᔘઅϮϡߖ䦚ԔϸϬ࣮۵ϨӪ ϳӓѝҮԼ‫۽‬Ϧ䩟ϼٛЛ䩟ђϩᔧᚤ႒ٛҥϩϸԈೞ‫ૢ܇‬䩔 ӊӗТֳаъԈ઩ҽ䩟᠘ᝨсᄅϦ‫ט‬Ӥ䦚 䦧‫צ‬ধ䩟Ԯ՟щ䩟ϢЙ૿ոൟЇ؎ኡ‫ט‬Ӥ‫ߖט܅‬Ϧ䩟ѵԉਆϺϢЙߚ‫ڡ‬ ᗔ䦚䦨 䦧Ϯᙴ䦡䦡ؔዑ䦚䦨

3 CATHARSIS 3 Nie Xinsen

I

t was a late autumn night in 1966 in the ancient city of Xiangtan. The wall clock at the Cleansing Pool bathhouse on Tranquility Street struck nine loudly. The bathhouse, in keeping with standard business hours, had closed at 8 p.m. With the customers all gone, the sta left for home, one after another. Only the head of the tub and pool section, Yu Changsheng, and his apprentice Zhang Qing stayed behind to clean up. They had drained the water from the large pools and nished cleaning the bottoms and edges. What used to be the private rooms were now tightly sealed. Inside each room, there was a small bed, a tea table, and a wooden tub with hot and cold taps. A customer willing to spend more money could adjust the water temperature himself. He could lie down comfortably on the small bed after his bath, request a massage, and enjoy a hot pot of tea. But this service had been terminated a few days ago. The higher authorities had decided that only exploitive classes were that particular about taking a bath! Yu Changsheng looked at those rooms and sighed pensively. “Zhang Qing, let’s call it a day. It’s time for the two of us4 to take a break and have a sip of tea. Remember, it’s our turn to be on duty tonight.” “No problem, Master,” Zhang Qing replied. 3. “Catharsis” as the translation of the title takes into consideration the meanings of both ‫ ٘ޤ‬and ‫ີޤ‬. Besides baptism, ‫ ٘ޤ‬is often used to describe a person who has been through the trials and tribulations of life and emerged stronger than before јҮիϦ ‫ڮږ‬ϡ‫٘ޤ‬. ‫ ີޤ‬has the implication of “puri cation” and “cleansing.” Please also see the vocabulary and usage section for more information. 4. The Chinese original ૿ոൟ (\p·HUOLú) generally refers to two males of two generations. It is most often used to address father and son or grandfather and grandson. In traditional China, a master in a profession is expected to treat his apprentice as his own son; the apprentice is expected to respect his master as his own father.

24 ‫٘ ޤ‬

ҖϬϪӅҵՖ‫ނ‬இ䩟ಃԋԪ֔ӌା຦຦ҵՖϣϬϪϱ䦚‫ۗ֐ף‬оӳ䩟 ӌࢷഢ੔䩟๩ӳϼХϩ߱඿䩟۵‫્ׇࣣ‬䩟‫܌‬᢬←←ẓẓ䩟ӱϼϡ‫עژ‬Ъ਋ ଓ䩟‫ئ‬Ԇϥᖏ౐ъϬсҤ௒ഡЏЪ཯ߛ䦚 ‫צ‬ধ᾽‫܅‬ϣ‫ل‬䩭䦧྅䩟Ў‫ڡ‬Ϧ䩟ҴϳӐϱ䩔䦨 ъϪּ֙ऑ䖀䩟Щ‫ل‬Л䩭䦧ϢϮЄяжЬ‫ޤ‬ၰϦ䩟ѵ١Ϯ‫ډب‬ҥࢻӱϱ䩟 ϥਦНй䦨 ӊӗТӪ‫܌‬ҵϼӓ䩟өϱϪϼЎӋ֝ϣ༛䩟ѼњЛ䩭䦧ӭϱ֯䩟Տ䩔䦨 ‫צ‬ধҢЏЪҺ֔䩭ϤϥЎ‫ڡ‬ϦӶ䩲 ӊӗТца‫צ‬ধϣ෾Ѳ䩟ඓѬ䩭䦧Ԯ՟䩔䦨 ‫צ‬ধࡤম‫׏‬䩭䦧ϥ䩟ؔዑ䦚䦨 䦧э઩ҽ䩟өસჵਮвϱ䩟ў‫ۺ‬ϪϮϮ‫ޤ‬Ϭၰ䩔䦨 ϱϪЛ䩭䦧ؔዑϢЬհъАЄ‫ـ‬䦚䦨 ӊӗТЛ䩭䦧ӵК䩟Хϥٚࡠ䩔Տӭ܏Ч઩ҽᆄҳϣϿո䩟ϢЧ∇ᔘߖ ϱ䦚䦨 ‫צ‬ধԮϮ՟䩟ҍЧӋэϣϬ઩ҽ䩟ӐϣᇡଘոЧϦસჵࠚ䩟Ϥ‫۬ڜ‬Աԋ ೖըҜ॥॥ඓ‫چ‬ϡ‫ٸل‬䦚 ҍРϦϣಙ䩟ӊӗТઉаϣ〢ջߖфϣϬϩ౐ϡߖ࣭䩟ҵՖϦ઩ҽ䩟‫׍‬ ॅѲհϼϦ՟䦚 ϱϪሱࡤۖвϱ䩟Л䩭䦧ؔዑ䩟‫چ‬ϢҒ‫ح‬Ҁ‫ن‬ӭ䩔䦨 䦧‫ܩ‬䩔 ь‫ܩ‬䩔 Ϣ‫ࡧڶ‬ӭ䩟ӭϥюऻЅѺϡ‫ޥ‬ӗಜж๠܏Т䩟Ϣϡԏոж ϲϨਯ‫ࢴޥ‬ҙЅ䦚Ϣ߲ҮϨрӗϽϿϼԋРӭ䦚Ϣ‫چ‬ӊӗТ䩟҅Ϻٚ֐ۗ ࡒѐϡฦຂϦ䩟ϩҹ٩ϡϪಃѼЁϩ഻Ϧ䩟঩Ѩ䩔䦨 ಜж๠ЬϩࣀҦ䩟Ւ஄ѦరоϦॊ‫ׇ‬䦚 䦧Ϣԏոж࠯ϳҘр䩟Лϥ‫܀‬ӸϦѮА౓૓Ͽ䦚ҩϢѓަᖙжෑᝋϦϣ ஂ䩟ӋЏј૤ߥෑ᧿䩟‫࢙خ‬ӐϤЧഐϱϦ䦚䦨 ಜж๠‫لڴ‬Л䩭䦧ЇϤЌ঩јЙ䩟јЙѿё‫ڴ‬䦨

CATHARSIS

25

No sooner had they reached the entrance hall than they saw a man rush in from outside. He looked to be a little older than forty. There were bloodstains on his forehead and his steps were unsteady. He was thin and pale, and his eyes re ected his evident distress. His clothes were shabby-looking and worn, especially around his knees. Zhang Qing shouted out, “Hey, we’re closed. Come back tomorrow!” The man halted. “I haven’t had a bath for a long time. It wasn’t easy for me to get away tonight. I wonder if you could . . .” he said quietly. Yu Changsheng took a few steps forward. He eyed the man up and down. “It’s an honor to have you. Please come in,” he said. Zhang Qing was surprised. “Aren’t we closed?” he asked. Yu Changsheng waved o Zhang Qing and barked, “Shut the gate!” “Yes, Master,” Zhang Qing answered, hurriedly. “Open a private room. Start the boiler. Let our guest have a good bath!” “Master,” the man stammered, “I . . . I don’t have that kind of money.” “No worries,” Yu Changsheng assured him. “Fifty cents as usual. Please go wait for a moment in a private room. I’ll be back with a pot of tea.” Zhang Qing closed the gate and opened a private room before speeding o to the boiler room. Soon a whirring roar issued from the blower. Before long, Yu Changsheng came back with a hot pot of tea and a cup with a lid. He entered the private room and closed the door behind him. The man rose up, hurriedly. “Master, how can I ever repay you?” “Sit down! Please sit down! I know you. You are Mr. Qi Ziyun, the principal of Chenglong High School. My second son is a student there. I saw you at a parents’ meeting. I’m Yu Changsheng and, much to my surprise, a really confused man at fty.5 How come educated people have all become criminals suddenly? It’s absurd!” Qi Ziyun remained silent, his eyes glistening with tears. “My second son came back from school yesterday, mumbling about being a part of some denunciation session. I beat him with a wooden club. He wailed and howled and promised not to fool around with them again.” Qi Ziyun replied softly, “It is not really their fault. They are too young . . .”

5. This is an allusion to the popular Confucian saying: “At fty, I knew the decrees of Heaven” (ٚ֐Ҍϳ‫ ܞ‬Z࠽VKt]KҸWLčQPuQJ). Confucian Analects, translated by James Legge, accessed June 7, 2015, www.cnculture.net/ebook/jing/sishu/lunyu en/02.html.

26  ‫٘ ޤ‬

ࢥϦϣಙ䩟‫צ‬ধϨ઩ҽ֔ҙஃϣ‫ل‬䩭䦧‫ڮ‬ᆑ䦡䦡һջᙴ䦡䦡䦨 ӊӗТࡤۖвϱ䩟ҵϺᆶᄹӓ䩟܏Ӌэջһऻӳӵһ䩟ՁաϡᇔӤ߹ࡻ ‫ڢ‬౴вϱ䩮ґњ䩟‫ڴڴ‬ᨰэߤһऻӳ䦚ᆶᄹϡһ౿౿‫ٶ‬Ϧ䩟јϤ߾сѓѲ ЧՆһϡ‫֏ޟ‬䦚ϸЗ‫ޤڝ‬ၰ䩟һϴջ䩟ԔϤϴႆ䦚 ӊӗТԮϦһऻӳ䩟Л䩭䦧ಜ܏Т䩟ӭ܏અၰ䦚‫ٻ‬ϬЩЗњ䩟ϢϱѯӭԐ ‫⛩ڛ‬ಎ䦚䦨 䦧Ϥ䩟Ϥ䩟ϢϤࡈ䩟ЇԆ‫ڄۂ‬Ϧӭ䦚䦨 䦧ϢϤРϥϬ֞Ϫ䩟ХЌөϢ՘А҈䩲䦨 ӊӗТҵо઩ҽ䩟ॅѲө՟հតϦ䦚 䦧‫צ‬ধ䩟Р‫ٻ‬ЩЗ䩟ѯϢϺഭຍϡୖ‫ނې‬Чձϣಒᩙᩚϱ䩔䦨 ‫צ‬ধѷइсֳؔዑ䩟ѼњЛѬ䩭䦧Ϯᙴ䩔䦨 ӊӗТϺဩж‫׷‬࿴Ϧֺ५᠔ϱ䩟‫ݔ‬൸൸с‫ܩ‬Ϩ઩ҽϡ՟‫׷‬䦚 ऎ෋‫ٻ‬ϬЩЗ䩟ӊӗТԱ‫ٸل‬ϲҌѬಜж๠‫ޤ‬ϮϦ䩟۬߹‫س‬Ԑ՟ҵϦՖ Ч䦚୦‫ׇ‬Ў䩟јЃԋ‫ܕ‬ϼߦ୮ϡಜж๠ϡӱϼ䩟ѲᏒϼ䩟ѢᗼаϣԈ‫ێێ‬ ཎཎϡ‫؍‬ᄏ䩟۬ሱࡤҵϼӓ䩟Л䩭䦧ӭՏቛϨࢭϼ䦚ϸϬ࣮۵ՉϲԼ‫۽‬Ϧ䩟 ԔϢϴЋӭࣸϣ‫ݫ‬Ѳ਴䦚䦨 ಜж๠ቛϨࢭϼ䩟ӊӗТდଧ߹Ϩ೨‫׷‬䩟‫ה‬Ѳീю‫׺‬КᎫ䩟э‫״‬Ϩјϡ ៽ࠧϼ䩟ЩКсᄴэ‫؍‬ᄏ䩟ࠤዎ‫ڴ‬ᵚ䦚 䦧‫ڔ‬Ӷ䩲ಜ܏Т䦚䦨 䦧Ϥ‫ڔ‬䦚䦨 ᎫӳಃѼ߾֙Ϧ䦚ӊӗТЛ䩭䦧ಜ܏Т䩟ϩ‫ط‬ҦϤҌӾ՜ϤӾ՜䩲䦨 䦧ӭ՜щ䦚䦨 䦧ҒҝϢ୨ЏϤӮ䩟ӭϥԪѺ‫௺ޥ‬оϱϡ䩲䦨 䦧ϥ䦚䦨 䦧ӭիϦ‫ܙ‬Є഻䩟Ԫӭϡ۵‫ׇ‬ѦϢЃоӭЪࠀֳ䦚䦨 䦧ц䦚ӭЛϸяж՘АൎРЧ䩟ᆬᇭ䦙౓૓䦙ᔊӋ䦙ղঅ䩟ЬԟЬϦ ϡ䦚䦨

CATHARSIS

27

The two men chatted for a while, until Zhang Qing shouted from outside the private room: “Fire is burning water is boiling ” Yu Changsheng got up quickly and walked to the tub. The steam rose up instantly when he turned on the hot-water tap. Carefully, he turned on the cold water. As water lled the tub, he felt its temperature with his hand for a bath at this time of the year, the water must be hot, but not scalding hot. Yu Changsheng turned o the taps and said, “Mr. Qi, please enjoy your bath. I will be back in half an hour to give you a massage.” “Please don’t. I don’t deserve this. And I don’t want to get you into trouble.” “I’m already a workingman. What else can they do to me?” Yu Changsheng left, closing the door tightly behind him. “Zhang Qing, in half an hour, go get a bowl of wonton soup next door.” Surprised, Zhang Qing looked at his master, but said, “Of course!” Yu Changsheng brought a bench back from the poolside and quietly sat down by the door to the private room. About half an hour later, he could tell from the sound of the movement inside that Qi Ziyun was done bathing. Yu Changsheng quickly pushed open the door and walked in. Under the light, he could see Qi Ziyun in his underwear, his arms and body dotted with bruises. Yu Changsheng hurried forward. “Please lie down on your stomach. Although this service has already been terminated, I’d like to take this opportunity to show you my skills,” he said. Qi Ziyun fell on the bed; Yu Changsheng bent over him. With both his hands in loose sts, Yu started pounding Qi’s back, quickly yet gently, careful to avoid the bruises. “Does it hurt, Mr. Qi?” “No . . . It does not.” Suddenly he stopped pounding. “Mr. Qi, I have a question, but I’m not sure if it’s appropriate to ask,” Yu Changsheng said. “Please.” “Correct me if I am wrong, but you must have run away from your connement in school?” “Yes.” “You’ve su ered a lot. I saw the despair in your eyes.” “You’re right. You tell me how to tough it out when it’s endless forced kneeling and public shaming, when you’re beaten and paraded through the streets.”

28  ‫٘ ޤ‬

䦧ъА䩟Ϣ‫ݍ‬ऩӭϣ‫ط‬Ҧ䩟ϸϬԒ֎ϤНЌւϥϸ҈䩟ґॸѮАϪЁНй Ьϩ䩟‫ݼ‬ϤЌЬϩҡؔ䩔ӭϴ๋ࠤஏ৿֙䩟ЋϦ‫ܙܙ‬ЄЄϡ‫י‬ж䩟ϮϮс ҦЎЧ䦚䦥ϳсᅿ֬ؔ䦦䩟ϸϬѬԑϥ੏ӡϡ䦚޳Ғ‫ۂ‬ҡؔЁϤϴϦ䩟ϸϬԒ ֎ЇϲԟϦ䩔ўϢ੼ᐆс‫چ‬ӭϣ‫಺ل‬੣䩟ӭЛϥϤϥ䩲䦨 ಜж๠ϡ෰ᅊ୴૆сࢻ᭧вϱ䩟‫ټ‬ӊय़ဪϤ֙䩟‫؍‬КсቛϨቍϼ‫ߥڔ‬в ϱ 䦧ಜ܏Т䩟ՌϢ䩟ХϩфϢϣ҈ϡϪ䩟ө‫י‬ж‫ے‬ѯҡؔ䩟КѦҀࢫЏЪ ‫ڃ‬䦚䦨 ಜж๠ᄌႹаಹвϱ䩟⍒‫ݾ‬ॊ䩟Л䩭䦧ӊؔዑ䩟Ϣ֍ӆЂϮϮ‫ޤ‬Ϭၰ䩟 ϲѴϨ䩟ϢϴങІѝϥϬ༈Щ૤䩟ϥϬϤ૎ૺ‫ڗ‬ϡϪ䩔ϸϬၰ䩟ө Ϣ‫ޤ‬ҴՁϦ䦚䦨 ӊӗТ੪Рϣ࡮Ͻᆶᄭ䩟ѯಜж๠኷ϼ䩟Ѽњ䩟цј഍௫഍෧сᯰϦϣ Ϭ᫈䦚 ՟֔䩟‫צ‬ধϣ‫ل‬ҙஃ䩭䦧Ͻ‫ރ‬ᩙᩚ䦡䦡აջѷᗔ䦡䦡䦨 ҷԏϳϼ۹䩟䦧‫ີޤ‬ဩ䦨՟֔ϡϽঅϼ䩟‫ت‬ϱϣಙϣಙϡᨅ‫ل‬фइϳ҃с ϡ‫لًט‬䦚 ӊӗТф‫צ‬ধԪၰஇѦާϦоϱ䦚 ‫צ‬ধЛ䩭䦧ؔዑ䩟ҵϨӓӌϡϥ࠯١‫ޤ‬ၰϡъϬϪ䦚䦨 ӊӗТЛ䩭䦧ъϥಜ܏Т䩟ಜж๠‫ޥ‬ӗ䩔䦨 јЃԋಜж๠େа‫ܪ‬नж䩟ዎаϣӌᨅ䩟Ԫ‫ب‬сҵа䩟࠘աЪϥ‫ݔכ‬䦚 јϡ۵‫ׇ‬ҍ࿷؇ъԈඕ‫ێ‬഑‫א‬ϡ‫ێ‬ਛഈ䩟ѦӌЬϩјϡԏոж䩔 ӊӗТಃѼড়݊сஃѬ䩭䦧䦥‫ີޤ‬ဩ䦦ϩ‫ۺ‬Ϫເ䩟ѦӌՏ䦡䦡䦨 

CATHARSIS

29

“Well, let me tell you one thing: the world will not stay like this forever. Moreover, no one is more indispensable than teachers! You must clench your teeth and bear it. You must cherish your life for the sake of the kids. Teachers ought to be worshiped as much as heaven and earth, as much as sage rulers and ancestors.6 This is truth set in stone. Humanity comes to an end when we mistreat our teachers! Don’t you agree, brother? Please allow me the liberty to call you my brother.” Qi Ziyun’s shoulders twitched violently. Unable to hold back any longer, he burst out crying, his face buried in the pillow. “Mr. Qi, there are still people like me, who are full of gratitude for teachers like you, taking in and taking care of our kids.” Qi Ziyun struggled to his feet. He wiped o his tears and said, “Master Yu, my plan was to wash myself clean before I . . . Now I want to slam my body against the wall for being a coward, an irresponsible man! This bath has cleared my mind.” Yu Changsheng grabbed a big bath towel and put it around Qi Ziyun. Then he bowed reverently. Outside, Zhang Qing cried loudly, “Here comes pork wonton eat while it’s hot ” Next morning, the thunder of gongs being struck and slogans being shouted reverberated in the street outside the Cleansing Pool bathhouse. Yu Changsheng and Zhang Qing ran out. Zhang Qing cried out, “Master, it’s the man from last night walking out in front.” “That man is Mr. Qi, Principal Qi Ziyun!” Yu Changsheng replied. Yu saw Qi Ziyun ringing a gong, a black plaque hanging from his neck. He walked with ease, his demeanor tranquil. Yu’s eyes then glanced at the Red Guards wearing red armbands. His second son was not among them! Suddenly, Yu Changsheng let out a resounding cry: “Guests of Cleansing Pool! Right this way please!” (2012)

6. In his 2006 article “The Worship of the Heaven, the arth, the Sage Rulers, Ancestors and Teachers A Study of the Origin” in the Journal of Beijing Normal University (‫౒ؔߟܚ‬ϽѺ Ѻ‫ ۏ‬no.2 [2006]:99-106), Xu Zi (ጝ⋛) investigated the origin of this popular expression. He attributed the formation of the concept to Xun Zi (313–238 . . .). Accessed April 25, 2016, www.cnki.com.cn/Article/CJFD2006-BJSF200602014.htm.

30  ‫٘ ޤ‬

VOCABULARY AND USAGE ‫٘ޤ‬

xl

baptism; severe tests

‫ີޤ‬

x ch n

welcome (a јЋԪѤмஓϱϡѽո‫ב‬ը‫ޤ‬ traveler); help ີ䦚 wash o the dust

ߊ

jìn

nish; all gone

઩

y

elegant; stylish

ϸϽ‫ێ‬ϡࠚҽЃϼЧϤѿ઩䦚

Ԑ‫ڛ‬ੜಎ tu ná ànmó

ۗ֊ϡ‫ٍ٘ޤ‬јѸӸІҞ䦚

јϣ࿰ӳୖߊϦ࣭Ѕ‫ܦ‬䦚

massage

Ԑ‫ڛ‬фੜಎϩѮАϤӎ䩲

ೞ

chòu

disgusting

ϸ‫י‬жҩ৩वϦ䩟ϣӱೞࢂ ࠴䩔

‫ૢ܇‬

ji ngjiu

pay great attention to; be particular about

ЅмϪцѷЪ‫ૢ܇‬䦚

᠘ᝨ

chóuchàng

sad; melancholy

Ꮖ‫ܪ‬ϡ‫ە‬١ўϢҀϺ᠘ᝨ䦚

оӳ

ch tóu

a little over

ϧӅٚ֐оӳ䩟ԆւЛІѝҡ Ϧ䦚

emaciated

јࣿբѧϳ䩟ਜЏӌࢷഢ੔䦚

scattered

ԧϤ‫ૢ܇‬ѷ‫ܕ‬Ӌၣ䩟ӳтϣ‫ז‬ ્ࣣ䦚

ӌࢷഢ੔ miànhuángj shòu ્ࣣ

s nluàn

‫܌‬᢬←ẓ b l liàngqiàng falter

јϡଆի‫؍‬Ϧ䩟‫܌‬᢬←ẓ䦚

௒ഡ

mós n

wear and tear

ఙжϡ‫ף‬ϬࡠЁϩԈ௒ഡ䦚

ּ

sh u

bring to an end; stop

ϳϤՉϦ䩟ѵϳϺϸոϲּϦ щ䦚

֙

zh

ϮЄ

h odu

a good many

Ϯ‫ډب‬

h oróngyì

with great di culty ϢϮ‫ډب‬ҥߎߵ۴䦚

ࢻӱ

ch ush n

get away

јѿࡤ䩟Ѫ֚ࢻӱϱЃϧ䦚

Ӌ֝

d liang

look up and down

ԧЌҀҢϺӋ֝ԧϡՒ‫ׇ‬䦚

ϣ༛

yf n

bout

јϤРϥϱ՜ԃϣ༛䦚

∇ߖ

q chá

make tea

ߖѬНϤϥߣ‫؀‬ϡ∇ߖࡒһ䦚

ϣᇡଘ

y li y n

(dash o ) swiftly

Ϣ੩ϼӞϣᇡଘэާϦ䦚

ॅѲ

sh nsh u

do as a natural sequence

ј‫ޤ‬ԟၰւϥॅѲөၰᄹા‫ݾ‬ ८䦚

ሱࡤ

hu ngmáng

hurried

֑֑ϣՖ՟јϲሱࡤсөѲҜ েвϱ䦚

(‫ࡒ)ބ‬

(f n) dào

yet; on the contrary ઞ߾Ϧ䩟ϳ‫ࡒބ‬ѸߤϦ䩔

xed; not moving

ҳൂ‫ۻ‬࿝߾֙ϦϧӐЎЧ䩔 ϢϨࡨжѦ҇ϦϮЄஔ䦚

CATHARSIS

31

ਯ(‫)ޥ‬

guì (xiào)

(respectfully) your (school)

ਯмϡըཞϢϤ‫ګ‬䩟ϲϤтԣ ҺԋϦ䦚

ࣀҦ

d huà

accost

јԪϱϤٰ൘ТϪࣀҦ䦚

ഐϱ

húlái

fool with ࡛‫ݚ‬Ԇٰ੥ൌഐϱ䩔 something; make trouble

ࡈ/Ϥࡈ

p i/búp i

be worthy/ unworthy of

ϧϤࡈ҂ϢЙϡ֩ࣔ䦚

‫ڄۂ‬

liánl i

implicate

јϡӮண‫ڄۂ‬ϦԴҎ䦚

հត(՟)

dài long (m n) close (door)

ഀжХϨӒҢ䩟јо၁ॣЗհ តϦ՟䦚

ऎ෋

yu m

about; roughly

ϢӒϦऎ଼ҖЩЗ䦚

ࣸ(Ѳ਴)

xi n (sh uyì)

display (skills)

ј‫׶‬Чԍࡪϡһ੘ϼ‫ܐ‬Ͻ‫ܒ‬䩟 ࣸјϡѲ਴䦚

ᄴ(э)

rào (k i)

bypass; detour

ϢϤЂٰјЛҦ䩟ӛйЃϺј ϲᄴэҵ䦚

ࠤ(ዎ‫ڴ‬ ᵚ)

j n (qi o q ng chuí)

urgent(ly); tense(ly); ມ‫ل‬քϱքࠤϦ䩟൫Й٬ࠤ‫ڒ‬ quick(ly) эщ䦚

Ӿ(՜)

d ng

ought; should

ԑӾҒ‫ױ‬䦚

ൎ(яж)

áo (rìzi)

get through; survive

ϧϥ՘АൎРϸАຘߤϡபϳ ϡ䩲

๋ஏ

y oyá

grit one’s teeth

ԱϦϢϡҦ䩟ј௤Џ‫๋ׯ‬ஏ䦚

(๋)ࠤ

(y o) j n

tight(ly)

ϸ߳౐౐Џѿࠤ䩟ϢӋϤэ䦚

৿(֙)

t ng (zh )

hold out

ષࣇӞьϺϦ䩟ϧНϴ৿֙ љ䩔

੏ӡ

ti dìng

de nite(ly)

ϧӵК䩟ϸԿԝॳϢЙ੏ӡ ߋ䦚

੼ᐆ

màom i

make bold

ϢНй੼ᐆс‫ז‬ӭՏ‫ڌ‬ϣϬ՜ ֣Ӷ䩲

ࢻ᭧

ch uch

twitch

јࢫ҃Џબጩࢻ᭧вϱ䦚

य़ဪ

y yì

hold back; constrain

Ϣय़ဪϤ֙Ϯ࡞К䩟ҵϦР Ч䦚

ᄌႹ

zh ngzh

struggle

ಹ (вϱ) pá (q lái)

get up; climb

ϢᄌႹаಹϼϦ࣐䦚

⍒ (‫)ݾ‬

k i (g n)

wipe (clean)

јЩКс⍒‫ݾ‬Ѳ䩟‫ב‬Р٘‫׉‬䦚

኷

p

put on (over); cover

ϸϥϣђ኷аࣅ‫ޔ‬ϡ࿟䦚

഍௫഍෧ bìg ngbìjìng

extremely deferential

భѦϡѺТцҡؔ഍௫഍෧䦚

pork

ϩԈև‫ܚ‬Ϫө૧‫چރ‬҂Ͻ‫ރ‬䦚

Ͻ‫ރ‬

dàròu

32 ‫٘ ޤ‬

ა (ջ)

ch n (r )

take the chance; seize the advantage

इϳ҃с j ngti ndòngdì shock heaven and shake earth

јა֥ࣤϡ֐д‫ވ‬ѯрѦӋϦ ϬӈҦ䦚 ࠯ԉϡৣຝ‫ل‬इϳ҃с䦚

Ԫ‫ب‬

c ngróng

calm and unhurried Ԫ‫ب‬ϤྋϥЛϣϬϪϤሱϤࡤ Ъ๮ӡ䦚

࿷؇

s oshì

glance; run down

ј࿷؇ϦϣՒࠚҽ䩟‫ݸ‬ӡϤϨ ϸո֙䦚

QUESTIONS FOR DISCUSSION 1. Who is Qi Ziyun? What was his plight at the beginning of the Cultural Revolution? 2. How do you characterize Yu Changsheng’s attitude toward and relationship with Qi Ziyun? 3. Why does Yu Changsheng tell Qi about beating his son? 4. List three details that support Yu Changsheng’s belief in Chinese cultural tradition. 5. What do you think of Yu’s breaking of the rules for Qi? 6. What do you suppose would be Qi Ziyun’s purpose of eeing his con nement that night? 7. Where in the story do you see the working of li and ren? In what ways are li and ren more powerful than political or economic power?

1. ಜж๠ϥѮАϪ䩲јϨҹ٩Ͻཪ‫ܞ‬२‫׈‬ϩаѮА҈ϡ੡॒䩲 2. ӊӗТцಜж๠ϡ‫֏ݮ‬ϥ՘҈ϡ䩲јЙϥѮАԮ‫ڍ‬䩲 3. ЋѮАӊӗТϴ‫ݍ‬ऩಜж๠јӋϦІѝϡոж䩲 4. Տ‫װ‬оѧϬ࢛‫ڝ‬ЛҴӊӗТцЅм‫ࢅت‬ҹ٩ϡҞ࿰䦚 5. ϧҢЏӊӗТ؎Ϥ؎Ϥઈ੻ӡЋಜж๠਋ຎ䩲 6. ϧҢЏಜж๠ъԉԪѺ‫௺ޥ‬оϱ֍ӆЂ҂ѮА䩲 7. ϸϬ‫ݞ‬Ѩϥ՘҈ԣѴ“٘”ф“წ”ϡ䩲“٘”ф“წ”ϨѮАҺॶϼԝ ू੽䦙Ү௸Ҩ֝Ѹ‫מ‬Ͻ䩲

CATHARSIS

33

AUTHOR BIO “Keeping a low pro le” doesn’t quite convey the meaning of ௗ‫ݔ‬ (VK‫ڨ‬XMuQJ) an expression Nie Xinsen (1948–) uses to describe himself. Born in the ancient city of Xiangtan in Hunan, Nie started to write in middle school. He worked for Zhuzhou Timber Company for thirteen years, pursuing his passion in literature all during that time. He managed to get four years of formal training at the Lu Xun Institute for Literature and Beijing University between 1984 and 1988. He has published more than fty books. Among them are four full-length novels, including Furen Dang (ਜ਼Ϫམ) and Langman Rensheng (‫ࢿع‬ϪТ); sixteen collections of novellas; and the short stories Taipingyang Yuedui de Zuihou Yi Ci Yanzou (ѿ‫כ‬ଥӂࠬϡзњ ϣҋࠟᄊ), Youhuo (࿚༜), and Sheng Si Yi Ju (ТӚϣ঵). He has published two volumes of poetry, six volumes of essays, and studies of aspects of Chinese cultural heritage such as the Chinese New Year, Chinese last names, and local styles of architecture. His work has been translated into nglish, French, Japanese, and Russian. Although he used to write short-shorts only on the side, recently he has turned to them increasingly, noting that he nds “the challenges of a superb performance on a very small stage exciting.” A former vice chairman of the Hunan Writers Association, Nie now serves as the association’s emeritus honorary head. He also brush paints illustrations for his books. He is recognized in China as a leading gure of the short-short genre today.

ҷԏ‫א‬

ᖮ

ϸ

ࢡߦҹЋ䦭ᖮҮ䦮ӛ೩т䦚ԳၖϸϣࣲҡҮਹЇϥӹЋӾ䦧 ᖮ䦨ҩࢬፈЋ䦧‫י‬жц୊আϡᰗ஦䦨З䩟ѿРҮ‫׶‬сҩண‫ث‬Ћ ϥϣ҇‫ډے‬Ԯ‫ڍ‬䩟ϣ҇Ͽྋٍոѽц୊আ‫ݘ‬Т࿤๲Ҁ䩟ӹ ґϤЏϤҘ‫ۏ‬јЙ‫ޚ‬ड़Ҍ൛ϡԮ‫ڍ‬䦚Ϩ䦭ᖮҮ䦮юਹϡЗ‫ڊ‬䩟ϪЙцϪক Ԯ‫ڍ‬ϡ᙭౥ٰϢЙѵϳНЌϤѿϣ҈䦚ѵϳ䩟ӾϢЙй੹ҨϡϽЩ‫ڈ‬۱೯ ৳߷ϡ‫ڴ‬ԳЋऴ‫ࢴثކ‬р೛Ԯ‫ڍ‬З䩟р೛ю‫؃‬ҽϡ‫܊ے‬ϲϩϦᓎऎ䩢ׁӎ Ԯ‫ڍ‬ϡ૎ӌ٧ԛ䩟ᖮЇӹ‫ױ‬ҩӮணсᔼ໹‫ࡈݒ‬ф෥‫ע‬ϡᝒଭ䦚ॎѼ۱ѓф ᓐѓᖮҏӆҺϡѴࢣϤН೬‫ݪ‬䩟Ԕϸቂ҃ϤϦᖮϨЅмҖ࡛Єё‫ࢅت‬Ѥख़ Ѕ۠ҙѪϼϡс֧䦚‫ײ‬ёϱϨЅм䩟ᖮЇӐϣҋс਌৉քϱքЄϡԮ‫ڀ‬䦚 䦭ᖮҮ䦮ϡэࢡϣ‫ܐא‬Ϻ䩭䦧жᯡ䩭ਜ਼ᖮ䩟ख़ҏӆЇ䩟‫ڌ‬ҏӛ‫ۥ‬ТЇ䦨䦚 ϢЙНйөц୊আϡᬐአ؇Ћᖮϡэ‫״‬䩟Ԕ႘жϨӆ‫א‬ӛЛϡҦҴ৭‫מ‬

  䦭ᖮҮ䦮Ԛ‫ت‬ϥϣ֧੣ж՜ᖮЗ䩟႘жҘমϡઓ࠹䦚䦭ᖮҮ䦮ϡ֍ҹЪߦ䩟ђϩ֐ࡂϬ ߦ‫א‬䩟‫׊‬ϥЅмԪఉ‫ڊ‬䩛ԍׄӓёԍׄё䩜йϱ೩ྤ‫ڌ‬ड़ϡ‫ڪࢴۓ‬䦚ϸϬ‫ࢅت‬ ϣ‫ׯ‬෨۟ϺԒઓ䦚ϨЅмࣄ੗ϼ䩟ӋϮѬख़ߞҲϡऴኜϣ‫ׯ‬ϥ‫ڌ‬ड़‫י‬жϤН‫ڈ‬ઑϡϣ ‫ח‬д䩟‫ؚ‬ԝѺϿࢴ‫ܙڈܒܐڪ‬ϱϡѸԳϴ䦚   ՏЧKWWSFWH[WRUJ[LDRMLQJ‫ݓ‬༊䦭ᖮҮ䦮ϡЅ߭ҹцؕ‫ؗ‬䦚эࢡϡϸ‫ط‬Ҧ৉ՊϦ䦭ᖮ Ү䦮ϡҰ֣ф۵ϡ䦚཮оϡఉѺрᴐᏛট䦚ԑ઩‫ٿ‬䩛䰭䩜ϥϸϬ‫ؗ‬ӆϡࢬፈ䦚

CHAPTER 2

XIAO

T

he Classic of Filial Piety1 was the inspiration for this introduction. We went back to the ancient text because [LDR, translated as “ lial piety,” has too often been understood in the sense of business transactions that oblige sons and daughters to feel indebted and to repay their parents for raising them. Human relationships in China at the time of The Classic of Filial Piety were di erently imagined than in our time. When family relationships today are represented as power based or framed by con icts of interest, they take on the negative attributes of contractual relationships, and [LDR thus inappropriately connotes dominance or subjugation. Manipulation and abuses do happen, but [LDR has been a supreme virtue in Chinese tradition for more than two millennia and recently has been attracting renewed interest in China. In the introductory paragraph of The Classic of Filial Piety, Confucius speaks of [LDR as “the root of (all) virtue, and the (stem) out of which grows (all moral) teaching.”2 To attend to the needs of one’s parents may be the start of [LDR, but this passage clearly emphasizes that the goal of [LDR is to establish one’s character. The paragraph ends by quoting a line from the

1. Purporting to be the record of Confucius’s answer to a disciple’s question about [LDR, The Classic of Filial Piety, a brief text of eighteen chapters, was a primer in schools from the Han (206 BC –220 C ) until it disappeared in the twentieth century. Learning the basics of moral behavior in historical China was an integral part of a child’s education, more important perhaps than learning how to read and write. 2. Please access The Classic of Filial Piety in parallel text at http://ctext.org/xiao-jing (accessed August 8, 2015). This quote from the opening paragraph/chapter introduces the theme and the goal of the work. James Legge (1815–1897), a most accomplished sinologist, is the translator. Hereafter cited as The Classic of Filial Piety.

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݆䩟ᖮϡ۵ϡϥᄽ߃Ԙ۴䦚эࢡԪ䦭ஈҮ䦮Ѕϡ䦧Ͻ઩䦨‫ח‬д৉਎‫ױ‬ҲӑЋ ֲଚ‫ܬ‬䩭䦧䦭Ͻ઩䦮࠭䩭䦦Ѫ݉঒ྥ䩟⟆ࢗ ख़䦦䦨䦚 䦭ᖮҮ䦮ѓѧдҏϣϡࢡๆ‫ث‬౥ϦцТ҅ϨѴӥघϿЅϡϬϪϱЛᖮЋ ‫ح‬Һ䦚ЇϲϥЛ䩟ϣϬϪϨ஍Ӿ‫҇ٿ‬ϤӎघϿфр೛ੲૺЗ䩟՘҈ԣѴҥ ‫ڲ‬Џϼϥᖮ䦚ԝҒ䩟ҒҝϣϬϪҙ࢒ࣸᚳ‫֧ܥ‬䩟ъА䩟ц᭓߇ֵϪ‫ھ‬ϡՄ ൌಀԳфߊᇝੲௗϲ‫؎׏‬ϥϸϬϪᖮҲϡֲဗфՄѴ䦚 䦭ᖮҮ䦮ϡҍϣϬѧдҏϣ‫ث‬౥ϦЋѮАᖮϥЋϪҏ࣠ӆ䦚ϸ‫ח‬д‫݆מ‬ ϦᖮϡІѼ٧ԛ䩭䦧ਜ਼ᖮ䩟ϳҏҮЇ䩟сҏॶЇ䩟‫ھ‬ҏҲЇ䦨䦚 ޼ߞҏ䩟ᖮ ϥϳҮсॶϡ䩟ϥϪणзऴӆϡҲЋ‫ކ‬ज䦚Ϩ୊আҏЕЅӗϽϡϢЙϿϩ Ҙ‫ۏ‬ϡҺ݁䩟ϸϥϪҏ‫׶‬є䩟ϣϬٰࡇ৚‫ڠ‬ԅϣ҈ϡІѼ‫ݮ׶‬䦚Ϩ႘жЃ ϱ䩟Ьϩϸ҈ϡҺ݁ҥϥ⑆০წख़䩟ӹЋ‫ؚ‬ϩ₪ІѼ֚ज䦚䦭ᖮҮ䦮৭ӥ ϴؒԉ੫ф‫؝‬ӊԪ٧с֧ϡϪЄԣܼцӗ੫фϼٛϡಀԳ䩟ԑ‫ۥ‬ϥ䩭‫ٍس‬ ϥϳж䩟ҪϳЎϡࢅ੽‫ٷ‬䩟јЇ۰܏ϥј୊আϡոж䦚ሂሂϥјц୊আϡ ಀԳфᬐአഷड़Ϧј੽ԑϳЎϡԘख़䦚 ༊ࢴйЎϡ‫ݞ‬ѨЗ䩟ՏϤϴಃଯᖮϡӆҺф۵ϡ䦚䦭ᖮҮ䦮ц୊আҏЕ ϡᶻ਎НЌϩԈРӊᑻࢅ䩟Ї‫ܙ‬ϥө୊আҏЕϡІѼ䦙Ѫֺխ؇ЋԑӛӾ Ѽ䦚Ԕ‫۬س‬Ғ‫ױ‬䩟ϸѦӛЛϡ୊আҏЕЇԁԪୟ‫ٷ‬ѲЅ⌻ԼҘ‫ۏ‬ѪԮ䦚Ԛ ‫ބ‬䩟䦭ᖮҮ䦮‫݆מ‬Ϧ୊আҏЕϥϣ҇ශѪ૜݉䩟ђЋ‫י‬жϮϡ෴КҏЕ䦚 ϸ҇Еϥ‫י‬жцЕϡз२Մࡑ䩟ϥ‫י‬жѺ‫ܠ‬ԮЕјϪϡҷϣࠅ䦚ᭉрϡ٘ ࣑‫܊‬ϱԐྕ‫ױۥ‬ЕґТϡ‫׏݌ྟۂ‬䩟‫׍‬өϸ҈ϡ‫׏ބ‬䦡䦡ຎҒ䩟ϣϬ‫י‬ж ‫ۥ‬Е‫ݘ‬ТϡҷϣҋѤख़ҏ৓䦡䦡Ѓ҂ϥᖮϡԣѴ䩟ӹЋᖮϥѬख़єҀфѤ ख़ϡв੅䦚ӹ‫ױ‬䩟ԪѸܲጷϡҺॶϼЛ䩟ᖮϥ‫܋‬Ԫр೛ґТ䦙‫ڌۥ‬٩ґю ϡЕϪҏК䦚

  䦭ஈҮ䦮ϥЅмҷϣ‫ח‬ஈ‫ܮ‬ւओ䩟‫ۥ‬႘ж൜๒䦚‫ؚ‬ϡԷ‫ؚ߭‬ፈӜХϩ䩭7KH&ODVVLFRI 3RHWU\%RRNRI6RQJVDQG%RRNRI2GHVҳ䦚䦭ஈҮ䦮‫ۥ‬ԍׄӓԒઓϺԍׄӓԒઓϡஈ ‫ܮ‬ӑԘॵю䩟ЇϥᭉрҮਹҏϣ䦚䦧Ͻ઩䦨ϥ䦭ஈҮ䦮ϡ‫ף‬Ϭ‫ח‬дҏϣ䦚   ‫طױ‬৉І䦭ᖮҮ䦮ϡҷϣϬ‫ڝא‬䦧эᅓҴॶ䦨䦚ՏЧKWWSFWH[WRUJ[LDRMLQJ‫ݓ‬Ѓ䦚   Տӓ‫܊‬KWWSFWH[WRUJ[LDRMLQJ‫܀׍‬Ѓ䦭ᖮҮ䦮Ѕ֣Ћ䦧ѧҥ䦨ϡ‫ڝא‬䦚   ӽۖӎϼ䦚ϸ‫ݫ‬ҹ‫ܒ‬ϱІц䦭ᖮҮ䦮Ѕ֣Ћ䦧๨੽䦨‫ڝא‬ϡ‫ߎڽ‬䦚

XIAO

37

“Great Re ned Odes” of The Book of Poetry:3 “Do not just commemorate your ancestors; cultivate your virtue.”4 About one-third of The Classic of Filial Piety is dedicated to what being “ lial” means for individuals in society and details the varied duties of a person in di erent social and familial roles. For someone acting in the role of a high o cial, the act of xiao crystallizes in the respect for and good service to the governed. Another third of the text explains why xiao is the most important of all human acts. That it is a natural attribute is emphasized: “Filial piety is the pattern of heaven, the standard of the earth, the norm of conduct for the people.”5 The norm of our life we grow up in our parents’ love and have a desire to reciprocate that love is as natural as sowing in spring and harvesting in fall. The absence of lial desire is, for Confucius, a rejection of virtue, because it violates the natural way. The Classic of Filial Piety does, in fact, require more displays of respect from children and those in subordinate positions, for even the Son of Heaven, the ruler of all under heaven, is rst of all a son to his parents. And his respect and care for them in turn constitute his virtue to rule. Please keep the goal of xiao in mind as you read the following stories. The Classic of Filial Piety may generalize parental love and take for granted its natural unconditional attributes, but the teaching is not at all about exacting returns from the less powerful. Instead, it emphasizes parental love as a child’s rst experience of love, the love of someone purely for his or her own self. It is a child’s rst lesson in what it means to care for another. Confucian reciprocity encourages like responses and regards such responses for instance, a child’s rst ethical act as an instance of xiao, or the very root of moral sensibility and virtue.6 So in a broader sense, xiao denotes the cultivated love of others that starts with family.

3. “Great Re ned Odes” is one of the four parts of The Book of Poetry, which is also translated variously as The Classic of Poetry, Book of Songs, and Book of Odes. The Book of Poetry is one of the ve Confucian classics composed of poems from the eleventh century to the sixth century BC . 4. Please see the opening chapter, “The Scope and Meaning of the Treatise,” in The Classic of Filial Piety. The sentence in Chinese is “ѩ݉ঌྥ䩟⟆ⷮ ख़.” 5. Please see the “The Three Powers” in The Classic of Filial Piety. 6. Please see “The Government of the Sages” in The Classic of Filial Piety for the thought developed here.

38

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ӆ‫א‬ϡ‫ף‬Ϭ‫ݞ‬ѨЁϥᖮϨТ҅Ѕࠟ፿ϡә‫ݫ‬䦚‫ؚ‬Й‫݆מ‬Ϧᖮ‫׶׶‬ҩಃ ଯϡҖϬҤӌ䩭ᖮϡԚԮ٧ԛߵԷഷड़ЕКϡ‫ۋ࡙ۯ‬Ќ䦚䦭୦់䦮ࣁܾϦ ‫ۥ‬୊֬ϡЕф‫י‬жϡᇝԚૠӑѓґพюϡᖮϡ‫ݱ‬Մ䦚ϸрϪ‫࡙ۯ‬ϡТ҅Ҥ ܴ䩟йߵјЙцӚ༆ϡҘ‫׏‬ҳ䩟Ї‫ז‬ϢЙࣁܾϦϨᭉрҹ٩Ѕ䩟ᖮϥ‫ۥ‬Ѯ Аґ䦧ૺю䦨ϡ䦚䦭ྡ‫ـ‬䦮Ѕ䩟ӾոжцߊᖮѬϡॶࠖϩண‫ث‬З䩟আ֬؄‫׫‬ ϡ੅໩ϲԸюϦԧԅԼϪТьӂϡᅣዢ䦚䦭ᖮҮ䦮ЅХঠϺᅿж‫؎׏‬Ғ‫ح‬ ϩЕК䩟֬‫ھ‬Ғ୊আ 䦚‫ש‬Պ䦭ഫቐਁ䦮ϸϬ‫ݞ‬ѨϥӹЋҰϪԍӱϼՄѴ Ϧᖮϡࡔϣӌ䦡䦡⤿䩟йߵᖮ⤿фᅿжಀ଴ϡԮ‫ڍ‬䦚ѵϳϡЅмघϿХࡖ ϨаϤߊϪҺϡҤҤӌӌ䦚Ϩ䦭РԟॼϳӐЧϳஇ䦮Ѧ䩟жѽЙц୊Еϡ ؇ґϤԋ䩟දԷਘϪ‫ڔ‬К䦚ԁԷЛᖮϥԑԛϡ‫׉ݘ‬䩟ϤҒЛᖮѸϥऴӊТ ҅ϡєҀ䦚ᖮ‫׶‬ϨҺЂϤϺҏ‫؝‬ѯҨ䩟Ѫ‫ڹ‬ϥϢЙё‫ڴ‬䩟ҡϦ䩟ХϥӔҮ ‫ݞ‬Ч䦚

  ӽۖӎϼ䦚ϸϬ޴ѢϱІц䦭ᖮҮ䦮Ѕ֣Ћ䦧ܲ۠ख़䦨ϸϣ‫ڝא‬ϡ‫ߎڽ‬䦚දԷ䦧⌮⤿ᅿ ж䩟‫ھ‬ҏ୊আ䦨ϸ‫ط‬Ҧϥϼ਎ӛߞϡ࣊ࣝ䦚

XIAO

39

The four stories here are snapshots of xiao in action, emphasizing two oft-neglected aspects of the concept—xiao’s relational nature and its agency in cultivating love. “Father Makes the Lantern” presents a parent’s love and a child’s devotion as constituting parts of a whole; their family’s engaging way of life and reaction to death show what “obliges” xiao in Confucian culture. When lial obligation is misunderstood in “Money Order,” the mother’s very source of happiness becomes an obstacle to her joy in life. The Classic of Filial Piety also speaks of the man of honor as being “a ectionate” like “the father and mother of the people.”7 “Little She” is included for its emphasis on the ti aspect of xiao and its depiction of the link between xiao and personal honor. China today can be disheartening, especially when we see a father’s love going unnoticed in “HeavenBound, but After Summer.” Yet more a matter of the heart than a product of reason, xiao empowers in unexpected ways, no matter whether one is young, old, or even no longer living.

7. Please see “Ampli cation of ‘the Perfect irtue’ ” in The Classic of Filial Piety. The sentence in Chinese is “⌮⤿ᅿж䩟‫ھ‬ҏ୊আ.”

1

୦់ ඥжࠃ

୊

֬ϨԒЗ䩟ҟၠРёϢϲϿЏϺϣᚈ୦䦚 ъϤϥଷ‫׶‬ϡ୦䦚Ԫ՟֔ϡઞсϼᄜҘϣϬእӳ߳䩟Ѽ њԗϣᬿэһࡒՖ߳Ѧ䩟Ꮃϡϣ‫ل‬䩟݄߳୐ིс޻Ўϱ䩟 ୦ᐗ۬ᅇТϦ䩟Ӑѓ਋ྡྷᝐԗ‫୸ؚ‬Џ݊݊ϡ䦚୦ϡ݄ӏϥަ‫ء‬ϡ䩟ϩՐ උ䩟݄ӏЅК྽ਧϣ࣠྽ж䩟ө‫ێ္ٻ‬ᙱ෸ӡϨϼӌ䩟‫ۉ‬Ϻ١௷ઁைЗ䩟 Ѣᇮᔳᙱ䩟ӐЩКॢॢс޻Ў୦ᐗ䦚Ϣ٤аϸᚈ୦䩟ҢЏІѝը‫ׇ‬Ѫࡳ䦚 ୊֬ѯϢ҂ϸ҈ϣᚈ୦ւϴՐϼЪЄ֞ਜ਼䦚ϲЛ҂୦ᐗ䩟ւϴᄜҘٚ ࡏϬ߳жҥЌ҂юϣϬ䦚ߊ‫܉‬Ғ‫ױ‬䩟ङᅆ١୊֬ւЌўϢ٤ϼϣᚈीКҒ Һϡ୦䦚Ьϩ֊݊ϡङᅆ١䩟ϸᚈ୦ϲϥ֊݊Ϧ䦚Ϣ٤а୦॔ᗧϣຒ‫ڮ‬ᓴ ևрҵ՝р၌䩟ҟϺϣрЁԗ୦ೈ༭䩟ԱϪрᆋӪ‫ط‬ϸ୦ϩЄϮ䩟ѼњӐ К‫ٶ‬Һ߿сѢᇮᔳᙱЧࡔϣр䦚ҟҟҘϺрѦЗ䩟ᔳᙱਮЏђൊЎϣᑓ‫ܟ‬ Ϧ䦚ъЗ୊֬Ͽԙ᤻᤻с՜䩭䦧өъԈ‫ׇ‬Ҫऽ౴ЬϦщ䩲䦨 䦧ҪѯૐϨբϼϦ䦚䦨ϢЛ䩟䦧ൊЎз݊ϡ‫ׇ‬٬ࠤ٤ҘрϱϦ䦚䦨 䦧Хѐઈрљ䦚䦨୊֬ӋঙаϢ䩟ЧЃъᑓᔳᙱ‫ܟ‬ϼᐦаϡϣଚᘅᘥᐇᇙ ϡ‫ׇ‬䦚 ୊֬ЛРёϴѦѦ֔֔Ёϥ‫ׇ‬Ҵϡ䩟ӛйϤ঎ϢѲЅϩ୦䩟ࡨжѦЇϥ ϩ୦ϡ䦚ҙҙେвϡϥ‫ێ‬୦䩟୦ᑻ‱ӗӗϡ䩟ըϣೈાાড়䦚ࠍ‫؝‬ϡϥ઄

1 FATHER MAKES THE LANTERN Chi Zijian

W

hen Father was alive, I would get a lantern every New Year. This was no ordinary lantern. From outside, Father would retrieve a glass jar covered in snow then pour a dipperful of boiling water into it. When the bottom of the jar snapped o evenly pa! the lantern shade was born. Father would polish it to a shine with used cotton ber. The lantern base was made of nely grained wood. Half of a red candle was xed at its center on an upward-pointing nail. Father would wait until night fell to light the candle, then carefully drop the shade in its place. I was pleased beyond words when I carried such lanterns in my hand. very New Year Father spent a lot of time making the new lantern for me. Just the shade alone would take ve or six jars to get one to snap o right. Be that as it may, Father always managed to make a lantern to my heart’s content. On those moonless nights of New Year’s ve, Father’s lantern became the moon. I would carry the lantern, along with a box of matches, and make the rounds from house to house, blowing out the candle at each stop and enjoying the compliments I received until, fully satised, I would light the candle again and depart for another house. By the time I returned home, all that remained of the candle was a puddle of wax. Father would then playfully inquire, “Did you squander all that light?” “I left all that light on the road,” I would reply, “but came rushing back with the brightest.” “How very thoughtful of you!” Father would joke as he looked at the vigorous and sweet-smelling light leaning from the puddle of wax. Father said all must be lit up inside and outside on New Year’s, so not only did I have a lantern in my hand, there were also lanterns in our courtyard. High up, red lanterns were hung, with long tassels that rustled in the wind;

42 ୦  ់

୦䩟ӵϨϽ՟‫ט‬ϡަἾϼ䦚Ѫ‫ڹ‬ϥҙо൙៽ϡ‫ێ‬୦䩟Хϥԥ੖с‫ܩ‬Ϩࠍ‫؝‬ ϡ઄୦䩟ЁўϪҢЏ‫ޟ‬঄䦚ԔϤ‫ؚ܉‬ЙЄА҃Ϫ䩟ЁϤҒ୊֬‫؟‬ѯϢϡ୦ Ѥ‫ܣ‬䦚ӹЋϩϦё䩟ϲҢЏяжϥϩሟӳϡ䩮ӹЋϩϦ୊֬䩟ёЇϲࣸЏ ϩ‫ل‬ϩա䩮ґҒҝҍϩϦ୊֬‫؟‬Ϣϡ୦䩟ёजၝ᳼ࣿϪϦ䦚 ϢϣёёсӗϽϦ䩟њϱ䩟୊֬ϤӐ‫؟‬୦ѯϢ䩟ϢӔҮϤϥъϬ٤а୦ ၌ϱ၌ЧϡЩ‫י‬жϦ䦚Ϣэ‫״‬Ϩ୦ЎЂКѨ䦚Ԕҟၠङᅆ䩟ࡨжѦؕຎϴ Ϩҙ‫؝‬େв‫ێ‬୦䩟Ϩࠍ‫؝‬௭ϼ઄୦䦚 Ѽґ䩟୊֬ЬЌҵϺҡёϲЧԒϦ䦚୊֬ЧԒϡӾёϢЙЬϩѢ୦䦚Ԇ ϪрϡࡨжѦ୦‫ڮ‬ሒᑟ䩟ϢЙр‫ܪ׊‬ᏆᏆϡ䦚Ϣ‫ܩ‬Ϩମ‫؝‬тഗ䩭Ѣ୦ϡЗ ԃ୊֬ХϤҘϱ䩟ЃϱјϥࣿբϦ䦚ϢЄЂ٤а୊֬‫؟‬Ϣϡ୦Ϻբϼ‫ב‬ј Ҙϱљ䦚ࠜࠜ䩟ҘрϡբϸАԡ‫װ‬Ӷ䩲Ԫ‫ױ‬ҏњ䩟ॎѼؕຎϴРё䩟Ԕϥ ϢӐЇЬϩ٤а୦ϡ‫׫‬ӤϦ䦚 ϣՖᗦ֊䩟рѦϲэ‫ࡤ״‬ё䦚‫ݟݟ‬ϿϱҞЛёࡤϺѮАс‫܌‬Ϧ䩟ԝҒЛ ҩж჉‫ޤ‬ԟϦ䩟‫҇ٿ‬ѷ‫ې‬ЇՇިЏईϤЄϦ䩟ѼњྗϢՉѢոҘрРё䦚 ӛй䩟Ϥ‫܉‬ϢӱϨՀ঒፛䩟՝ԥХϥ‫ߟܚ‬䩟ւϥ‫ݾ‬Ѧ᱈᱈с੼а଴ຘ‫܊‬р ౶䩟ӾѼѵёЇϤຎ֔䦚ᗦ֊⃖ࡏϢ٬ҘрЅ䩟আ֬ҌѬϸϬяжϢϿҘ Чϡ䩟ӹЋᗦ֊⃖ࢳъϳ䩟ϢЙ‫ݟ‬੣ϴ䦧Տ䦨୊֬ҘрРё䦚 ϢЙЧЃ୊֬Ϧ䦚ѯјຸРଘф‫ܦ‬䩟ҍਮϦԈ௝‫ـ‬䩟ӔҮюр߹‫׭‬ϡ੣ ੣∾ӳц୊֬Л䩭䦧ࠜࠜ䩟ϢϩІѝϡрϦ䩟ѵёРёЧոжрщ䩟Ϣр֙ Ϩ䦨੣੣өјрϡ֙ժ՟नًԳߒϦӪৄ䩟‫ܜ‬୊֭֬Ϥ֙䦚Ϣҍਤࣘ Л䩭䦧‫ڒ‬ᆨׁ࠱ԿЪ‫ײ‬䦚䦨୊֬ТӓӍӧϺᆨׁ࠱ԿЧձ‫ࠠޔ‬ϱЎ‫ܦ‬䩟ъс ҤЂ‫ۓ‬јϥϤϿ۲ϡ䦚

FATHER MAKES THE LANTERN

43

ice lanterns sat low on the wooden blocks at the gate. Whether they were red lanterns above the roof or the low-lying icy ones sitting cozily on their blocks, the lanterns all made people feel warm. But however lovely they might have been, they were not as beautiful as the lanterns Father gave me. The New Year’s celebration gave us something to look forward to as we went about our everyday lives. Because Father was a part of it, the New Year was colorful and full of life, and adding Father’s lantern gave the occasion an enchanting charm. Year by year, I grew up, and eventually Father stopped making lanterns for me. I was no longer the child making the rounds with a lantern in her hand but a young woman who found herself absorbed in her own thoughts under lantern light. Still, on every New Year’s ve, red lanterns would hang high and ice lanterns would lie low in our courtyard. Then Father died before his time. We did not light any lanterns that year. Amid our neighbors’ brightly lit courtyards, ours was pitch-black. I sat thinking in darkness: It’s time to light the lanterns, yet Father is still not home. He must have gotten lost. How I wish I could meet him on the road and lead him back with the lantern he gave me lighting the way! Father, is it really so hard WRϮQGWKHZD\KRPH" From that time on, the custom of the New Year’s celebration has continued in our family, but I forever lost the good fortune of receiving a lantern from my father. Still, once the twelfth lunar month rolled around, preparations for the New Year would start. My elder sister would write to tell me their progress, that they had, for example, picked out the stitches and washed all the cover sheets of quilts and that the many di erent dishes were almost ready. She would urge me to get home soon. It didn’t matter if I was in Harbin, Xi’an, or Beijing, I would brave the freezing cold and rush the hundreds of miles toward home. This year was, of course, no exception. I got home on the twenty-sixth. Mother knew I would be back on that day, because on the twenty-seventh my younger brother and I would always go to “invite” Father home for the New Year. We went to see Father. We o ered him wine and cigarettes and burned some paper money. My brother, now married with a family, kowtowed to him and said, “Dad, I have a family of my own now. Please come home with me for the New Year this time. My home is at . . .” He repeated the address a number of times to make sure Father could remember it. I helped by adding, “It’s very close to the department store,” because Father used to frequent the store to get preserved eggs to go with his drink. He must still remember the place.

44 ୦  ់

୊֬ϡࠚжϼ޻аઞ䩟ϩЗԪஔ৆‫ت؝ٹ‬ϱӪ‫ل‬ధም䦚ϢЙϣ‫׷‬ኗ᎝а ୊֬ҘрРё䩟ϣ‫ڒ׷‬эᔺс䦚ӹЋআ֬֙Ϩ‫ݟݟ‬р䩟ӛйϢЙЁϺъո ЧϦ䦚‫ݟݟ‬ϡ‫י‬жЩഝӅР‫ۗر‬䩟ӔҮϿҵբϦ䦚ϣՖ՟আ֬ϲَаЩഝ ԪѦ൙оϱϦ䩟ϢѢаЩഝϡ‫ݽ‬՟Л䩭䦧өϧᔙ૿֩ҘϱРёϦ䦚䦨Щഝӂ Ϧ䩟јϣӂϽрЇӂϦ䦚 Нϥ䩟ӾԉЩഝߥϬϤࣤ䦚؎ϺӒҢϡЗᜳϦ䩟јϲϥϤӒ䦚আ֬Ԯ Ϧ୦䩟࡛ડ‫ݚ‬ડсኖ䩟ј‫׊‬കѼ⌺݊сߥ䦚‫ׯ‬Ϻϳ݊З䩟јҥᆄᆄҡӥв ϱ䦚‫ݟ‬ਜ਼Л䩭䦧НЌ൫ٰࠜϺϸոϱϦ䩟١Ѧ็ᖍഝϦ䦚䦨ЛЏٰѐѨոঐ ϡ䩟ϢЙЁҞϦ䦚୊֬ТӓЬϩԋРјϡ֔ྑ䩟ґјҍϥ࡙Ӎӧ‫י‬жϡ䦚 ϢЙԪᔺсҘϱ䩟໦໦ϺϦ‫ݟݟ‬р䩟ј՘АϿբРѽոϡр՟ґϤՊ֦䩲 ґјϣՖ՟ϲЃԋϦЩഝ䩟ӾѼѸ਺ϤЏ‫ڒ‬эϦ䦚 আ֬‫ݸ‬ӡө୊֬䦧‫؟‬䦨Ϻ੣੣рЧ䦚Չ‫ۮ‬њ䩟আ֬‫ܕ‬ඕϮ䩟ԐаІҲӞ䩟 ц୊֬Л䩭䦧‫י‬жЇ็ᖍРϦ䩟ٰϢϺոжрЧРёщ䦚䦨আ֬ኖ‫י‬жঐϡ Л䩭䦧ߝߝٰаҵ䦚অϼջઠ䩟НԆևЃ՝Ѓϡ䩟өϧૐϦ䩟ϢНϲϤ‫܉‬ Ϧ䦚䦨 আ֬ө୊֬䦧‫؟‬䦨ҵϡӾ١ЩഝҝѼӒЏЪԥಢ䦚ҷԏϳՉநвϱ䩟јө ൙жᔊϬҵϦϬৄ䩟ϣ‫ܪה‬ᙁᙁϡՒ஄ਉᇡᇡс‫׆‬а䩟ևЃ՝Ѓ䩟ည౷Ϩ ‫װ‬ѮА䦚ЩഝϥϤϥϨЂ䩭ᔙ૿Ϻ‫ڃ‬ոЧϦ䩲 २ѧРњ䩟୊֬ϴҩ䦧‫؟‬䦨ҘЧϦ䦚ϢЄ‫׾ݖֳܨ‬ЇϤ䦧‫؟‬䦨јҘЧ䦚ϳъ Аߤ䩟јҍϩը೮࠴䩟ϣϬϪ‫܊‬ҘҵϿϥѮА҈ϡКє֦䩲 Ԝ֊֐ٚϺϦ䦚Єёӓϡϸϣϳ䩟ϨϣϬ޻ઞϡࢷᅑ䩟ϢઁைϪԒ䦚ъ Зϳԗϴ‫ܪ‬Ϧ䩟ੳ֔ХЬϩେ୦䩟୊֬۬‫؟‬ϢϣϬဧӜ䩭ࣽ୦䦚ЬЂϺϢ ࣽϱϦ࡛ᚈ‫ݚ‬ᚈ୦䩟‫׊‬ӐЇࣽϤϱ୊֬‫؟‬ѯϢϡъᚈ୦Ϧ䦚

FATHER MAKES THE LANTERN

45

Snow fell on Father’s house; from deep in the woods came the sporadic twittering of birds. As we were leaving the graveyard, we called out over and over for Father to come home for the New Year. Because Mother was staying at my sister’s house, the family gathered there. Her son Xiaohu was only one year old and had just started to walk. As soon as we stepped in, Mother emerged from the back room holding Xiaohu in her arms. I tapped on his forehead and told him, “We’ve brought your grandpa home for the New Year.” Xiaohu smiled a smile that made everyone happy. But that night, oddly, Xiaohu cried nonstop. He wouldn’t go to sleep when it was his bedtime. Mother turned o the light and tried her best to calm him down, but Xiaohu kept wailing loudly. He didn’t quiet down until dawn. My brother-in-law said, “It might be that Father followed you here. He must have been playing with Xiaohu last night.” He spoke as if he were an eyewitness, and we all chose to believe him. Father died before he had a chance to meet his grandson, but he was a man extremely fond of children. How could Father have passed by his daughter’s house when we came from the graveyard? He certainly couldn’t have torn himself away when, once inside, he saw Xiaohu. Mother decided to “take” Father to my brother’s house. After breakfast, she dressed in clothes suitable for going out. As she walked her bike from the house, she said to Father, “You’ve played with your grandson, now it’s time to come with me to your son’s house for the New Year.” As if talking to a child, Mother gently added, “Take it easy and follow me. The streets are crowded. You’ll be on your own if you get distracted and lost.” As expected, Xiaohu slept soundly that night. When he got up the next morning, he went around the house from room to room, his black eyes darting here and there, as if searching for someone. Could he have been wondering: :KHUHLV*UDQGSD" On the fourth day of the New Year, we “took” Father back. How I wished we had never needed to do that. It was cold, and he had rheumatism. How would he feel having to go back alone? It was the fteenth day of the rst lunar month. On this day, many years ago, I was born at the snowy dusk. Darkness was falling and the lanterns outside were ready to go up. Father therefore nicknamed me “Yingdeng,” which means “inviting the lanterns.” I had “invited” tens of thousands of lanterns but had never anticipated that a time would come when I would no longer receive a lantern from Father.

46  ୦  ់

ҵϨߤఘϡϽঅϼ䩟ಃѼтѴϣϬཀྵҡϡࢁ୦Ϫ䦚ъ୦ϥࡏࡠ࣏ϡ䩟ѓ ᆂᅏ҂юϡ䩟ᆂᅏϼХઙа䦧‫׫‬䦨‫ܒ‬䦚Ϣ߹ࡻЂϺϦ୊֬䩟Ԝ֊֐ٚϸϣϳ ୊֬ϡࡨж؎ϩϣᚈ୦ϡ䦚ϢձЎϦϣᚈ୦䩟ϳԗ‫ܪ‬З䩟ԗ‫؟ؚ‬ϺϦ୊֬ ϡᔺс䦚䦧ᰝ䦨сਢ࣠‫ڮ‬ᓴ䩟‫ࣻر‬ϡ١աϲᜄ҃ϦϣЎ䦚୊֬ϡࠚжϨ١ա ЅࣸЏ‫ࢎܣܗ‬۵䩟ᖋܷ҃Ϫ䦚 ϸϥϢ‫؟‬ѯ୊֬ϡҷϣᚈ୦䦚ъ୦ௗај䩟ॎ༭༠ᇮ䦚 

FATHER MAKES THE LANTERN

47

Walking along the cold, deserted street, I suddenly encountered an old peddler of lanterns. The lanterns were hexagonal in shape, made of glass, and with the character that means “blessing” on them. Father came to mind immediately There should be a lantern in Father’s yard on this day! I got a lantern and brought it to Father’s grave at dusk. Crash! The air around Father’s house shook at the strike of the match. It stood out with mournful splendor in the darkness of the night. This was the rst lantern I gave Father. It kept him company. The candle might have burned out, but the light shone on. (2012)

VOCABULARY AND USAGE ਋

pò

worn

ϧϡྡྷ༣ัЁ‫ܕ‬਋Ϧ䦚

Րඋ

hu w n

natural pattern

ϸ҇ަӳϡՐඋЪ ϮЃ䦚

྽ ਧ

(dìng) tòu

penetrate

жഇ‫ܕ‬ਧϦϢϡѲК䦚

‫္ ٻ‬

(bàn) ji

section; length

ϸ࣠ᔳᙱѿӗϦ䩟҂୦ᑻ ϣЩ္ϲ‫ޢ‬Ϧ䦚

‫ۉ‬Ϻ

dài (dào )

by the time when

‫ۉ‬ϺҴё‫ڠؖ‬З ϢЙӐԚϿ䦚

١௷

y m

curtain of night

ઁை

jiànglín

䦧١௷ઁை䦨ԝ䦧ϳ‫ܪ‬Ϧ䦨Ѹ ஈҺϣԈ䦚

befall; descend

ЩКॢॢ xi ox nyìyì

with utmost care

ҡϪӒаϦ䩟ԧЩКॢॢ сԮϼϦ՟䦚

ը‫ׇ‬Ѫࡳ f nggu ngwúxiàn

exultant

ඕа‫ؖ‬नҘм䩟 ԧը‫ׇ‬Ѫࡳ䦚

҂ю

zuò ch ng

make (into)

ϸᚈ୦ϥѓእӳ ߳҂юϡ䦚

޻Ў

luò (xià)

drop; lower down

‫ڠ‬ը޻ߊϦࡪЅϡஔౘ䦚

utmost satisfaction

ϸ‫֞ڤ‬ӑीКҒҺ䩔

carry

ё‫ڴ‬ϪϽЁ॔ᗧٓЂ䦚

ीКҒҺ ch nx nrúyì ॔ᗧ

huáichu i

Ϫр

r nji

other people

ԧٰϪрЛϴЧѤм䦚

၌

chuàn

go from place to place; run about

ϨേЎ䩟ࡇ‫ڝ‬ϲϥҵభ၌ ᒕ䩟෬֬බҎϡЗҽ䦚

ϩЄϮ

y u du h o

how great it is

ԧԋϪϲЛҘϺр ϩЄϮ䦚

48  ୦  ់

К‫ٶ‬Һ߿ x nm nyìzú

satis ed

јђϴѷ౟ӒϮϲ К‫ٶ‬Һ߿䦚 ϸАϣϽᑓ߱䩟Ϫϣӡ‫؍‬ ЏϤ‫ڴ‬䦚

ᑓ

w ng

a measure word for liquid

ऽ౴

zh teng

do something ԧϣϿոѢ୦䩟ϣϿո༭ repeatedly; mess ୦䩟Ъьө୦ऽ౴व around Ϧ䦚

٬ࠤ

g nj n

hurriedly

ϳ‫ܪ‬Ϧ䩟ϧ٬ࠤҘрщ䦚

ઈр

g ji

love and care for one’s family

ЪЄ‫ݼ‬ТжѽЁЪઈр䦚

Ӌঙ

d q

banter; tease

ϸϬࠟ‫؃‬ЪϿӋঙ䩟 ӛйϩЪЄࠨࡋ䦚

ᘅᘥ

p ngbó

full of vitality

ϸѦϡ‫ڌ‬ड़Ѩ‫ײ׭‬Ӫёᘅ ᘥтࣁ䦚

ᐇᇙ

f nf ng

fragrant

ࡇϳϡࡪжѦՐ౤ᐇᇙ䦚

‱

suì

tassel

ϸ୦ᑻ‱ոϥѓࡋ ۶҂ϡ䦚

҃Ϫ

dòngr n

moving; touching

ԧ‫܇‬ϡ‫ݞ‬ѨЪ҃Ϫ䦚

ϩ ሟӳ

(y u) pàntou

hope; good prospects

ոжϥԧϡሟӳ䦚

ϩ‫ل‬ϩա y ush ngy us

vivid

ԧ‫ݞ‬Ѩ‫܇‬Џϩ‫ل‬ϩա䦚

ၝ᳼ࣿϪ y oráo mír n

enchanting and charming

зၝ᳼ࣿϪϡϥ࢖۪ϡ‫ځ‬ һ䦚

ज

z

be; then

ϤՖज௕䦚

тഗ

f d i

in a daze

јϨϣ೨тഗҡ‫ٻ‬ϳϦ䦚

ҵϺҡ ё

z udào (l onián)

live to; get to

јোଏаԧҵϺϦТ‫ܞ‬ϡ ߊӳ䦚

brightly lit

ϣϺ๨ᅇ‫ڝ‬ϸֺঅϲ୦ ‫ڮ‬ሒᑟ䦚

୦‫ڮ‬ሒᑟ d nghu hu huáng Ꮖ‫ܪ‬

qh i

pitch-black; pitch-dark

䦧‫ܪ‬ᏆᏆ䦨ϸϬѓ֚ϱІ䦧Ꮖ ‫ܪ‬䦨ЁϥЪ‫ܪ‬ϡҺ‫ڽ‬䦚

ࡤё

mángnián

prepare for the Spring Festival

ᗦ֊݄Ϧ䩟ррЁࡤё ֦䦚

с‫܌‬

dìb

extent

ӑЋԴҎ䩟ϢђЌ҂Ϻϸ Ϭс‫܌‬Ϧ䦚

far away; all the way twenty

ҟёࡇ‫ڝ‬䩟јЁ࡛Ѧ᱈᱈ ٬ҘҡрРё䦚 ఻ࣄХѓ⃖ԣܾя‫׈‬䦚

ຸଘ‫ ܦ‬xiàn (y n, ji )

o er respectfully

ԧө‫ຸڪױ‬ѯӔ‫ݞ‬ ϡ୊֬䦚

юр߹‫ ׭‬ch ngji lìy

married and established

୊আ‫ۉ׈‬ոжՉяю р߹‫׭‬䦚

࡛Ѧ᱈᱈ qi nl tiáotiáo ⃖

niàn

FATHER MAKES THE LANTERN

49

Ђ‫ۓ‬

xi ngbì

most probably

вٟ֐ЩЗϦ䩟 Ђ‫ۓ‬ԧӔԥҪϺ ܼϦ䦚

Ϥࣤ

b xi

nonstop

ъѦւϥ‫ࣣږ‬Ϥࣤ䦚

З ᜳ

(shí ) ch n

traditional Chinese time unit(s)

ЗᜳϺϦ䩟؎ϼբϦ䦚

all the di erent kinds/ways

Ϣϲϥ࡛ડ‫ݚ‬ડझҨ䩟 ‫ۏ‬ϤϼӜЇЬѓ䦚

࡛ડ‫ݚ‬ડ qi nb nwànb n ኖ‫י‬ж

h ng (háizi)

lull

֑֑‫ټ‬ӊө‫י‬ж ኖӒаϦ䦚

็ᖍ

x han

care about; love

ϸ֧ҡϪϣ੫ж็ ᖍ‫ࡌܒ‬䦚

໦໦

f nf n

one after another

֭‫ٷ‬Й໦໦٬ϺѴԿ䦚

one by one

ఙϼϡުԧᔊϬ൪Ϧϣ ৄ䦚

ᔊϬ

ig

ਉᇡᇡ

d li li

going round and round

јϤЛҦ䩟ҖђՒ஄‫׊‬ਉ ᇡᇡс‫׆‬䦚

ဧӜ

r míng

infant name

ဧӜϥᆯոЗϡЩӜ䦚

ߤఘ

l ngjì

quiet and lonely

േЎϡߤఘЪԡൎ䦚

ਢ‫ڮ‬ᓴ

huá (hu chái)

strike

‫ڮ‬ᓴ೮Ϧ䩟ਢϤ аϦ䦚

ᖋܷ

q qi

mournful

Ѓаԧᖋܷϡԣє ϢЪԡР䦚

ॎ༭ ༠ ᇮ

(su mi ) y u (rán)

as if; still

ҹЅϡ୊֬ॎӚ༠Т䦚

QUESTIONS FOR DISCUSSION 1. 2. 3. 4.

How is this a story of [LDR, with [LDR meaning “cultivated love of others”? How do you understand the title of the story? How is Father a lantern? How does the story present [LDR’s (natural) transmission in time? Please retell the family’s ritual of getting Father home for the New Year. How do you explain the existence of such a ritual/custom? 5. Could Xiaohu really be looking for Grandpa that morning? How does the juxtaposition of the “real” and the “imagined” work in the story? 6. How do the narrator and her family cope with the fact that Father has passed away? What have you learned from them about the local view of the dead and the living? 7. What positive functions of [LDR tradition do you see from this story?

50 ୦  ់

  ϸ՘АϿϥϣϬԮӊ䦧ᖮ䦨ϡ‫ݞ‬Ѩ֦䩲䦧ᖮ䦨Ϩ‫ױ‬ҺЋ‫ڌ‬٩‫ޚ‬юϡЕК䦚   ϧцӆࢡϡ֣۵ϥ՘҈ԑ‫ث‬ϡ䩲ЋѮАЛ୊֬ϥ୦䩲   ϨϸϬ‫ݞ‬ѨѦ䩟䦧ᖮ䦨ϥ՘҈䩛ІѼ䩜‫ت‬ઌϡ䩲   ՏѓІѝϡҦ‫܇܇‬ϸрϪՏ୊֬ҘрРёϡဟܴРࡄ䦚ϧ՘А‫ث‬౥ϸ҈ ϡဟܴ‫ܠڈ‬ཞϡࡖϨ䩲   ЩഝъϳՉϼѐϡϥϨ‫װ‬ᔙ૿Ӷ䩲ѐӥԁЂࢣϡᬂѓϨӆࢡвϺϦѮА ӑѓ䩲   ᡵ਎‫ٷ‬фрϪϥҒ‫׏ح‬ц୊֬‫ڒ‬ԒϸϣѨӥϡ䩲֡РϸϣрϪϧцӾс ϡТӚҹ٩ϩϦѮАϦ‫ث‬䩲   ϸϬ‫ݞ‬ѨўϧЃϺϦ䦧ᖮ䦨‫ڃࢅت‬Ԉ‫࡙ۯ‬Ԝӌϡ‫ۋ‬Ќ䩲

AUTHOR BIO Born in 1964, Chi Zijian is arguably the most accomplished female writer in China today. She began writing in 1983 and has published a dozen fulllength novels, including 6KX[LD (ஔЎ), Chenzhong Xiangche Huanghun (ந‫ވ‬ ড়๞ࢷᅑ), Wei Manzhouguo (Ⴝ‫ٶ‬ರм), and Chuanguo Yunceng de Qinglang (քР࠭ৢϡ෷ྦྷ); many novellas; and short story and essay collections. Her work has been translated into French, Japanese, nglish, and Italian. This story was adapted from her semiautobiographical prose “Lantern O ering” (୦់) in memory of her father. It rst appeared in the second volume of her four-volume collection of prose Chi Zijian Sanwen (ඥжࠃ્ ҹ) in 2009. Two popular journals in China, 6HOHFWHG0LFURϮFWLRQ (іࡿЩЛ ‫ש‬ᑂ) and /RYH‡0DUULDJH‡)DPLO\ (Еєࠝ࿧р೛), reprinted it in 2013. In real life Chi Zijian’s father was an elementary school principal who died in 1985. Her autobiographical novella on losing her husband after four years of marriage, All the Nights in the World (Ԓ֎ϼӛϩϡ١ԉ), won the Lu Xun Literature Prize in 2007; this was the third time she had won the award, and to this day she remains the only three-time winner. In recent years, Chi Zijian’s work has dealt increasingly with everyday subjects and introspective themes. For some readers her writing is the lamp of beauty and dignity of human life in modern Chinese literature.

2

ഫቐਁ टվ‫ۋ‬

ϸ

ϬఉжᲟً䦧ഫቐਁ䦨䩟ՒЎϲ‫ܩ‬ϨϢӌӓ䩟٤Ϻϡϣ‫٘ࠝݫ‬ ഐઠ䩟ϺўϢଯϩ୅ࢣ䦚ӾЗϥࠝњҷԏϳщ䩟ϽрҺ༠ ‫ߊ۔‬ϼ՟вኖ䦚᝻ϽപѓϣϬোผϡޭᄤᐗ֙ј‫ݽ‬ೂ䩟‫ݱ‬ ϡјҖѲ੡ӊਫ਼ҝ䩟౴ϤоѲϱሁޭᄤ䩟ђЌ╘‫╘ل‬Ӥсஃ䩭䦧ጵӚϢϦ䩟 ጵӚϢϦષ‫ܞ‬љ䦨ъ҈жӥϨϮԙ䦚 Ͻപӂኪኪс‫מ‬ਘј‫ڊے‬ၻࠚᆰӾ䩟ਦजϴ௳޵јϡ୮ж䦚јӚӚ੪֙ ୮ӳ䩟ϣϬབྷс႑ؒ䩭䦧Ϣ‫܇‬䩟Ϣ‫܇‬䦚䦨 ϩϪϤ಄‫ޓ‬䩭䦧ъϧϲь‫܇‬䩔䦨 јਅЃЃ䩟ૼЃЃ䩟тѴІѝѪ‫؝‬Н௺䩟ҥᏌᏌ௪௪сЛ䩭䦧࠯ϳԉϼ ԋԧՒ஄ࢬՁ䩟Ҫӱо๺䩟йЋԧϿӚϦњϱҥ༿Џ䩟ъϥԧӍ ӧ䦨 Ͻрϣә‫عع‬ϡϽԙ䦚 јაҜ௺оತ௢䩟੩Ϻ‫؝׾‬䩟ϣ࠘ඞ‫ێ‬䦚䦧ϧЙϸԈ‫ڵ‬ѦᬰϮᘣ љ䩟Ϯᘣљ䩟Ϯᘣљ䦨ϣЗफ़ങϤоԆϡѮАҦ䦚

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2 LITTLE SHE Han Shaogong

T

he man nicknamed “Little She” now sat right in front of me. The mention of our naughty behavior at his wedding8 helped refresh my memory of him. It must have been the day after the ceremony . . . Still hungover from the night before, we invited ourselves to his house for some more fun. Our friend Yao Dajia put a nightstool, a dowry gift from the bride’s family, over Little She’s head. He couldn’t remove it because his hands were busy giving candies to us. He looked really funny, because all he could do was to moan pathetically from under the stool, “Help, help . . . you are su ocating me . . .” The mirthful Dajia demanded an account of his consummation and threatened to pull o Little She’s pants if he didn’t comply. Holding onto his underwear, Little She pled for mercy. “Okay, okay . . . I’ll tell you.” Someone got impatient: “Tell us now!” He looked around there was no way out so he stammered, “Last night, when she rolled her eyes, drenched in sweat, I thought she was going to die . . . I didn’t know she was having an orgasm . . .” verybody burst into salacious laughter He took the opportunity to get free, leaping out of our devilish reach, his face all red. “You city folks,9 you are bad, bad . . . bad . . .” He couldn’t even come up with anything to call us other than “bad.” 8. The details may vary depending on local customs, but the traditional practice of “teasing the newlyweds in the nuptial chamber” (ઠၻࠚ QjRGzQJIiQJ) has been popular in China for a long time. Friends play jokes, mostly on the groom, to add to the celebration. Ang Lee’s 1993 lm The Wedding Banquet captured the complexity of the merrymaking. 9. The revelers were “sent-down youth” from cities. Chinese readers who know the history of this phenomenon and Han Shaogong’s writing from the late 1960s and early 1970s would easily recognize them.

54  ഫ ቐ ਁ

ЈਔжԜಌखһҘр䩟ԋЈᅦ‫چ‬ങϤӔ䩟ҍԱϺ੃ϪϽԙ䩟୨оϦѮ А䩟ϣ‫࠘ࠨצ‬ႜЏ֡‫ێ‬䩟ӵЎ஍жϲާ䩟༳ϦϮЄһϨ‫ݙ‬੘५ϼ䦚 ϸйњϡ‫ݞ‬ѨϥԆϪ‫ݍ‬ऩϢϡ䩟ХϩϣԈϥҮԆϪ٤ܾ䩟ϢԪ୼۲Ѕߝ ߝӋᄒоϱϡ䦚ϥߖԿѦ౐ሹᆟХϥ౐ ௔਺䩲‫ބ‬ԜЁईϤЄщ䩟ϸ֧ࠬӗ Чᅯϼ྽≢ֺ䩟ϣऑᄎ‫׺‬䩟ୡϨϣఢࣣᏪϼ䩟ࣝЛөԲϪϡև՝ୡवϦ䦚 ᗝҽϡ‫ت‬ЛϥԪ‫ױ‬јЪվҘрЧ䩟ϩϣϳҵՖр՟फ़тѴҡਁَаϣϬ ఉжϨࢭϼӋః䩟௳Ўϡ‫עژ‬ૐЏϺ‫؝‬Ёϥ䦚ࠂ‫لچ‬өࢭϼϪइࢎϦ䦚ј ӾЗՖ௕Җԡ䩟ႜఠ‫ݚ‬д䩟फ़өІѝϣ‫࠘צ‬ጵоϦ૧Ⴃա䦚јњനІѝҘ рϱԼྡྷ‫ژ‬䦚 јҡਁࡒϥϽҤ䩟Ўࢭ‫ݱ‬ԑ‫ؤژ‬фӳт䩟ө‫עژ‬ခѯఀఉж䩟ҳцҤ‫ܕ‬ ඕϮ䩟ХӾаҡԍϡӌ‫؟‬ఀఉжо՟䦚ԧҘϱњϣ‫ل‬Ϥᱲ䩟҂ϮϦ‫ުۮ‬䩟 Іѝ‫׊‬Ϥѷ䩟ּ༺ϦӪխ‫׉ژ‬䩟َ‫י‬жо՟ЧϦਔр䦚 భѦӪϬњТᓹјЧөҡਁ‫ב‬Ҙϱ䩟јՒ஄‫ێێ‬сЛ䩭䦧Ьѓ䩟Ьѓ䦚ԧ ӱжҘϱϦ䩟КХϥϨ֔‫׷‬䦚䦨 ϩϪଖӤ৳৳䩟ೖ҃јЧөъϬࠂਁжӋϣஂ䦚 јໂϦө࠘䩭䦧ϸѨ঩ϤЏԧ䩟ђ঩Ϣ䦚䦨 јԸЏਭࢪվߞ䩟ђϥϣЛϺոжϲဋဋӂѬ䩟֐дᑀ௴䩟ՒЅਗ਼оҴ ݊ϡ‫ׇ‬ሒ䦚ࣝјЛ䩟ъϬЩᬰжХϤ‫ٶ‬ҖۗϲЌ੪ધ‫ܒܐ‬䩟ॎѼ‫ٶ‬௝Ёϥ ϳ‫ڪ‬䩟ԔϣϬ۴жѦࡌӪЎ䩟Ъϩ‫֚א‬ঐϡ䦚

LITTLE SHE

55

At that moment, the bride happened to enter, carrying the water she’d fetched. When she heard the groom’s shouting of “bad” among our wild laughter, she sensed what had happened. Her pink face turned red with embarrassment. She dropped the buckets and ran out, spilling a lot of the water on the bluestone path. What happened afterward, I learned partly from others. I salvaged the rest, with help, from the fragments of faded memory. Was it for a dorm or a warehouse at the tea farm? It doesn’t really matter. Our man, a team leader by then,10 slipped and fell when he went up the beam to build the herringbone structure. He crash-landed on a pile of bricks below; the fall, it is said, crushed his manhood. As rumor on the street had it, he seldom went back home after that. One day when he did go home, he found his wife making passionate love to another man, their clothes ung all over. The dog barked and startled the two in bed. Uncertain whether he should stay or leave and choking with shame and anger, Little She’s face turned the color of a pig’s liver, and he instantly regretted his trip home for winter clothes. His wife, however, appeared poised and digni ed. She got out of bed, put on her clothes, and arranged her hair before she handed her fellow adulterer his clothes. After he was fully dressed, she saw him o at the gate, despite the presence of her husband. She didn’t say a word to Little She when she came back in. She cooked a meal but didn’t eat any of it herself. She packed some clothes and left for her mother’s with their child in her arms. A couple of guys in the village urged him to go get her back. He said, his eyes reddening, “It won’t work, it won’t work. She’ll probably come back to me, but her heart won’t.” Some, enraged, urged him to go beat the crap out of that bitch. He ran his hand over his face: “It’s not her fault. I’m the one to blame.” Afterward, he became a very quiet man, except when the subject of his son came up in conversation. He took great delight in talking about the boy, and a bright light shone from his eyes. He told people that his son could write with a pen before he was two and that although nothing was

10. A team was the administrative and production unit at the grass-roots level in China from 1958 to 1984. A team leader (ࠬӗ) was the head of the unit.

56 ഫ ቐ ਁ

јЇᠲ֭ҖϬࠒࠒ䦚Ͻࠒѧۗъё䩟ЩࠒоТ䩟ӹЋрѦඬ䩟ҍӹЋ ം‫܏ݵ‬Т‫ڲ‬оϦҖϬ‫؎ܞ‬Рߓϡࡂ‫ܒ‬䩟ҩ୊আϣв‫؟‬ѯԆϪ䦚୊আЧԒй њ䩟ј‫׶׶‬ձϼӪႾ޿фϣ‫د‬ѢК䩟ࢬРϽࣼᗮЧЃࠒࠒ䦚ҖϬࠒࠒϣԋ јϲߥ䩟َ֙ј‫ڜڜ‬ϤӵѲ䦚ԧЙҍ‫ܪ‬ҍ੔ϡ࠘䩟ֲюਝᗉϣડϡࣣт䩟 ჎Џ‫ٶ‬ϥ߱‫ט‬жϡѲࠧ䩟Хϩਤ౨ᓆਤ౨йֲ۠юϣϽࣕϡྡྷ୮ⅆ䩟ўӾ ࢯϡК‫ ڔ‬Ғኘ䦚ҟҋҘрҵϺ೬Ϫ‫؝‬䩟‫ځ‬ᇾϼъҖϬЩ‫ؙܪ‬ϤԋϦ䩟๎Պ ϳ‫׷‬ԉᎇѦϦ䩟јϲॊҒ໩኶䦚 ѧ֐ۗъё䩟јЧѯ୊আϼϦឿ䩟ѼњϱϺҖϬࠒࠒϡߓ୊ߓআٰӓ䩟 ෮֡ϣ‫הل‬ᖏᇭс䩟ӓ๩ୡϨсϼ䩭䦧цϤв䩟ϢϴөԧЙհҵ䦚䦨 ࠒࠒϡߓ୊আԚૠц؇ϦϣՒ䩟ϤϮЛѮА䩟ђϥՏјвϱ䦚䦧ЇԡЏϧ Ӿࢯࢯϡϩєϩॶ䩟ϤРϸࢳࡂёЎϱ䩟Ϥ‫ڲ‬ϢЙҖрЛᔃϡѧ஍໥䩟Ϣ Йϲ‫ڲ‬ϥ‫ޚ‬Җђࣅ䩟Їϴѷ޵ю‫ځ‬ϡࢧщ䩲ϲ‫ޚڲ‬Җђ঱䩟Їϴѷ޵ϣൂ ϡ໥щ䩲䦨 䦧ϧЙӵК䩟ϢࠀϤўϧЙѷ࿤䦚ϧЙЛЄվ䩟ϲϥЄվ䦚䦨 䦧ϸϤϥЩّ䩟ϧӐЂЂ䦚䦨 䦧Ϥ䩟ѵϳϧЙϤম‫׏‬䩟ϢϤϿвϱ䦚䦨 ‫ה‬Ҥњϱ࠱৷ϡֲҝ䩟ϥӾࢯϡ჉ϦҖҽ൙䩟Ӹϼևॗ՝౗䩟Ꮶ߿Ϧԏ ֐஍໥ϡ‫ـ‬䩟ւ‫ڲ‬өҖϬࠒࠒ‫ב‬ҘϦр䦚 ϲཟϸϣֺ䩟Ϥ‫܉‬јҒ‫ح‬ඕ੓ᇥж䩟భѦϪЛвјХϥᲞϣ࣠ᚢ‫܋‬䩮Ϥ ‫܉‬јਁਔҒ‫عح‬䩟Ғ‫ح‬ఀ䩟Ғ‫؍ح‬ըਠཞ䩟భѦϪЛвԧЇЬѿЄ࣌‫ܬ‬䦚

LITTLE SHE

57

intelligible, with a few strokes in each grid, the page as a whole appeared to have some art of composition to it. He couldn’t get his mind o his two little sisters either. The younger one was born when the elder one was three. Too poor to raise the girls whose lot, according to a fortune-teller, was to be adopted anyway because of the dates and times of their births his parents gave them away together. After his parents died, he often climbed over the Dawang Ridge to visit them, bringing them pastries and a yard or two of material for making clothes. They’d cry the moment they saw him, holding his hands and not letting go. Their faces were dark and thin; their hair messy like knotted hemp; the backs of their hands covered with bleeding frostbites; and the stacked patches of their trousers bunched between their legs. The sight pierced their elder brother’s heart. On his way home, when he had passed beyond their sight and the two little dots on the hillside vanished beyond the horizon with the sunset, he would burst into tears. He turned thirty that year. After visiting his parents’ grave, he went to his sisters’ foster parents. He dropped to his knees and hit the ground with his forehead. “I’m sorry but I must take them with me,” he said. The foster parents looked at each other. It felt awkward to say anything, so they asked him to get to his feet. “You are a dear, good elder brother, but they have been with us for seven or eight years. Aside from the 300 jin of grain the two families agreed upon, had they been two sheep, a mountain of additional food would have been consumed . . . a boatful of grain would have been eaten, just to feed two chickens.” “Please be assured. I won’t let you su er any loss. It’s how much you say it is.” “It’s not a small amount. Please think it over.” “There is no need. I won’t get up today until you agree.” As a result of their settlement, the elder brother tore down two rooms of his house and sold the building materials. He borrowed from here and there and got enough money for 2,000 jin of grain. ventually, he succeeded in bringing his two little sisters home. This deed alone got the villagers’ thumbs-up when they talked about him, despite the fact that he’d been made a cuckold. Licentious, wild, and indecent she might have been, but the village gossip about his wife was rather forgiving because the husband and wife were determined to raise the two little sisters and they succeeded. They sent them to school for a

58 ഫ ቐ ਁ

ӹЋਜ਼ഀൟఐϥөҖϬࠒࠒ‫ޚ‬Ͻ䩟ўԧЙਤࢴϦӪё‫ڪ‬䩟ХѯЩࠒ੽ϮϦ ⋎ж䩟өԧ‫؟‬Ч૸‫੽ڵ‬ϮϦՒᅔ䦚‫ۉ‬ԧЙюϪ䩟ࢯ៹ѯԧЙ‫ިٿ‬ϣ‫ڤ‬ผ ೷䩟ϣϽྏ䩟ϣЅྏ䩟Җखೲ䩟‫ࢭף‬ᗫՐҩ䩟өԧЙӋၣю஖жѦϡҖ౤ Ր䩟ըը‫ׇׇ‬ผϦоЧ䦚ϪЙЛ䩟ҖϬࠒࠒоผЗЁϥߥЏᅑϳ‫ܪ‬с䩟ߥ Џ‫؟‬ҲϡѽϪЙѪϤᮏв഑‫ࡠژڈט‬ମІ᥊ॊ䦚 ഫቐਁЋ‫ױ‬๲ЎϦϤվᏗ䩟‫د‬၉ϣ֧இඃϡ‫ـ‬䩟۱ః۱䩟ѧёҽఃюϦ ࡏ‫ښ‬Єׄ䦚ϸ֧இඃӪল৉вേ֬Йϡԍඨ䩟Ԕഫቐਁϣ‫ཫڶׯ‬䩟ߙ‫ف‬Х ԟϦзњϣд‫ـ‬䦚இඃϥϣ֧વҡ䩟ӚњХҪ‫ۻ‬ϸϬᣣж‫ټ؟‬䦚јҍо‫ـ‬ ҍоܶ䩟Ҩٕ੃৷䩟Ϻ‫צ؝‬஻䩟ߙ‫ف‬ϴЋஇඃ䦧҂ࢳ䦨䩟ஆஆ‫ٶٶ‬сԟюϦ ࢳϳ᫩٘䦚䦧ϤϥϣрϪ䩟ϤՖϣϬ՟䦡䦡Ϥ‫܉‬՘А҈䩟јϥϢඃ䦚䦨ϸϥ јѨњцേ֬Йϡ‫ث‬౥䦚

Ϥ‫ڜ‬ӓ߁ϺјЗ䩟јӔҮҡϦ䩟ХỿϦϣֺଆ䩟ӔϤЌϼࠚ‫҅ݾ‬䩟 ђϥ‫ݨ‬ոжЃௗϣϬᕋӤۖ䩟ࢁእ‫ؤ‬ญ٩Ӥϡъ҇䦚߁ϺТҺ֜ߤ䩟 јϲϨ൙њϡ઀‫ֿ࡝׷‬䦚 јࡎࡎсЛ䩭“सަϣ‫ڠ‬䩟ϪТϣԒ䩟ϸяжРЏѿьϦ䦚” “ᅯࠬӗ䩟ϧϸϣ੫жНϤ‫ډب‬䦚” “ЇЬѮА䩟ϽрЁϣ҈䦚” “ϩԈϪϤϿϸАЂ䦚” “҂ϮϪ䩟ӾѼϥϴѷ࿤ϡ䦚” “ϥϸҦ䦚” “ϩЗԃϿҢЏЪ‫ڄ‬䩟ЇЬѮАҺ‫ڽ‬䦚” “ϢԚҞ䦚” “ϣϳϳᕶ䩟ւҢЏІѝᕶϤЎЧϦ䦚” “ϪЁЬϩᕈӳ੏Ꮢ䩟ЁϤϥ‫ظ‬࿁䩟ЁϩᕶϤЎЧϡЗԃ䦚” “ϧϿϤϿԮຆж䩲”ј߷Ѽ޼ϦϬҦ֣䦚

LITTLE SHE

59

few years to make up for what they’d missed. They got the little one cured of a fungal infection and took her to the provincial capital for treatment of her eye disease. When the girls were old enough to marry, their brother and sister-in-law had prepared for each of them a dowry of a big wardrobe, a chest of drawers, two trunks, and four embroidered quilts. The husband and wife dressed them up so the two girls looked like owers in the mirror and sent them o in style. Both sisters cried their hearts out as they were leaving and caused all the women seeing them o to wipe their tears silently with their sleeves or the hems of their garments. Little She amassed a lot of debt in doing all this, including money he borrowed from an uncle, which with compound interest over three years became more than 600 yuan. A public outrage almost broke out against his uncle in the village, but Little She insisted on honoring the debt and paid it o to the last cent. Because the uncle was childless, it was Little She who took care of his burial when he died. Little She wouldn’t hear that it wasn’t his responsibility. He provided money and rice for the funeral, attending to every detail. He followed the ritual of “observing the seventh” and brought the seven-day service round to a perfect conclusion. “We are family living in the same compound and using the same gate. He was my uncle that’s what counts,” he explained to the folks of the village afterward. When I saw him again not long ago, he was old and crippled. No longer t to work on roofs, he just watched a gas station for his son, the kind of store that sold liquid gas tanks. He would go shing by the lake behind the store when business was slack. “A year for plants, a life for humans, it is all too short,” he said softly. “Team Leader Liang, life surely hasn’t been easy for you.” “I don’t know about that. Life treats everybody the same.” “Not everybody thinks this way.” “A good man is bound to take a beating.” “Indeed.” “Sometimes being good wears me out and gets boring.” “I hear you.” “Under its weight every day, I have long felt that I can’t carry on any more.” “It happens to everyone. Humans are not made of iron; we are not God.” He suddenly changed the topic. “Do you know how to catch shrimp?”

60 ഫ ቐ ਁ

“ᅯ ࠬ ӗ 䩟 ϢЂвϱϦ䩟Ӿ२ϲϥϧखϣ஍Ҳଽ䩟‫؟‬ϢϺԍբ ‫ ט‬. . . . . .” “Ձਗ਼ϣР䩟ຆжϲএϦ䩟ϲഗϦ䦚” јϮՌϩѢոଐࠧ䩟࣠ӆЬЃϺϢϡइᚫфࢫ҃䩟ђϥ৳аϢԙ ϦϣЎ䩟Ӑҋө࡝ᠻ቗оЧ䦚Ϣ‫ڜڜ‬с፝؇һӌ䩟ֳ፝һѦϡ‫ࡒځݙ‬ ‫ؙ‬䩟һѦϡՁ࠭фতϳ䩟ХϩϣђѪ‫ل‬ٟРϡવ‫؀‬Ձ⃋䦚 

LITTLE SHE

61

“Team Leader Liang, it came to me just now that you were the one who saw me o at the entrance to the highway, with my luggage on your shoulder pole . . .” “Shrimp get fat and dumb soon after White Dew.”11 He seemed a little hard of hearing. Totally oblivious to my realization and excitement, he simply smiled at me before he cast his line and hook again. I gazed at the surface of the lake for a long time, at the re ections of the green mountains, the white clouds, the blue sky in the water, and the lone egret ying silently across it. (2013)

VOCABULARY AND USAGE Ჟً

chuòhào

nickname

јϱІև‫ܚ‬䩟Ჟً䦧 ‫ܚ‬Ͻᄯ䦨䦚

ՒЎ

y nxià

at the moment

ϧЬЃԧՒЎԜࡤа֦䩲

ഐઠ

húnào

mischief

ࠝ٘䦧ഐઠ䦨ϥϬ‫ܠ‬ཞ䩟 ЋϡϥӍধфջઠ䦚

ଯ

l

slightly

јϡӚӹϢଯҌϣԏ䦚

Һ༠‫ߊ۔‬

yìyóuw ijìn

not yet content; reluctant to leave

‫ؘࠡ‬ϡԣࠟӔֲଚ䩟 Ϣ‫׊‬Һ༠‫ߊ۔‬䩟Ϥ݁ ‫ڒ‬э䦚

вኖ

q hòng

jeer, boo and hoot

ЈਔжϱϦ䩟ઠࠝϡ Ϫэ‫״‬вኖ䦚

‫ݱ‬

zh ng

make someone ϲϥј֑֑҂ӮϦϧ su er; persecute ЇϤЌ‫יݱ‬жߠ䩔

੡ӊ

k n (yú)

be stranded

ϸђի‫؍‬ϡధҩ੡ӊᑻ Ѕ䦚

౴о

t ngch

free oneself; make way

Ϣѵϳѿࡤ䩟౴Ϥо‫׺‬ ‫؟‬ϧЧӋ‫ܧ‬䦚

ሁ

zh i

take o

ԧђϩԉϼӒҢЗ ҥሁЎ޳т䦚

Ϯԙ

h oxiào

laughable

јϸϥ‫ڛ‬ԆϪϡ‫ܿڔ‬э К䩟ϩѮАϮԙϡ

11. White Dew is the fteenth of the twenty-four seasons in the traditional Chinese calendar; it usually starts on September 7 or 8 and ends around September 22 or 23.

62 ഫ ቐ ਁ

╘‫╘ل‬Ӥ

w ngsh ng w ngqì growled; in a low, mu ed voice

јЛҦ╘‫╘ل‬Ӥϡ䦚

ӂኪኪ

l di ndi n

joyfully

ԱϦϢϡ‫ث‬౥јӂ ኪኪсҘрϦ䦚

‫מ‬ਘ

qiánglìng

force

ҡ५ЇϤЌ‫מ‬ਘ‫؃‬ ֞‫ر‬ઃӸ‫ڡ‬䦚

ᆰӾ

g udàng

dirty business

јϡъԈ֚ۘᆰӾ ٰϢЬԮ‫ڍ‬䩔

ӚӚ

ss

tightly

ϢӚӚ੪֙ЩઋϤӵ䦚

ϣϬབྷ

y g jìn

persistently

ϢӔҮѬቪϦ䩟ϧЋѮ АХϣϬབྷсߥ֦䩲

႑ؒ

y ngqiú

beg

ѽոӐѧ႑ؒ䩟ࠜ ࠜХϥϤӎҺ䦚

ᏌᏌ௪௪

t nt nt t

haltingly

ϧЛҦᏌᏌ௪௪䩟 КѦϣӡϩ૤䦚

༿Џ

xi od

know

ϧ‫ڃ‬Ѧ༿ЏϸѨո ϡԳϴԛߠ䩔

‫ع‬

làng

dissolute

ЛѽϪ䦧‫ع‬䦨ЇϥЛԧ ӵລϡҺ‫ڽ‬䦚

ඞ‫ێ‬

zhànghóng

reddened

ϪߛႜϡЗԃ࠘Ͽඞ‫ێ‬䦚

ᬰ

z i

young (of animals)

䦧‫ڵ‬Ѧᬰ䦨ϥ‫܋‬Ԫ‫ڵ‬ Ѧϱϡё‫ڴ‬Ϫ䦚

ᘣ

gu i

crook

ϸѦ䦧ᘣ䦨ϩ䦧ϤധѬ䦨ф䦧౅ Ϫ䦨ϡҺ‫ڽ‬䦚

ϤӔ

b y

endlessly

ϸѨϢϥ҂ӮϦ䩟 ӔҮњനϤӔϦ䦚

ႜ

xi

bashful

ԧႜЏ‫ێ֡࠘ٶ‬䦚

Ү

j ng

through; after

ϸѨոҮԧϣ٤ࢎϢ ϲЂвϱϦ䦚

୼۲

yíwàng

forget

јЋϪ‫؝‬Ѩϡѐ஦ў ϪѪ֚୼۲䦚

Т‫ࠬݘ‬ӗ

sh ngch n duìzh ng

a production team leader

Т‫ࠬݘ‬ӗϥϣϬТ‫ݘ‬ ࠬϡ૎ૺϪ䦚

ᄎ‫׺‬

c i k ng

make a misstep

јϣऑᄎ‫޵׺‬ϺቯѦ䦚

ᗝҽ

f ngji n

in the streets

ᗝҽ‫ࢩت‬ϤНҞ䦚

Ӌః

d g n

roll

ј୷жࡕЏ‫ׯ‬Ӌః䦚

ૐ

di

mislay

јϡࠚҽЪࣣ䩟ૐ‫ٶ‬Ϧෙ ‫עژ‬䦚

Ֆ௕Җԡ

jìntuìli ngnán

in a dilemma

ϢцјҍЕҍ௤䩟 Ֆ௕Җԡ䦚

LITTLE SHE

63

ႜఠ‫ݚ‬д

xi n owànf n

extremely ashamed јॎѼႜఠ‫ݚ‬д‫׊‬Ьϩૺ and angry ঩ഀж䦚

ጵ

bi

suppress

ј‫מ‬ጵаІѝϡଖ‫ڮ‬䩟 ࠘ЁጵཎϦ䦚

ఀఉж

y hànzi

male adulterer

䦧ఀఉж䦨ٰ䦧ఀЩж䦨ϡҺ ‫ڽ‬Ϥϣ҈䦚

ᱲ

k ng

utter a sound

ϢٰϧЛҦ֦䩟ϧЋѮА Ϥᱲ‫ل‬䩲

њТ

hòush ng

young man

ЛϸҦϡњТϤѿ‫ګ‬Ѩ䦚

ଖӤ৳৳

n qìch ngch ng

ablaze with anger

јଖӤ৳৳с՜Ϣ䩟䦧ϧ՘ АЌө‫י‬жૐϦ䩲䦨

ೖ҃

g dòng

instigate; stir up

јϣӡϥիϪೖ҃ҥ҃Ѳ ӋϦഀж䦚

ࠂਁж g upózi/ ࠂև՝ g ud ngxi

bitch/son of a bitch ϧЛԧϥࠂਁж䩟ъϧϲ ϥϬࠂև՝䦚

Ӌϣ ஂ

(d y ) d n

a measure word

Ϣ։ղۜߋϦ֐࡮‫ـ‬䩟ϧ ЋѮАХӋϢϣஂ䩲

ဋဋӂѬ

j nj nl dào

take delight in talking about

Ғѵ‫ߖ܅‬Зᦳ䩟ЪЄϪц ߖҹ٩ဋဋӂѬ䦚

ᑀ௴

táozuì

be infatuated with

јϣЛвոжϲϣైᑀ௴ ϡ҈ж䦚

‫ׇ‬ሒ

gu nghu

radiance

ՇϤӍӧѿ‫ڢݵ‬вϡ‫ׇ‬ሒ ֦䩲

Щᬰж

xi oz izi

ϸЩᬰжՒ஄Ѧϩ‫ݞ‬Ѩ䦚 a term of endearment, usually for small children

‫ٶ‬௝

m n (zh )

full of; covered with

ϸ‫ࢡٶ‬ϡಘҦϥՇ‫ܐ‬ϡ䩲

ϳ‫ڪ‬

ti nsh

abstruse writing

ϧϨࢴϳ‫ڪ‬щ䩟Ϣ՘Аϣ ‫ط‬ЁԱϤ‫ګ‬䦚

‫֚א‬

zh ngf

orderly ways

јёઓϤϽ䩟҂Ѩ‫׊‬Ъϩ ‫֚א‬䦚

ᠲ֭

diànji

be concerned about јᠲ֭ϡϤϥഀжϡР ‫׹‬䩟ґϥІѝϡРӮ䦚

ം‫܏ݵ‬Т

y nyáng xi nsheng

geomancer

‫ܞڲ‬ϴՏം‫܏ݵ‬Т䦚

Тᜳࡂ‫ܒ‬

sh ngch nb zì

date and time of birth and their interpretation

ϢТᜳࡂ‫ܒ‬ϤϮ䩟ӛй‫ؽ‬ ӤҥϸАई䦚

Рߓ

guòjì

adopt

ϧЙІѝϤЌТ䩟ϲРߓ ϣϬ‫י‬жщ䦚

64 ഫ ቐ ਁ

ᓆ

di

one on top of another

јЛҦϡЗԃࠍаӳ䩟 ‫ה‬ѲᓆϨ೺ӓ䦚

ֲю

Ji (ch ng)

form

ϳߤЗһϿֲю઄䦚

୮ⅆ

k d ng

crotch (of trousers) ϸ҇୮жϡ୮့ѿߦϦ䦚

К‫ڔ‬Ғኘ

x n tòng rú g

hurting badly

ҖϬࠒࠒРЏϤϮ䩟ࢯࢯ К‫ڔ‬Ғኘ䦚

೬Ϫ‫؝‬

bì r n ch

a place where no one could see

࣐၆ᘣࡠϥϬ೬Ϫ‫؝‬䩟 ԧ‫׶‬དϨъոӋ ӈҦ䦚

๎Պ

róngr

integrate; merge into

ϧЂ๎ՊҰԵघϿӶ䩲

ॊҒ໩኶

l irúquány ng

tears gushing forth

䦧ॊҒ໩኶䦨ϥЛՒॊϲՌ ໩һϣડԵо䦚

ϼឿ

shàngf n

visit someone’s grave

֜Ҵ‫ڝ‬ϥѯ֬Ϫϼឿ ϡяж䦚

෮֡

p t ng

sound of falling јශϤ༠ዀ䩟෮֡ϣ‫ل‬੩ into water; plop; ՖϦ઀Ѧ䦚 thump

ϩєϩॶ

y uqíngy uyì

kind and just

јϥϬϩєϩॶϡϮ Ͻࢯ䦚

Л ᔃ

(shu ) tu

ready; settled; nished

ӵКщ䩟ϧϡѨոϢӔҮ Ё‫ފ‬ᔃϦ䦚

և ॗ՝ ౗

(d ng) t o (x ji )

ask for; beg for

ϨϸѦ䩟䦧ॗ䦨ф䦧ϴ䦨ϡҺ ‫ڽ‬ईϤЄ䦚

Ꮶ

còu

pool (money)

ԧॼϳ‫ۓ‬છӋЪЄ֞ҥЌ ᏦಜЎϣёϡѺ‫٭‬䦚

ཟ

píng

by reason of; rely on

јЙཟІѝϡҲ҃ф‫׭‬ၾ ߋЏಀ෧䦚

ඕ੓ᇥж

dài l nàozi

be a cuckold

‫؍‬ըਠཞ

sh ngf ngbàisú

immoral

Ϩјϡрേ䩟ഀжѯ࿆ਜ਼ ඕ੓ᇥжϲϥ‫؍‬ըਠ ཞ䦚

࣌‫ܬ‬

y

abusive expressions േ֬Йԑ‫ث‬ԧ䩟Ьϩѓ࣌ ‫ߛ؍ܬ‬ԧ䦚

ఐϥ

yìngshì

just; simply; obstinately

ҴҴϥј‫ݾ‬ϡ䩟Нјఐϥ Ϥઌ‫ڶ‬䦚

ᅑϳ‫ܪ‬с

h nti nh idì

(feel) dizzy

ϸ੊བྷոЪϽ䩟ѷЏϢᅑ ϳ‫ܪ‬с䦚

ᮏ

li o

lift up

ЃϺсϼϩһ䩟ԧᮏвϦ ୑ж䦚

᥊

shì

wipe (away)

䦧᥊ॊ䦨ϲϥ䦧୸ЧՒॊ䦨ϡ Һ‫ڽ‬䦚

LITTLE SHE

65

‫צ‬஻

zh ngluo

get busy about

Ҩٕ੃৷

lìpáizhòngyì

against all the odds ԧϩԑϩࣝ䩟ӛйЌҨٕ ੃৷䩟ЏϺ‫فݒ‬䦚

ᕶ

káng

shoulder; endure

ࠚၪӐඞϢϲᕶϤ֙Ϧ䦚

Ԯ

gu n

shut; lock up; catch

ϢѵϳϨஔ৆ѦԮϦҖђ Ⴏж䦚

hard of hearing

јϤЂ‫ב‬ϢϡҦ䩟ӛйϲ ‫ؤ‬ଐࠧЬԱԋ䦚

cast; swing

јϽណжϣ቗䩟ޭϲާϦ вϱ䦚

ଐࠧ ቗

rb i shu i

ҟϬ‫ر‬ઃҘр䩟֑ࠜЁЋ Ϣ‫צ‬஻ϣఙϮ‫ۮ‬䦚

QUESTIONS FOR DISCUSSION 1. 2. 3. 4. 5. 6.

Write a character sketch of Little She. Why didn’t his wife feel ashamed of her transgression? Why didn’t he divorce his wife? What sustains their marriage? What signi es Little She’s maturation at thirty?12 How is his expression of manhood an embodiment of [LDR?13 Is there a “Big He” in Little She? How does the unity of the two fully esh out the title character? 7. What do you think of the ending, especially as a comment on the status of [LDR culture in contemporary China?

  Տᆡ਎ϣЎഫቐਁϸϬϪ‫׉‬䦚   ЋѮАјϡഀжϤцІѝϡоፊҀϺዥើ䩲   ЋѮАഫቐਁϤٰഀж‫ࠝڒ‬䩲ϥѮА‫ڍۅ‬ϦјЙϡࠝ࿧䩲   ѮА࢙ӥϦഫቐਁϡѧ֐ґ߹䩲   ԪѮАҺॶϼЛјю়ԲϪϡࡣ࢑Їϥцᖮϡϣ҇ԣܼ䩲

12. “ѧ֐ґ߹” (VčQVKtpUOu) is among the most famous of Confucian sayings. James Legge’s translation is: “At thirty, I stood rm.” Among other translations are: “At thirty, I can be independent” and “At thirty, I establish myself.” 13. “ӗ಺Ғ୊” (]KúQJ[L‫گ‬QJU~I), translated literally as “elder brother like father,” is another popular Chinese expression. Its origin has been attributed to Mencius (372–289 BC ), the most important interpreter of Confucianism and a sage second only to Confucius himself.

66 ഫ ቐ ਁ

  ഫቐਁЇϥϬᦔᦔԲжఉӶ䩲‫ݞ‬Ѩ՘҈ѓ 䦧ഫѽϪ䦨 ԁ 䦧ᦔԲϪ䦨 ϡ Գׁᄽ߃ϦҰϪԍழ‫ٶ‬䦙ϩ߱ϩ‫ރ‬ϡ࣏ࢣ䩲   ϧц‫ݞ‬Ѩϡֲഅϩ‫ح‬ҀЂ䩟දԷϥө‫ؚ‬ЃюЅмᖮҹ٩Ѵୂϡऑ‫ڀ‬З䩲

AUTHOR BIO Born in 1953, Han Shaogong has published four full-length novels, eight collections of novellas and short stories, and seven volumes of prose and essays, some of which have been translated into Dutch, nglish, Italian, French, Korean, and ietnamese. As a representative writer of the “rootsseeking” (ଷ࣠ҹѺ [~QJ̒Q ZpQ[Xp) school of the 1980s, Han Shaogong has written such major works as the novellas Ba Ba Ba (ࠜࠜࠜ), Nü Nü Nü (ѽѽѽ), and Gui Qu Lai (ஓЧϱ). Other of his well-known works include Yuelan (֊୩), A Dictionary of Maqiao (ޭඈ୫ਹ PĉTLiR FtGLĉQ), Shannan Shuibei (‫۪ځ‬һ‫)ܚ‬, Riye Shu (я١‫)ڪ‬, and Geming Houji (ཪ‫ܞ‬њ֭). The writer and his work have been the subject of many academic forum discussions and scholarly articles in China and abroad. Julia Lovell, the translator of A Dictionary of Maqiao, nominated Han for the 2011 Newman Prize for Chinese Literature, which he subsequently won. Her opening lines summarize Han’s achievements and importance in contemporary Chinese literature: “[Han Shaogong is] a Chinese writer who intertwines, with exceptional artistry and originality, human perspectives of the local and the global, and whose career exempli es the creative revolution that has taken place in Chinese writing since 1976.”14 Written from the perspective of a sent-down youth, many of the 115 entries in A Dictionary of Maqiao have their roots in the everyday life of people like Little She. Because of his depth of thought and uniqueness of expression, Han Shaogong is a phenomenon of contemporary Chinese literature.

14. For the full text of Julia Lovell’s nomination, go to www.ou.edu/uschina/newman /HanShaogong.html (accessed August 8, 2015).

3

ྡ‫ـ‬ Ձ᯾२

Ҙ

േ‫ފ‬ԟ୊֬ϡ᎒Ѩ䩟юӅϴআ֬‫ڦ‬јЧӗ૶Т҅䦚আ֬௬Һ Ϥచ䩟ЛേЎ֜‫ݔ‬䩟‫ڵ‬Ѧѿര֙Ϥ৩䦚юӅҴՁ䩟আ֬ϥ਺ ϤЏૐЎӗ଺ϨсЎϡ୊֬䦚юӅைҵЗцআ֬Л䩭РЧӭ ւϥϤўϢྡ‫ـ‬Ҙϱ䩟ѵњϢҟϬ֊ѯӭྡׄТ҅‫٭‬䦚আ֬ЛേЎэએ ϤϽ䩟ྡׄϲ‫ޢ‬ѓϦ䦚 আ֬֙ϡభж֐дണ᪳䩟േ௏‫؃‬ϣϬ֊ҥϱϣҖҋ䦚ҒѵభжѦ֔оӋ ֞ϡϪЄϦ䩟߈ϨрѦϡҡϪЙЗЗሟֳа‫׾‬Ҥϡ֬ϪϡҞ֥䩟ӹ‫ױ‬േ௏ ‫؃‬ϨభжѦоѴϡяжϥ߈ௗభ‫ھ‬ϡ‫ڝ‬я䦚ҟҘേ௏‫؃‬ϣՖభϲҩϣळϽ ֑䦙Ͻᣌфҡ‫֙ࣻލލ‬Ϧ䩟৏܏౦њс՜ϩЬϩІрϡ௏խ䦚Ѽњҍѧٚ ϪుϨϣв‫تڈ‬ခІѝϡӍႄ‫ڈ‬дұјϪϡьӂ䦚 ϸϳ䩟േ௏‫؃‬ҍϱϦ䩟আ֬ԜϨ൙њϡުࡪѦኘު䩟ር࢒‫צ‬Ͻ֑ϣ‫ۂ‬ஃ ϦӪ‫ل‬䩟আ֬ҥҴՁϥ‫چ‬Іѝ䩟ሱࡤо՟Ԫേ௏‫؃‬ѲѦ‫ב‬Рϣ‫צ‬௝ә䩟ϥ ཹ‫؀ܝ‬䦚আ֬࠘ϼଥኄаӍႄ䩟ЛϥոжюӅྡϱϡ䦚ር࢒‫צ‬Ͻ֑ᅙРআ ֬ѲѦϡཹ‫؀ܝ‬ЃϦҍЃ䩟๿ටЏϤЏϦ䩟Л䩟ಷಷ䩟ׄᗔ䩔ϪЙࢩ

3 MONEY ORDER Bai Xuchu

A

fter Father’s burial in their hometown, Cheng Gang suggested that Mother go live with him in Changsha. Stubbornly, Mother turned down the o er, claiming that she liked the quiet of the countryside and would not be able to handle the noise of a city. But Cheng Gang knew the real reason. Mother couldn’t bear to leave Father to sleep his eternal sleep alone in his grave. Before Cheng Gang left, he said to Mother that even though she hadn’t let him send home money before, he would be sending her 200 yuan each month from now on. “It doesn’t take much to live in the country,” Mother responded. “One hundred yuan is plenty.” The village where Mother lived was a remote place where the postman called only once or twice a month. Since in those days a great many villagers had left to work elsewhere, the elderly family members who stayed behind were always yearning for news of loved ones from afar. The days when the postman visited had become occasions for celebration. very time he arrived, a crowd of aunties and grannies would immediately surround him, rushing to ask whether their family members had sent mail. Moments after, they would gather in groups of threes or ves, sharing their joy or rejoicing in the happiness of others. One day when the postman arrived, Mother was harvesting vegetables in the garden behind her house. She didn’t hear Aunt Zhang, one of her neighbors, call for her until the woman had shouted several times. Mother rushed out and got a piece of paper from the postman it was a money order. Beaming with joy, she announced it was from her son Cheng Gang. Aunt Zhang snatched the money order from Mother and checked it over many times, green with envy: “It’s a whopping 2,400 yuan!” Her exclamation drew people over. The large money order passed from hand to hand

70  ྡ  ‫ـ‬

‫ل‬Ёుតϱ䩟ϸ‫צ‬ҙ๩ཹ‫؀ܝ‬Ռ็ᖍնमঐϡϨϽ֑ϽᣌЙѲѦ‫ت‬ϱ‫ت‬Ч ϡ䩟ҟϬϪЁϥϣ࠘ϡᯂ๿䦚 আ֬ҷϣҋּϺոжϸАЄ‫ـ‬䩟ҙࣳЏӒϤаҢ䩟‫ٻ‬١ಹвϱѯոж‫ܐ‬ Ҟ䦚আ֬ॎЬϼРѺஇ䩟ԔӾРభЩ‫ؔڌ‬ϡ୊֬‫ڌ‬ԧࡧЏԈ‫ܐܒ‬ЏԈ‫ܒ‬䦚 আ֬ϡҞђϩӪҲ‫ܒ‬՜юӅ՘АྡϸАЄ‫ـ‬Ҙϱ䩲ЛϮϣϬ֊ђྡׄ䦚 юӅҘҞЛ䩟േ௏‫؃‬ϣϬ֊ҥЧభѦϣҖҋ䩟‫ܜ‬আ֬ϤЌߵЗּϺТ҅‫٭‬ аା䦚юӅХЛј֞‫ޝ‬Ϥࠍ䩟ЛϮҟϬ֊ྡׄϡ䩟ѓϤԟਔӵϨѲѦЇ Ϯ‫૳׏‬ାѓߠ䦚ЃԟϦюӅϡҞ䩟আ֬࡟࡟сԙϦ䦚 РϦӪϬ֊䩟юӅּϺϦআ֬ϡϱҞ䩟ҞђߦߦӪ‫ط‬䩟ЛюӅϤ؎өϣ ёϡТ҅‫٭‬ϣҋྡҘϱ䩟Ҵёྡ‫ـ‬ϣӡϴੜ֊ྡ䩟ϣϬ֊ྡϣҋ䦚 ‫׆‬ՒҽϣёϲРЧϦ䦚юӅӹ‫֧؀‬ϣ࣮֞ࡄ֞‫௳ࠤ׈‬Ϥэӱ䩟ҘҡрЃ ֳআ֬ϡЂ֚ϤЌӥѴϦ䦚јӆЂੜؕআ֬ϡᩄḄҟ֊ѯআ֬ྡϣҋТ҅ ‫٭‬䩟ҍ஍Кࡤ۲ϦணѨ䩟ђϮҍϺ௏঵ϣҋѯআ֬ཹЧׄ䦚 ԏ֐Єϳњ䩟юӅּϺϣ‫ׄצ‬ϡཹ‫؀ܝ‬䩟ϥআ֬ཹϱϡ䦚юӅ܏ϥ ֐дѷइ䩟њ‫ڽښ‬ϤЏԷ‫ث‬䩟Ԝϴ‫ܐ‬Ҟ՜՜আ֬䩟‫ּ׊‬ϺϦআ֬ϡϱҞ䦚 আ֬ҍϣҋϨҞϼᩄḄЛ䩟ϴྡϲੜ֊ѯϢྡ䩟ϴϤϢϣдЇϤϴ䦚 ϣϳ䩟юӅ߁ϺϦϣϬԪрേϱӗ૶Ӌ֞ϡҡേ䩟юӅϨ੷‫ۉ‬ҡേѷ‫ۮ‬ З䩟ॅ۬՜вϦআ֬ϡєୂ䦚ҡേЛ䩟ϧআ֬ॎѼવ‫؀‬ϣϪТ҅䩟ԔЪь ӂ䦚දԷϥേ௏‫؃‬Ֆభϡяж䩟ϧআ֬ՌР‫ڝ‬ϣ҈ӧϳӍс䦚ּϺϧϡཹ ‫ܝ‬䩟ԧϴҙࣳϮӪϳᗔ䦚

MONEY ORDER

71

among the aunties as a rare treasure, and envious admiration was written all over their faces. Having received so much money this rst time from her son, Mother was so happy that she could not sleep. She got up in the middle of the night and wrote her son a letter. Although Mother had no formal education, Father, who had been the village elementary school teacher, had taught her to read and write simple characters. The letter was only a few lines long. It simply asked Cheng Gang why he had sent so much money when they had agreed to 100 yuan each month. Chang Gang replied, saying that since the postman went only once or twice a month, he couldn’t bear the thought of Mother’s money not arriving on time. Cheng Gang also added that he earned a good salary and that the agreement was 200 yuan every month. The extra, he explained, was because it might not be a bad idea for Mother to have money in hand for an emergency. After reading Cheng Gang’s letter, Mother smiled happily. A few months passed before Cheng Gang heard back from Mother. The letter was, again, only a few sentences long, admonishing Cheng Gang that he should not send the stipend for a whole year all at once, and that next year he must agree to do it monthly. A year passed in the blink of an eye. Cheng Gang, caught up in a project with a hard deadline, could not go home to visit Mother as planned. He wanted to send her money every month as she requested, but he was afraid that he would inconvenience her if he forgot when work got busy. He decided to go to the post o ce and mail her the 2,400 yuan all at once again. Twenty-odd days later, Cheng Gang got a money order for 2,200 yuan from Mother. After his initial surprise, Cheng Gang thought long and hard about the matter, but couldn’t gure out why she had done this. Just as he was going to write to ask her about it, Mother’s letter arrived. Once again, she instructed him that if he insisted on sending her money, he had to do it in once a month increments; otherwise she wouldn’t accept a penny. One day in Changsha, Cheng Gang ran into a migrant worker from his village. Cheng Gang treated him to a meal and took the opportunity to inquire about Mother. The fellow villager told Cheng Gang that although his mother lived alone, she was very happy, especially on the days when the postman came from town. “She is as joyous as if celebrating a holiday. A money order from you is enough to make her elated for days.”

72 ྡ  ‫ـ‬

юӅԱаԱаӔॊԵ‫ٶ‬ӌ䩟јҴՁϦ䩟আ֬ߙ‫ف‬ϴјҟϬ֊ѯԧྡϣҋ ‫ـ‬䩟ϥЋϦϣёЌұիҋьӂ䦚আ֬КϤϨ‫ـ‬ϼ䩟ґϨոжӱϼ䦚 

MONEY ORDER

73

Tears ran down Cheng Gang’s face as he listened. He had come to realize that Mother insisted on a monthly schedule because she wanted to enjoy this happiness twelve times a year. Mother didn’t care about the money; she missed hearing from her son. (2002)

VOCABULARY AND USAGE ‫ފ‬᎒Ѩ

bàn s ngshì

make funeral arrangement and conduct burial service

Ћ୊আ‫ފ‬ԑϮ᎒Ѩϥ ոѽϡॶࠖ䦚

௬Һ

zhíyì

insist on

Ў‫ە‬Ϧ䩟ԧ‫׊‬௬ҺϤ Ӌᄼ䦚

਺ϤЏ

sh b d

hate to part with

֑֑਺ϤЏϢЧ Ѥм䦚

ӗ଺

cháng mián

eternal sleep; die

࠯ϳ૿૿Ϩࣨࡨ∑Ւ ӗ଺䦚

эએ

k ixi o

expenditure

‫ڵ‬Ѧϡэએԝേ ЎϽ䦚

ണ᪳

pi npì

out of the way

Ϣϡ֙сണ᪳‫׊‬Ъ ԥ‫ݔ‬䦚

ሟֳ

pànwàng

long for; hope for

ոжϣֲࠝϢϲሟֳ аَྑж䦚

߈ௗ

liúsh u

stay behind

േЎϡ߈ௗոুЪ Н༪䦚

৏܏౦њ

zh ngxi nk nghòu strive to be the rst and fear to lag behind

Ϩ‫ܩߟܚ‬с੏䩟ϼ ӞЗϣӡϴ৏܏ ౦њ䦚

‫ت‬ခ

chuándì

pass on; hand around

ј‫܀‬ӸϦൈ‫ؽ‬Ͽ‫ڮ‬ḗ ‫ت‬ခ䦚

ཹ‫؀ܝ‬

huìku nd n

remittance order

ཹ‫؀ܝ‬Ї‫ت‬ခ֬є䦚

็ᖍ

x han

rare

ϸ‫׉‬խ็ᖍ䩟ձϤ Ϻϡ䦚

๿ට

xiànm

admire and envy

Ϣ๿ටԧϡϮюၾ䦚

ಷಷ䩔

guàiguai

Good gracious!

ಷಷ䩔ϸ๥‫ل‬ѐড়䩔

ᯂ๿

q nxiàn

respect and admire

ϢцјϡЌҨᯂ๿ Ѫԝ䦚

௳ӱ

tu sh n

get away

ϢԜϨϼࠅ䩟Ь֚ ௳ӱ䦚

74 ྡ  ‫ـ‬

ணѨ

w shì

cause delay; hold things up

ϤѓКѺ‫ܠ‬ϿணϽ Ѩϡ䦚

‫ڽښ‬ϤЏ Է‫ث‬

b i s b d qí ji

have thought hard and still cannot make sense of it

ўј‫ڽښ‬ϤЏԷ‫ث‬ϡ ϥআ֬ϴ೬эߣ ‫װ؀‬ਝ‫ޓ‬䦚

੷‫ۉ‬

zh odài

entertain guest(s)

ՏϮϮ੷‫ۉ‬ϱබϡ ‫ۺ‬Ϫ䦚

ॅ۬

sh nbiàn

conveniently

ϢբРϣϬӸ‫ۖܟ‬䩟 ϲॅ۬ՖЧձϦ ‫د‬ଘ䦚

ҡേ

l oxi ng

fellow villager; fellow townsman

ϢЙϥҡേ䩟р֙ ϣϬభ䦚

વ‫؀‬

g d n

alone; lonely

ϢٰрϪϳϳ؇ࠏϤ વ‫؀‬䩔

QUESTIONS FOR DISCUSSION 1. Describe in your own words this mother-son relationship. How is it di erent from your relationship with your parents? 2. Do you nd Mother demanding or unreasonable? 3. What needs does Mother have beyond daily necessities? 4. Has Cheng Gang failed as a son in any way? What did he do wrong? 5. In what sphere of life does Mother’s “authority” reside? 6. Why doesn’t Mother simply tell her son the real reason for her demand? 7. What caused Cheng Gang’s tears at the end?

  ՏѓϧІѝϡҦᆡ਎ϣЎϸѦϡআжԮ‫ڍ‬䦚ϧԁ୊আϡԮ‫ٰڍ‬јЙϩѮ АϤӎ䩲   ϧϿϤϿҢЏআ֬ϡϴؒϩѢոРд‫ڈ‬ϥϤ‫ײ‬єԑ䩲   ङϦТࡖ‫ؑۓ‬Ԙ֔䩟আ֬ХϩѮАؑؒ䩲   юӅϸϬոжϥϤϥϩϤׁ۴ϡсҤ䩲ј‫ڃ‬ո҂ӮϦ䩲   ‫ݞ‬ѨЅআ֬ϡ䦨੹୺䦨ϱІ‫ح‬Ҥ䩲   আ֬ЋѮАϤ‫္ׯ‬ϦӾ‫ݍ‬ऩոжԧӛ٤ϴؒϡѐԜ֍ӹ֦䩲   ֲഅЗюӅЋ‫ح‬ॊԵ‫ٶ‬ӌ䩲

MONEY ORDER

75

AUTHOR BIO Aili Mu interviewed Bai Xuchu (1941–) in 2008. When she asked him whether Mother’s request wasn’t a bit unreasonable, he was angered by the question but kept his cool. We often associate [LDR with providing for our parents in their old age. Bai Xuchu disagrees. He stays faithful to the Book of Rites (֭٘) and insists that [LDR is making our best e ort to understand our parents’ hearts and minds and not to go against their wishes.15 For Bai Xuchu, adhering to [LDR quali es one as a decent human being and grants one the opportunity to feel good in life. Published in Changde Evening News (‫׶‬ख़ԉ‫ )ۏ‬in June 2002, this story has been reprinted many times nationwide. By 2006 it had appeared in more than fteen di erent anthologies. It has even been adapted into a picture book. Born into a family of scholars, Bai Xuchu was only able to get a middle school education during the Cultural Revolution. He started his career doing chores in a pickle factory but retired as an accomplished journalist for the Changde television station and a freelance short-short story writer of national repute. He attributes his professional success and happy life to his passion for reading and writing. Bai Xuchu has written and edited a few collections of short-short stories; among them is the Ding Ling Literature Award (౨ጘҹѺ؋) winner Dance Partners (ਜ਼ഀଢଏ). Bai is known for his insightful details and for his concern with ordinary people, especially how changing values impact their daily life.

15. The line in Chinese, in the pre-Qin (475–221 BC ) Confucian classic The Book of Rites, goes like this: “ᖮжҏ‫ޚ‬ҡЇ䩟ӂԷКϤღԷ࢑.” For more detail, see entry 48 “ֵजNei Ze,” http://ctext.org/liji/nei-ze (accessed August 8, 2015). This line has been a popular saying in the Chinese lexicon for a long time.

4

РԟॼϳӐЧϳஇ ၢЅՁ

ҡ

ϪҀҢϺϸϬॼϳϨϣϳϳԸऱ䦚 ҡϪϴҵϦ䦚 ҡϪϤЂҵ䦚ҡϪ਺ϤЏ࢒֙ϡग൙䩟Ѹ਺ϤЏјЄё ϡҡଏ䦚ҡଏЋј‫ޚ‬ड़ٚոѧѽ䩟ѷϦϣ੫жܿ䦚 ҡϪфҡଏոྑ‫ٶ‬இ䩟НոྑЙ‫׊‬ЪվЧјЙ֙ϡग൙䦚ҟё๶ּ䩟ٚ ϬոжϲϿѯјЙ‫؟‬ϱ‫ې‬ѓϡЩ๶䩟ѽոЙР‫ڝ‬ЇϿ‫؟‬ϱѢ‫ܦ‬ф‫ރ‬䦚 ҡϪфҡଏҌ߿䦚 ҡϪҌѬոѽЙЁϩжѽ䩟ϴపјЙࢴ‫ڪ‬䩟ХϴЋјЙֲࠝ୙К䩟ϲՌ ӾёјЙЋјЙ୙Кϣ҈䦚 ոྑЙ҅ϡ؄‫׫‬䩟ҡϪϲьӂ䦚ҡϪ‫׶‬өьӂЛѯҡଏԱ䩟Нҡଏւᛈ ᓭа䦚൧јЙЄЗϤϱग൙䦚 ҡϪԥ໓ҡଏЛ䩟‫י‬жЙࡤ䦚ϧϴϥଡ଼Џሱ䩟ϲোϢϺ‫׷ོܚ‬ӵࣅщ䩟 фࣅЛҦ䩟ЇЪьӂϡ䦚 ҡଏЬϩԑј䩟‫׊‬Л䩟෈ϥ༴൫Йҡ֦䩔 ҡϪϤӐЛҦϦ䩟ញаࣅո՜䩟ϢЙҡӶ䩲 ࣅ‫چ‬ϦҖ‫ل‬䦚ҡϪҙࣳсцҡଏЛ䩟჈䩟ࣅЛ൫ЙХё‫ڴ‬ᗔ䩔 ҡଏϲԙങ䩟ҡϤԜҮϡ䦚

4 HEAVEN-BOUND, BUT AFTER SUMMER Mo Zhongbai

T

he old man could feel summer getting cooler day by day. He was dying. The old man didn’t want to die. He couldn’t bear the thought of leaving his clay house. He especially hated leaving his wife behind. She had given birth to and raised ve sons and three daughters for him and they had shared a life of hardship. The old man and his wife had many children and grandchildren, but their family seldom came to visit them at their clay house. very year after summer harvest, his ve sons would bring them some wheat for food. His daughters would bring them some wine and meat during holidays. The old man and his wife did not complain. They understood that their children also had children of their own. They had to worry about tuition, wedding expenses, and so on, just as the old man and his wife had worried back in their day. The old man was happy as long as his children and grandchildren were happy. He often communicated his happiness to his wife, who, unlike him, fretted when their children had not visited their clay house for a long time. The old man would comfort her, saying, “Our children are busy. Come with me to herd sheep at the north grove if you are bored. It’s fun to talk with sheep.” His wife would ignore him and say, “They are avoiding us because we are too old.” Falling silent, the old man would put his arm around a sheep and ask it, “Do you think we are old?” The sheep would bleat twice, and the old man would grin and say to his wife, “See, the sheep says we are still young!” “You old rascal,” she’d retort, laughing.

78  Р ԟ ॼ ϳ Ӑ Ч ϳ இ

ҡϪӍӧҡଏങϸ‫ط‬Ҧ䦚 ҡϪϤ‫ע‬ҡ䩟‫ׯ‬ϺъϬॼяҵҘҡ൙䩟࿉ࡒϦ䩟ҥтҢѐϡҡϦ䩟Ђ ಹ䩟Ѳऑ‫׊‬ϤԱٍ᎝䦚 ҡϪۖϤвϱϦ䩟఑Ϩࢭϼ䦚 ҡϪϤЌ҃䩟НКՌ஖жϣ҈Ҵ݊䦚 Ѓаҡଏდа‫ײ‬॰֐֏ϡଧࡤаؕઈІѝ䩟ҡϪѐЂьϣѢҵ䦚 ҡϪӾРഈ䩟ӋР૤ж䩟ϤԚҞϩϳஇ䦚НҡଏҞአ‫ظ‬䩟ЛϮϪϿ‫ڢ‬ϳ இ䦚 ҡϪѐ‫ֳܨ‬ϩϳஇ䩟ՉҖёРЧ䩟өъ‫׷‬ԥٕϮ䩟ԗϱϮ‫ב‬ҡଏϨϳஇ ϣвТ҅䦚 ҡϪ఑Ϩࢭϼ䩟ЂаϳஇϡѨ䩟Н‫ݽ‬ж֜ࢎ䩟֜ࢎϡҡϪЂ‫܅‬һ䩟‫ڛ‬ఙ ϼϡһ࣭䩟Ѳೝ࣭З䩟Ϫ‫׊‬ః޵Ўࢭϱ䦚ֳаϤϺ‫ܶٻ‬ҙϡࢭ䩟‫׊‬ϤЌϼ Ч䩟ҡϪϡКϮࡕ䦚 ҡଏҘр䩟ЃϺ఑ϨсϼϡϡҡϪ䩟ၜѲࠁ䦚ҡϪЛ䩟ё‫ڴ‬ЗَϤ҃ Ϣ䩟ѴϨҒ‫ࠁح‬Џв䩔 ҡଏЧ‫װ‬ոж䩟ٚո䦙‫ף‬ո䦙ѧո֔оӋ֞䦚ԏո٬ओЬҘр䩟ϽոϨ ‫ོܚ‬ӵࣅ䦚ҡଏђϮ‫چ‬ϱേርҥөҡϪ჋Ϻࢭϼ䦚 ԉϼ䩟ҡଏდаଧ䩟ϱϺϽոжр䩟ўјЧөҡϪрӒϡࢭଆᰭߦѢ䦚 ϽոжЛ䩟‫װ‬ҡԏщ䩟јрϩᰭ䦚 ҡଏϺԏոр䩟ԏոжЛ䩟ϮϮϡࢭଆ䩟ᰭ޵‫ݾ‬ৰ䩲ҡϽ֦䩲 ๱рϡᰭֺआϦ䦚ԏո፟೤ϤҙࣳсЛ䦚 ҡଏЬϩӐЛ䩟დଧ䩟⇳ᖙ䩟ṉṃа䩟ҵҘԿϼग൙䦚

HEAVEN-BOUND, BUT AFTER SUMMER

79

He liked to be called that by his wife. The old man had refused to give in to old age until the summer day he fell on his way back home. He began to realize how old he really was when he couldn’t move his limbs to crawl. He couldn’t stand up anymore and became bedridden. Although he was incapacitated, the old man’s heart remained as lucid as a mirror. As he watched his wife busily take care of him, her back hunched over at a right angle, the old man wanted to depart as fast as he could. He had served in the military and fought the Japanese in the Second World War. He didn’t believe in heaven, but his wife did, and she told him good people would go there. The old man really wished there were a heaven. He would like to go there a couple of years ahead of his wife, to set things up, so he might receive her into their new life together. Although he was hallucinating about heaven, the old man remained clear-minded. The clear-minded old man was thirsty, so he reached for the cup of water on the table. No sooner had his hand touched the cup than he fell o the bed. When he looked up at the bed, less than half a meter o the ground, and found that he could not get back into it, his heart ached. His wife returned. She tried to help him up when she saw him lying on the ground. The old man said to her, “You couldn’t do it when you were young, how do you expect to do it now?” The old lady went to their sons for help, but the third, fourth, and fth sons had left town for work, the second was at the market, and the eldest was herding sheep at the north grove. She had to ask villagers to come over to get the old man back into bed. That night, the old lady walked with a stoop to her eldest son’s house and asked him to go shorten the legs of the bed. “Please go check with your second son. He has a saw,” he told her. The old lady went to her second son’s house. He asked, “Why do you want to cut o the legs of a good bed? Can’t my older brother do it?” Their second daughter-in-law was annoyed. “Our saw is broken,” she said. The old lady said nothing. Bent over her cane, she stumbled back toward their clay house by the threshing ground.

80 Р ԟ ॼ ϳ Ӑ Ч ϳ இ

ϱϺࢭ‫׷‬䩟ҡଏࠁаҡϪϡѲЛ䩟ϧХϤҒՉϣѢҵϮ֦䦚 ҡϪീ֙ҡଏϡѲЛ䩟ϢЇЂ䩟НϸАջϡϳ䩟ոྑЙ኷ਝඕᖮ䩟իϤ Ϧ䩟‫ܦ‬ຟϼϡުЇϤЌӵ ϧ‫܉‬ъАЄ‫ݾ‬ৰ Շ‫چ‬јЙϥ൫ϡոྑ֦䩟ϢϣϳЬҵ䩟КѦХϨ‫ؤ‬ајЙ䦚 ϴϤ䩟ϧРԟॼϳӐЧϳஇщ䦚 ҡϪЛ䩟ϢߊҨනщ䦚 ҡϪϡոжХϥ‫װ‬ϱᰭөࢭଆᰭߦϦ䦚 ҡϪЌ‫ڛ‬Ϻఙϼϡһ࣭䩟НЪվЌ‫࣭ߊ܅‬Ѧϡһ䦚 ѸЄϡЗԃ䩟ҡϪϥϨّаॼϳϡяж䦚Ѓаࢭӓϡӈըነ䩟ҡϪЂ䩟 Іѝӎ‫ؚ‬ϣ҈䩟РԟϸϬॼϳ䩟Ї؎ኡ֞Ϧ䦚НҍϣЂ䩟Ҵёॼϳ䩟ϳ ջ䩟ӈըነХϿϤ߾с‫׆‬䩟ґъЗϡІѝ֦䩲Ї‫ܙ‬ѐϡϩϳஇ䩟ϴϤϸ҅ ТТϡࢽฆϺ‫ڃ‬ѦЧ֦䩲 ҡϪҀҢІѝ‫ڒ‬ϳஇքϱք‫ײ‬䩟ӔҮࢩϺϳஇ՟֔ᄉՐஔϼ൲ϱϡ‫ڏܫ‬ Ϧ䦚 ҡϪцҡଏЛ䩟֡ҌոྑЙҘрщ䦚 ҡଏ՜䩟ϤЌӐРӪϳҵ䩲 ҡϪЛ䩟ॼϳϲ؎ҵϡ䩟ϳऱϦ䩟Ӑߤ䩟Ϣ‫ܜ‬Чϳஇϡբา䩔 ҡଏԙϦ䩟ҡϤԜҮϡ䩟ைҵ䩟ЇϤۨ䩔 ҡଏϣ‫ׯ‬োаҡϪ䩟‫ׯ‬ϺҡϪіԙа‫ڒ‬э䦚 ҡϪϡոྑЙҘр䩟ջઠը‫ׇ‬с‫؟‬ҵϦҡϪ䦚 ٚϬոж‫ཫڲ‬䩟൥ङ٘‫ؖ‬䩟ϣр፲‫ׄـ‬䦚

HEAVEN-BOUND, BUT AFTER SUMMER

81

She came to the bedside, held the old man’s hands in hers, and said, “You might as well leave early.” Taking her hands in his, the old man said, “I thought so, too. But it will be very hard for our children and grandchildren to endure this heat in mourning clothes, and the food for the funeral banquet will quickly go bad . . .” “Why should you care so much?” “They are our children and grandchildren, of course. I will care for them until I breathe my last breath.” “How about you hold on till the end of summer and then leave for heaven?” “I’ll try my best,” the old man said. ventually, one of his sons found a saw and shortened the legs of the bed. The old man was able to reach the cup now, but he hardly had the strength to nish the water in it. The old man spent most of the time in bed counting the remaining days of summer. Looking at the electric fan at his bedside, the old man thought: Like the fan, I will quit working at the end of summer, too. And then he thought again: :KHQLWJHWVKRWQH[WVXPPHUWKHIDQZLOOEHJLQWXUQLQJDJDLQEXWZKDW ZLOOKDYHEHFRPHRIPH"0D\EHWKHUHUHDOO\LVDKHDYHQ¬¬¬:KHUHHOVHFRXOGP\ VRXOVWLOOIXOO\DOLYHJR" The old man felt that he was getting closer to heaven he could already smell the sweet scent of osmanthus from the trees outside heaven’s gate. He told his wife to call his children and grandchildren home. His wife asked, “Can’t you hold on for a few more days?” The old man said, “I should have been gone in the summer. Now it’s getting cold. I’m afraid that the road to heaven will become slippery when it gets colder! His wife laughed, “You old rascal, true to yourself to the end!” She stayed with him until, smiling, he departed. The old man’s children and grandchildren all came home and gave him a grand funeral. His ve sons calculated the expense: ach sustained a loss of 500 yuan after taking into account the cash gifts they had collected. The daughters-in-law said, “The cool weather is a real blessing. The food won’t go bad for another few days; some of the meat dishes can now

82 Р ԟ ॼ ϳ Ӑ Ч ϳ இ

ո፟ЙЛ䩟ϳऱѐϮ䩟ުЌЄӵӪϳ䩟ϩϡ‫ރ‬ХЌҘસ䩟ϴϥೝϼջ ϳ䩟ϸٚ֐Єఙ‫ܦ‬ຟ䩟Нѐ፲ϽϦ䦚 ҡଏө‫܉خ‬ϣϳϡ٘‫ےدؖ‬оϱњ䩟дԟ‫ـ‬䩟ٚϬոжૠԚֳа䩟‫ڲ‬Ϯ ϡ௃䩟‫׊‬Єоׄ‫ـ‬䦚 ЃаϣрϪҍࣻаుϨϣвಚцаཫ‫ܝ‬ҡଏৼৼӳ䩟დଧ䩟⇳ᖙ䩟ṉṃ а䩟ҵҘԿϼϡग൙䦚 

HEAVEN-BOUND, BUT AFTER SUMMER

83

have a chance to be cooked twice. Had it been hot, we would have su ered a huge loss from this fty-table banquet!” The old lady handed them the cash gifts that had been under her care for the day. After dividing the money among them, the ve sons looked at one another there was 2,500 yuan more than they had calculated. The old lady shook her head as the rest of her family gathered to double-check and recount the money. Bending over her cane, she stumbled back toward their clay house by the threshing ground. (2007)

VOCABULARY AND USAGE ѷܿ ոྑ‫ٶ‬இ

ch k rs nm ntáng

endure hardship

ЄѷܿҥЌюϽѨ䦚

have many children and grandchildren

ոྑ‫ٶ‬இϥϽ‫׫‬Ӥ䦚

Ҍ߿

zh zú

content

Ҍ߿‫ٷ‬ӗӂ䦚

ప

g ng

pay for (education)

֑ࠜѿඬ䩟Ь‫ـ‬పϧϼ ϽѺ䦚

୙К

c ox n

worry about; take pains

୊আಣКЋ‫י‬ж୙Кϣ ੫ж䦚

ᛈᓭ

l odao

chatter

ԧϣϤҙࣳϲᛈᓭвϱ Ьԟ䦚

൧

yuàn

complain

Ԇ൧‫י‬жϤ‫ګ‬Ѩ䩟ϥϽ ϪЬϩ‫ڌ‬ड़Ϯ䦚

console; comfort

Җ֧ҡϪԚૠԥ໓䦚

awfully; unbearably

јϣϼࠅϲ੡Џሱ䦚

ԥ໓ Џ ሱ

nw i (de) hu ng

ҡϤԜҮ l o bu zh ngj ng old but still licentious

ҹЅҡϪϡ䦨ҡϤԜҮ䦨 ўҡଏЪэК䦚

Ϥ ‫ע‬ҡ

(b ) fúl o

(do not) acquiesce to old age

јϤ‫ע‬ҡ䩟ۗϦХϳ ϳϼ‫ڡ‬䦚

࿉ࡒ

shu id o

fall down

ј࿉ࡒϦ䩟ӐЇۖϤв ϱϦ䦚

ٍ᎝

sh huàn

order about; use; handle

ϢЂөҦЛ֜௟䩟Нድ ӳϤԱٍ᎝Ϧ䦚

Ҟአ

xìnf ng

believe; believe in

ऴᒾ‫ڌ‬ၵҞአϼ෌䦚

ః

g n

roll

ъතఐ෡ఃՖբ‫׷‬ϡस ᜥ䩟ϤԋϦ䦚

84 Р ԟ ॼ ϳ Ӑ Ч ϳ இ

޵

diào

fall; drop

ҡϪр

l or nji

a respectful form of addressing a senior

ϢӒҢϤҡӥ䩟Ԫࢭϼ ః޵сϼϦ䦚 ϸ֧ҡϪрϥЈᅦ‫ܥ‬ո ϡ૿૿䦚

ṉṃ

pánsh n

stumble; hobble

ј‫܅‬ЄϦ䩟ṉṃ‫ڒ‬Ч䦚

be dressed in deep mourning

᛿٘З䩟ҡϪрϡѺТ ЁЋј኷ਝඕᖮ䦚

኷ਝඕᖮ p mádàixiào ӵ

fàng

save; keep; preserve

ϳѿջ䩟ϸުϤߤেϡ Ҧ䩟ϣϳЁӵϤϦ䦚

Շ‫چ‬

shuí jiào

. . . shouldn’t have . . .

ࠜࠜϤ؎Ӌϧ䩟НՇ‫چ‬ ϧϤԱҦ֦䩲

‫ؤ‬

zhu ng

be concerned with

ѽոϡ؄‫׫‬䩟јЗࡻ‫ؤ‬ ϨКϼ䦚

න

ch ng

hold out (until)

Ьϩһ䩟ϢЙϨ૶ဴѦ නϤϦӪϳ䦚

ኡ֞

xi g ng

stop working; knock o

ϧЙ֞сϣડӪѢኡ ֞䩲

ࢽฆ

línghún

soul; spirit

ЪЄϪԚҞࢽฆϤӚ䦚

൲‫ ܫ‬

pi o (xi ng)

(fragrance) oating/ drifting

ᄉՐϣ൲‫ࡵڠܫ‬ϲϺ Ϧ䦚

ை ҵ

(lín) z u

(be about to) die; be gone ҡϪைҵХЋ‫י‬жЙި ϮϦ‫ފ‬᎒Ѩϡ‫ـ‬䦚

൥ङ

kòuchú

deduct

൥ङ‫٭ۮ‬фࠚၪ‫ڃ‬ѦХ ϩജՐ‫ـ‬䩲

፲‫ـ‬

p iqián

sustain economic losses

ЬϪ݁҂፲‫ـ‬ϡТҺ䩔

Ҙસ

huígu

twice-cooked

࠼కϡҘસ‫ރ‬ϤϮѷ䦚

QUESTIONS FOR DISCUSSION 1. Write a character sketch of the old man, especially what makes him di erent from his wife. 2. Is the old man spoiling his children? Why isn’t he mad when his love for his children goes unnoticed? 3. What is the essense of [LDR for a parent? Does the old man exemplify it? 4. Do you feel sorry for the old couple? 5. How is the idea of “heaven” in this story di erent from the one with which you are familiar?

HEAVEN-BOUND, BUT AFTER SUMMER

85

6. Where do you think the extra 2,500 yuan comes from? What do you think will happen when the ve sons gure it out? 7. If the old man’s heart is “as lucid as a mirror,” what is being re ected?

  ՏѯҡϪ䦧ࡌ䦨‫ܐئצ‬䩟දԷϴࣁܾјԁҡଏϡϤӎ䦚   ϸ֧ҡϪϥϤϥѿ࿭৩‫י‬жϦ䩲јЙцјϡЕ؇ґϤԋј՘АЇϤТӤ ֦䩲   ц҂୊আϡϪϱЛ䩟ᖮϡѐᤚϥѮА֦䩲ҡϪϡߞҲϥϸϣѐᤚϡՄѴ Ӷ䩲   ϧҢЏϸцҡਜ਼ഀН༪Ӷ䩲   ϸϬ‫ݞ‬ѨѦϳஇϡมٰ݉ϧӛ়๐ϡϳஇม݉ϩѮАϤϣ҈䩲   Єоϱϡъׄϥ‫ڃ‬ոϱϡ䩲ϧҢЏٚϬոжҴՁйњϿϩѮА‫ބ‬ ‫׏‬䩲   ҒҝҡϪϡК䦧Ռ஖жϣ҈Ҵ݊䦨䩟ъ‫ؚ‬ऽथоϦѮА䩲

AUTHOR BIO Aili Mu got to know Mo Zhongbai (1977–) through this award-winning story when serving as a judge for a 2007 national short-short competition in China. Talented, young, and handsome, Mo Zhongbai was full of energy; his writing career exploded thereafter. Now a member of the China Writers Association, Mo Zhongbai has published four volumes in diverse genres: the short-short collection Heaven as in the Gate of Heaven and Peace (ϳԥ՟ϡϳ); two volumes of novellas and short stories, Recollections of Northern Jiangsu (ಧ‫܊ܚ‬Ѩ) and The Eagle over Potala Palace (޿ܼࠁ࿯ϳ‫׺‬ϡኋ); and a volume of prose essays, Warmhearted Strangers (‫ޟ‬঄ϡ൘ТϪ). Many of these works rst appeared in prestigious literary journals across China Beijing, Anhui, Shandong, Gansu, Jiangsu, Tibet, and Wuhan. Mo Zhongbai has won two national awards: the Wu Cheng’en Literature Award (ྴઌ൛ҹѺ) and the Pu Songling Literature Award (ᤴग़ූҹѺ؋). Born Cheng Liang (ವ݊) in a village in Sihong, Jiangsu Province, Mo Zhongbai had never left the small town of Plum Blossom until October 2014. Before that, Mo had turned down an o er of a salaried editorial job

86 Р ԟ ॼ ϳ Ӑ Ч ϳ இ

with a metropolitan publisher. In 2013 he even gave up his comfortable newscaster job at the township and assumed the o ce of party secretary after winning a village election. His village work diary, which o ers a window into his inner world, can be found at http://blog.sina.com. cn/s/articlelist 1296379313 0 1.html. The entry for August 24, 2014, for example, registered how he, then in his thirties, juggled many di erent roles a son, a husband, a father, a village leader, and an emerging writer and how he was learning to love it. http://blog.sina.com.cn/s/articlelist 1296379313 0 1.html. Mo Zhongbai never attended college or received formal training in creative writing. Writing came along for him “like a sheep grazing along the country road it knows.” He writes because his heart aches seeing the rural China he knew disappearing. Words “well up” with his nostalgic desire to retain it under the acacia tree at the end of his village, by the haystacks in the elds, and along the little streams of his hometown. The old man in the story was a real part of that vanishing life. The story was born of Mo Zhongbai’s desire to honor him. Yet never for a moment does Mo Zhongbai regard himself as the voice of the marginalized: “Their pain and my ache are di erent. They experience the hurt; I not necessarily.” Mo Zhongbai left for Suqian in 2014 after all to join the literary academy in that city of 5.9 million people. The following description is a summary of the academy provided by Mo Zhongbai. Suqian Literary Academy (௔ና‫ص‬ҹѺࡨ), a new section in Suqian Federation of Literary and Art Circles (௔ና‫ص‬ҹ࠾), was established on March 31, 2014, with six authorized sta members and full funding from the government. The Academy is tasked with representing the city’s literary production, training literary talent, leading literary studies, and serving the public needs for art and literature.

A good knowledge of academies like this and people in them is beyond the scope of this book. Their large network in China starts with the China Federation of Literary and Art Circles on top, with provincial-level institutions in the middle, and the city-level organizations at the base. Getting to know these institutions, which have no counterpart in the West, may be a necessary step for readers wanting to understand China’s cultural orientation.1

ҷѧ‫א‬

ം‫ ݵ‬

ӆ

‫א‬Ѕϡ‫ݞ‬ѨцۘЅ‫ܗ‬ҹ٩ࠧ࢓ϡѺТϱЛЇ‫ܙ‬Ϩԑ‫ث‬ϼදԷ ϩԡ֏䦚‫ݞ‬ѨЅ࣠ယӊҹ٩ϡၘ‫ݡ‬୫ф‫݉޴ࢅت‬䩟йߵӛࣁ ܾϡߒ૜ѽԛ՜֣䩟ЁϥϸԈѺТӛϤ়๐ϡ䦚јЙц‫ݞ‬Ѩ ϡേభࠧ࢓ЇϩНЌϿҀϺЪ൘Т䦚Ϩѵϳ䩟ॎѼъԈԮӊЅмѽԛ‫ۥ‬ӊ ‫֍҇ٿ‬ӹϤЏϤՖՊЬϩЕєϡࠝ࿧ϡ‫ݞ‬ѨӔҮРЗϦ䩟ԔцЅмѽԛม ݉٩ϡЃ֚䩟ЇϲϥөԧЙЃюϥଞୟ䦙ҩ‫ࢉ׷‬٩䦙ѪҦ‫੹ܬ‬ϡୟۤळՄ ϡണԋ䩟Хϥ‫׶׶‬ணࣔࢴ‫ٷ‬цѽԛϪ‫׉‬ϡҲЋфԧЙҲЋ҃Ҝϡ‫ࡧڶ‬Рӊ ߣ‫؀‬٩䦚ԝҤЛ䩟ϩԈцЅмϡ‫ܠ‬ཞϩϣҌ‫ثٻ‬ϡࢴ‫׶ٷ‬ϿҢЏ䦭КѨ䦮 ЅѽҰࡠϡߞҲϤН‫ڽ‬৷䦚ԚӾϣ‫ח‬д՝ҤѺТ‫ڶ‬ЋјЙϤЌ‫ב‬ի䦭ᘓ୩ ϡЕє䦮Ѕᘓ୩৏ԼЕϡҤܴ䦚ґ䦭རῨ䦮ज‫׶׶‬ҩ՝Ҥࢴ‫ٷ‬ӾӑϩєϪ ‫ټ‬ϤЌюᚐ٧ϡ঳ঃϱࢴ䦚ॎѼϸԈ‫ࢴث‬Ё‫ٿ‬ϩԷѬԑ䩟Ԕ‫ؚ‬Й‫ܙڈ‬Ї‫ז‬ ϢЙဌܾϦϣϬӗ‫ࡖ׈‬Ϩϡ՜֣䩭༊ࢴϤӎҹ٩ϡӑԘЗ䩟ϪЙϤҌϤҢ ϿඕϼІѝҹ٩Ҟ࿰ф‫ۉ׈‬ϡϩաՒ஖䦚ӛйӆ‫ࡻא‬Һ‫ࡺש‬Ϧ䦨ം‫ݵ‬䦨ϸϬ ࡣ֣䩟۵ϡϲϥϴө༊ࢴசа‫ڀ‬ԳЅмϡфӑԘ‫ݘ‬ТӾсϡ‫ڽ‬Ђҹ٩Մ‫ڍ‬ ϡҤ‫ݱ݆ז‬䦚 ം‫ݵ‬ϥЅмᎻѺϡಚКม݉ҏϣ䩟ϣ‫ׯ‬ϥ‫ؙ‬ড়Ѕ‫ܗ‬ҹ٩тࣁҤ‫ז‬ϡ۠Ԯ Գϴϡӹঈ䦚ം‫ڊݵ‬ԣц߹ॸૠ۱ϡҨ֝‫؝‬ӊԚૠ࣊ࡖϡ‫ݮ҃ڜف‬ҏЅ䦚 Ϩ࢕ӎӑѓӛ࣏юϡϤआԸ٩Ѕ䩟ം‫ݵ‬Ԛૠ‫׆‬٩䩟ૠЋ౰‫ױ‬䦚ӾϢЙөം ‫ثݵ‬౥юдэϡҖ࡙䩟ϢЙϲϿөϸԈϤआтࣁ䦙ϤНдኘϡҨ֝ߣ٩Ћ ц߹ϡ‫ה‬Ҥ䩟൬۠ൺѲ䦚Էӥ䩟ϢЙНйӵКсԐआ䩭ϨϸԈ‫ݞ‬ѨѦϡЅ

  ߭ҹЅЇ‫׶‬ө䦨ം‫ݵ‬䦨‫ܐ‬ю䦧\LQDQG\DQJ䦨‫ڈ‬ϥ䦧\LQ\DQJ䦨䦚ϸѦҏӛйѓ䦧\LQ\DQJ䦨ϡԣ ܼϩҖϬ֍ӹ䩭ϣϥ‫݆מ‬ം‫ݵ‬ϡϤНдኘԛ䩮ԏϥЂ߷оϸ҈ϡ޴Ѣ䩭ം‫ݵ‬ӑЋԏׄҖ ࡙䩟ԁԷЛϥ‫ࡖ޴ۺ‬Ϩ䩟ϤҒЛϥ޴݉ϡ‫׉ݘ‬䦚

CHAPTER 3

YIN-YANG 1

T

he stories in this chapter may be particularly challenging for students of other cultures. In addition to relying on subtext and traditionally held beliefs, these stories also illustrate complicated gender issues and rural settings that may be unfamiliar to readers outside China. Although stories of Chinese women being forced to marry for reasons other than love are becoming dated, the conception of Chinese women as weak, marginalized, and voiceless still often results in an overly simpli ed understanding of the motivation and actions of female Chinese characters. For example, the heroine of “Two Minds” often confounds the expectations of readers who possess some prior knowledge of Chinese customs. Quite a few students have found Cuilan’s behavior unacceptable. And “Forever by Your Side” is often read as a tragedy of loved ones obliged to part. alid as these views are, they may also indicate an enduring problem: the tendency to read the works of another culture through the lens of one’s own cultural beliefs and expectations. The title of this chapter is a deliberate attempt to reorient readers to a more local and Chinese frame of reference. The concept of yin-yang lies at the heart of Chinese philosophy and has been essential to Chinese cultural orientation. Signifying opposite complementary forces, yin and yang are in an interdependent relationship and a continuous state of ux. They interact to form a dynamic process wherein they transform one another, including the metamorphosis into each other. When we interpret yin-yang as a binary, we reduce these ever-evolving 1. It is also written as “yin and yang” or “yin yang.” Here the use of “yin-yang” is for two reasons: to emphasize yin and yang as an indivisible whole and to highlight their duality as more perceptual than real.

90

‫א‬ം‫ݵ‬

м఻భ䩟Ѫ‫ڹ‬ϥТ҅ϨъոϡϪХϥтТϨъոϡѨո䩟ј䩢‫ؚ‬ЙϨϪЙ ϡՒѦЁϥᄦࡢം‫ݵ‬Җӌϡ䦚ϨъѦ䩟Т҅ϡ₪‫ڹ‬ϤРϥІѼࡖϨ䩮Ъվ ϩՇϿөѽϪϡ۱೯ԁԲϪϡ۱೯ц߹вϱ䩮ЂࢣјϪЗ䩟Ѹ‫ۓ۔‬ϿөԆ Ϫ޳‫ޕ‬юЬϩಀ଴фՄӌϡࡔण䦚 ӆ‫ݞא‬Ѩϡӑ‫ٷ‬ЙЁϤϥ֠‫׭‬ӑр䩟јЙЇЬϩࡻҺख‫ږ‬Ѵࡖϡ‫ڈ‬ϥ ‫ࢅت‬ϡ޴݉ҳ䦚цӊјЙϱЛ䩟ࡷӑϥϣϬྻьϡ䦙ϩԑඎ‫݌‬ҝϡТ҅Ү ࣄ䩮ϨࡷӑЅ䩟јЙझҨтᜨ޸Ӿϡ࣏ܴ䩟ԣܼІѝця‫׶‬Т҅Ѩխϡ‫ބ‬ ড়䦚ӹ‫ױ‬䩟ٕङ૜݉фണԋϡಶೄНЌϥҵՊӆ‫ݞא‬Ѩം‫ݮ҃ݵ‬ϡϩ‫݌‬Ҥ ֚䦚Ϩϧ༊ࢴ 䦭КѨ䦮䩟Үࣄ‫ݞ‬Ѩϡ‫ڝ‬ᄊԳߒфϪ‫׉‬ϡєో‫ڢ‬ٛϡЗԃ䩟 Տ߾ЎϱԘ‫ڏ‬ϣЎТ҅₪‫ڹ‬ϡєঙ䩟දԷϥࢫєԁԑԛϨ‫ݞ‬ѨЅϡᖊᐆ䦙 ϧцϸ҇ᖊᐆϡ‫׏ބ‬䩟йߵ‫ؚ‬ѯϧհϱϡ‫ߎڽ‬䦚Ӿϧ߁Ϻᘓ୩ϡЗԃ䩟Տ ՆЃ‫ݞ‬ѨҒ‫ح‬ϨϸϬϪ‫׉‬ϡᄽ߃ϼܼϺϦቻਢጙଯф‫ࢿع‬ᲁ޻ϡࢅϣ䩟ґ ᘓ୩ҍϥҒ‫ح‬ϨӾѵϡЅм≎ௗа‫ࢅت‬ґࡷҺс҅а䦚ࢴϺ䦭རῨ䦮З䩟 ϧНЌӔҮѺϿϦѓം‫ݵ‬Ԯ‫ڍ‬ϡ؇ࡠЧԑ‫ث‬ӑԘ䦚ъАϧϲϿтѴ䩟Ϩ‫ت‬ ࢅҹ٩‫ت‬ઌࢹϮϡЅм఻భ䩟҅Ϩ‫ࢅت‬ѦϡЅмϪϥҒ‫ح‬൓݆є䩛ϬϪє Ҁ䩜фԑ䩛Ѭख़੻౒䩜ϡԮ‫ڍ‬ϡ䩟йߵјЙϥҒ‫ح‬ц‫ۉ‬Т҅Ѕϡᔮᓙф‫ٶ‬ ߿ϡ䩮ϧЇϿЃϺ‫ݞ‬ѨϥҒ‫ح‬Ϩԣܼର‫ٲ‬ӵѲҏᖋܿϡӎЗ䩟൐ೄ᠉Ѕҏ ઩䩟঳ЅҏѤ䩟ߙ‫ف‬ҏରӤϡ䦚

YIN-YANG

91

and interrelated forces into opposites, even adversaries. In the rural China of these stories, it is safe to infer that people and things are viewed as having both yin-yang aspects and that the paradoxes of life are natural. Women’s interests are not seen as opposed to the interests of men. To assume others are good and decent human beings is not uncommon. None of the authors here are professional writers, nor are they much concerned about challenging accepted or traditional views. For them, creative writing is a pleasurable therapeutic experience, wherein they nd appropriate formal expressions for their reactions to the events of everyday life. Disinterested appreciation is a valid approach to the yinyang dynamics at work in the stories. As you experience the repetition of actions and the acceleration of emotions in “Two Minds,” pause to re ect on how the enjoyment of life’s paradoxes and the ambiguous roles of passion and reason have impacted you. When you encounter Cuilan, try to see how the story reconciles in her the contradictions of strategy and romantic spontaneity and of adhering to conventions while living creatively. You may have developed a yin-yang approach to reading by the time you get to “Forever by Your Side.” If so, you will nd how more traditional rural China negotiates qing (єhow people feel) and li (ԑnorms of ethical behavior). You may discover how rural China handles the relationship between life’s sacri ce and satisfaction, how it appreciates grace in coarseness, the beautiful in what seems tragic, and the courage it takes to persist, as well as the bitterness of bravely letting go.

1

КѨ ࣼᬄ‫ܗ‬

ԏ

ख़⚯Ϻር࢒р‫ܦ֬ב܅‬䦚 ‫כ‬я䩟јϲӍӧ‫܅‬Ӫ࣭䩟ҍЃϺᄉՐखϦϣ‫צ‬᠔ж䩟 ԁІѝӎఙ‫ܩ‬а䩟КѦѤ༸༸ϡ䩟‫܅‬в‫ܦ‬ϱࣳঊ֐߿䦚ђ ϥјϡ‫֝ܦ‬ϤϽ䩟ࢳࡂ࣭Ў୷䩟࠘ϲ‫ێ‬вϱ䦚ӎఙϡϪЃϺᄉՐԁԏख़⚯ ЗϤЗՒцՒ䩟Л䩭䦨ԏख़⚯Ї؎෧ᄉՐϣ࣭щ䦚ϣఙжϪ䩟ϧԏख़⚯ՇЁ ෧ϺϦ䩟ଂ‫ݼ‬ᄉՐϸ࣭‫ܦ‬Ϥ෧ЛϤРЧщ䦚䦨 ᄉՐЛ䩭䦨Շ෧ϢЁϤ‫܅‬䦚ϢϤϿ‫ܦ܅‬䦚䦨 䦧ъϢЙ෧ԏख़⚯䩟ј‫ܦ࣭ה܅‬䩔䦨 ԏख़⚯ۖвӱж䩟Ͻ‫ل‬Л䩭䦨‫܅‬ϲ‫܅‬䩔‫ބ‬Ԝϥᗲ೤ϡ୮жϤҮᓹ䩔䦨ϣ ࿰ཛྷո䩟өϣ࣭‫ࡒܦ‬ՊબѦ䦚ฯ੦ХЬ޻Ў䩟‫ܩ‬ϨϣᄬϡϪጥϦጥјϡ‫ژ‬ ࡠ䦚 䦧ϩѨ䩲䦨ԏख़⚯დЎӱж䩟࣬вՒ՜Ϧϣ‫ط‬䦚 ርӏЩ‫ل‬Ῑ঩䩭䦨؎௢બ䩔ϧӅҥ՘АЛ䩲䦨 䦧ϢЛѮА䩲ӆϱϲϸҘѨ䩟ᗲ೤ϡ୮ж䦨 ԏख़⚯ХЬөҦЛԟ䩟Іѝ܏⎠۵ֲድϦ䦚РϦϮϣಙո䩟јҥ฽฽ө Ւ஄ֳ‫ז‬ᄉՐ䩟тѴᄉՐөӳᇹэϦ䩟ϮՌϤЂԑІѝ䦚 భѦϪՉϨ๋ଐ౤䩟ҡ‫؀‬ӱԍԏख़⚯ЂፍᄉՐ䩟ᄉՐϮՌЇϩϸАϣѢ ոҺ‫ڽ‬䦚

1 TWO MINDS Wang Qionghua

r Degu went to a neighbor’s house for a wedding banquet. On ordinary days he liked to have a drink or two, but today he was really in the mood to indulge. His heart had melted with happiness to see Guihua choose a bench at his table and sit down. His capacity for liquor, however, was limited. His face turned red after seven or eight cups. Someone at the table, when he caught r Degu and Guihai frequently exchanging looks, suggested, “ r Degu should propose a toast to Guihua, too. It wouldn’t be right if you skipped Guihua after toasting everyone else at the table.” Guihua replied, “I’m not going to drink to anybody’s toast. I don’t drink.” “We’ll toast to r Degu, then. He’ll drink double for both of you.” r Degu rose to his feet and bellowed, “Not a problem! After all, does a widow need much persuasion to take o her pants?” Tilting his head, he emptied the cup into his mouth. Before he could sit down, the person next to him pulled at the hem of his shirt. “What’s the matter?” r Degu bent down, raised an eyebrow, and asked impatiently. “I could slap you right now. How could you say that?” the person next to him whispered reproachfully. “What did I say? You know how it is, a widow doesn’t need . . .” r Degu, wide-eyed and tongue-tied, couldn’t nish his sentence. After a long pause, he moved his eyes slowly in Guihua’s direction only to nd Guihua looking away, as if deliberately ignoring him. Rumors had long been circulating in the village that the old bachelor r Degu wanted to marry Guihua and that Guihua seemed to reciprocate his feelings a little.

94  К  Ѩ

ᄉՐйӓผРϪ䩟ᗲ೤ЇӾϦϣҖёϦ䦚 НՒӓ䩟ԏख़⚯ѐЂ௢Іѝϡબ䦚 ԉϼ䩟ԏख़⚯఑Ϩࢭϼ䩟КѦࣣརརϡ䦚ѐϥІѝ‫ؽࠧװ‬ϱҵ䩔јϤ߾ Ⴒ൧Іѝ䦚ϣӡϴ‫װ‬ᄉՐЛϣЛ䩟ϸюϦԏख़⚯ϡϣᤋКѨ䦚 ҷԏϳՉந䩟јखаһᄤҵϺభ‫ט‬һቯ೨खһ䩟өҖᄤһᆝϼϱ䩟ҍන аᘰ஍ۖϨቯ೨䩟ϤЗ‫܊‬భ‫ט‬ᚿᚿ䦚 ᄉՐҟϳՉநЇϥϸϬЗԃखһ䩟ԏख़⚯Ђ౗ϸϬҜϿٰᄉՐЛϼӪ‫ط‬ Ҧ䦚ЬЄ‫ڜ‬䩟ᄉՐखаһᄤϱϦ䦚 䦧цϤв䩟ᄉՐ䦚䦨ԏख़⚯ࠍЎӳ䩟Л䩟䦨ъ‫ط‬ҦϢϤ؎Л䦚䦨 䦧ѮАҦ䩲䦨 䦧ϲϥᗲ೤୮ж䦨 ᄉՐⲓϦјϣՒ䩟Ьᱲ‫ل‬䦚 䦧ϢϤϥԷјҺ‫ڽ‬䩟ђϥЛϢ‫ेׯܦ܅‬䦚䦨 䦧ъϲЄ‫܅‬ϣѢո䦚䦨 ԏख़⚯ҢЏᄉՐϡҦϤߤϤջ䩟КѦѸаା䦡䦡䦨Ϣѯϧ፲ϬϤϥ䦚ϢϤ ؎Лϸ҇ᇄըᇄӤ޵ஏᆲϡҦ䦚䦨 ᄉՐ߷Ѽ䦨Ⴜ䦨Ϧϣ‫ل‬䩟䦨✂Ӿ䦨䦙䦨✂Ӿ䦨өҖᄤһᆝϼϱ䩟ЬӐমҦ䩟खв һᄤዓ‫ׯ‬ҵϦ䦚ԏख़⚯ᙴэબ࣬䩟ᔦᔦֳаԧॅа‫ݙ‬੘५բ‫׾‬Чϡࠧ‫ؙ‬䦚 Ԕԏख़⚯ХϤӚК䦚јҢЏᄉՐϤϥЩКՒո䩟ϸҘచӡϥϣЗᏮӤ䦚 ӊϥ䩟ԏख़⚯РϦҖϳҍϨᝀж‫ט‬ᘉ֙ᄉՐ䩟Л䩭䦨цϤв䩟ᄉՐ䩟ϴϤ ϧ௢Ϣϡબ䦚䦨 䦧ᨭ䩟ϧ՘АԸЏՌҡѿਁϣ҈䩲䦨 䦧ϢϢѐϡӮϦ䦚䦨 䦧ӮϨ‫ڃ‬Ѧ䩲䦨 䦧ӮϲӮϨϤ؎Л䦚䦨 䦧Ϥ؎Л䩲Ѓ҈жӮϨ‫ڃ‬ѦϧІѝХ็Ѧฦຂ䦚ϮϦϮϦ䩟ϧзϮ੩Ֆև ࢖઀‫ޤ‬Ϭߤһၰ䩟ԆӐᅑӳᅑ‫ݽ‬ϡ䦚䦨

TWO MINDS

95

Guihua had been married before. She had been a widow for a year or two now. At the moment, r Degu really did want to slap himself in the face. That night, while he was lying in bed, distracting thoughts lled his head. He kept blaming himself. You’re really bringing yourself bad luck! You must go talk to Guihua. From then on, he was obsessed with this thought. The next morning, he went to fetch water from the well at the village entrance. He hoisted the two buckets of water, then stood leaning on his shoulder pole by the well, casting his eyes toward the entrance constantly. very morning Guihua came to fetch water at this time, too. r Degu wanted to take the opportunity to talk to her. Pretty soon Guihua appeared, two buckets on her shoulder pole. “I’m sorry, Guihua,” r Degu lowered his head, then added, “I shouldn’t have said that.” “Said what?” “About a widow’s pants . . .” Guihua squinted at him but did not say a word. “I didn’t mean to o end you. When I drink, the words just shoot from my lips.” “In that case, you should drink more.” Guihua’s response seemed lukewarm, which worried r Degu even more. “Please accept my apology. I shouldn’t have said those damned words.” Abruptly, Guihua let out a “humph.” With a cling-clang, she drew up the two buckets of water. Shouldering them on her pole, she walked away without another word. With his mouth hanging open, a bewildered r Degu watched her disappear up the bluestone path. r Degu would not accept defeat. He knew Guihua wasn’t petty. She really must be mad at me this time, he thought. Two days later, he again stopped Guihua as she came to the entrance of a lane. “I’m sorry, Guihua. Slap me, if it will make you feel better,” he said. “Huh? Why are you acting like an old granny?” “I . . . I was truly wrong.” “For what?” “For saying things I shouldn’t have.” “Shouldn’t have? It looks like you still don’t get it. Well, so be it. You better go take a cold dip in Dongjiang Lake, so you won’t be so muddleheaded.”

96  К  Ѩ

ԏख़⚯୍ེϦ䩟ϸЎѐϡЏ഻ϦᄉՐ䦚ХЌ‫װ‬ϬѮА֚жਤષ֦䩲ј‫ڽ‬ ϱЂЧ䩟зњ‫װ‬Ϻഭຍϡᣌж䩟ؒԧоӌЧЛє䦚ЬЄ‫ڜ‬䩟ᣌжϣ࠘ଖӤ Ҙϱ䩟Ֆ՟ϲөऑϣ↤䩟Л䩭䦨ԏख़⚯䩟ϢϤ؎‫ݨ‬ϧЧЛϸϬѨ䩟ᄉՐъҦ ՘А‫چ‬ϪԱЏЎ䩲ԧХЛ䩟ԧϴผϺഭຍъϬభжѦЧ䦚䦨ԏख़⚯‫܊‬Ўϣ ጬ䩟ਅѲӚӚсᨰаӳт䦚 ᣌжЃϦЃ䩟ҍϩѢ༪᫇вϱ䩟ᄅѬ䩭䦨ϧϸᯜ‫ݽ‬ᅂϡ䩟ϸֲϪрЁ‫ث‬Ϥ э䩟ХϥϧІѝЧ‫ث‬щ䦚䦨 јҢЏᣌжЛЏϩѬԑ䦚 ⅼⅼᎫӳ䩟јᯔᯔс‫܊‬ᄉՐрҵЧ䦚јҀϺ੡༜䩟‫כ‬яϨభѦзϮ‫܇‬Ҧ ϡᄉՐ՘АϣЎжԸϦ䩟ԡѬԧѐϴผѯϪр䩲ЃϱԧϥҢЏІѝϡ‫ڶ‬Ӯ ‫֏ݮ‬ϤϮщ䦚 ᄉՐᠹϦјϣՒ䩟Л䩭䦨Ѓ҈ж䩟ϧХՌϬԲϪ䩟Ї‫ٲ‬ϼ՟ϱ䦚䦨 䦧Ϣϥϱ‫ڶ‬Ӯϡ䦚Տϧ֍໇ϢϸϬЎ॰Ե䦚䦨 䦧ϥщ䦚䦨 䦧ϢϿۨϡ䩟ᄉՐ䦚䦨 䦧ۨѮА䩲ϩѮАϮۨϡ䩲䦨ᄉՐЬϮӤсЛ䦚 䦧Ϣ䦙ϢϤϥϮԲϪ䦚䦨ԏख़⚯ֲֲ࣬࣬ϡ䦚 䦧ӾѼϤϥϮԲϪ䩔‫ۂ‬ᗲ೤ϡ୮жЇϴᓹԧ௳޵䩲䦨ᄉՐЃϦЃј䩟ᄿ݆ ҍ঩঩ϡ䩟䦨ϧ՘А༿Џᗲ೤ϡ୮жϤҮᓹ䩲䦨 ԏख़⚯Ϥ༿Џ՘АমҦ䦚 䦧ϧᓹР䩲䦨 ԏख़⚯ৼৼӳ䦚 ᄉՐъՒ‫߷ظ‬ѼԸϦ䩟‫૴૴ڮ‬ϡ䦚䦨՘А䩟ЂϤЂᓹϣᓹ䩲䦨 ԏख़⚯ӱжỪᦟϦϣЎ䩟ҍϥৼৼӳ䦚 䦧ъϧѯϢః䦡䦡䦨ᄉՐ߷ѼඓѬ䦚 

TWO MINDS

97

r Degu was stumped. ,UHDOO\PXVWKDYHRϸHQGHG*XLKXDWKLVWLPH:KDWHOVH FDQ,GRWRPDNHWKLQJVULJKW" He thought and thought and eventually went to the auntie next door and asked her to talk to Guihua on his behalf. Pretty soon she came back, her face ushed with anger. Stamping her feet as soon as she walked in, she said, “ r Degu, I shouldn’t have gone on your behalf. What Guihua said was not t for anyone’s ears!” She also said that Guihua planned on marrying someone from the neighboring village. r Degu collapsed. Squatting, he wrung his hair tightly with his left hand. The auntie next door looked at him. Feeling sorry for him, she suggested with a sigh, “You knucklehead! This is a knot no one can untie but you. So get at it.” r Degu thought her suggestion made sense. To gird himself, he clenched his sts a couple of times, then strode to Guihua’s house. He was confused: How come the most amenable person in the YLOODJHKDVFKDQJHGVXGGHQO\",VVKHUHDOO\JRLQJWRPDUU\VRPHRQHHOVH",WPXVWEH WKDWVKHGLGQ·WϮQGP\DSRORJLHVVLQFHUHHQRXJK Guihua gave him a dirty look, “So you are man enough to come yourself.” “I’m here to apologize. Please forgive me for being such a jerk.” “Oh?” “I’ll change, Guihua.” “Change what? What’s there to change?” Guihua said fretfully. “I . . . I’m not a good man,” r Degu stammered. “Of course, you aren’t. You want to take o a widow’s pants.” Guihua looked at him, something was odd about her tone. “How do you know it doesn’t need much to get a widow out of her pants?” r Degu didn’t know what to say. “Have you tried?” r Degu shook his head. Suddenly the look in her eyes changed, gleaming with passion, “Well, do you want to?” Trembling, r Degu shook his head. “Then, get out of here!” Guihua exploded. (2006)

98 К  Ѩ

VOCABULARY AND USAGE КѨ

X nshì

a load on one’s mind

ϸАЩϡ‫י‬ж‫ڃ‬ϿϩКѨ䩲

‫֬ב‬ ख

Ji q n

receive the bride

ոжֲࠝ䩟ј௭‫ܦ‬ຟ‫֬ב‬䦚

Ti o

choose; select

ԧНϥϬ‫ښ‬ѦखϣϡϮಪ ਔ䦚

Ѥ༸༸

m iz z

pleased with oneself

ЌѓЅҹհа֑ࠜϨЅм ߫ղ䩟ϽਛКѦѤ༸༸ ϡ䦚

ࣳঊ֐߿

xìngzhì shízú

be in the best of spirits

Лв߿‫ܧ‬䩟јࣳঊ֐߿䦚

Ў୷

Xiàd

gulp down

Җ࣭‫ܦ‬Ў୷䩟ԧϡҦЄв ϱ䦚

ଂ‫ݼ‬

W idú

only

ԆϡѨոϧНйІ‫ݸۥ‬ ӡ䩟ଂ‫ݼ‬ϸխѨϢϤЌ ࣊ϧ䦚

ЛϤРЧ

shu bú guò q

hardly justi able

ϧ‫ڝࡇۂ‬ЁϤҘрϲЛϤР ЧϦ䦚

ᗲ೤

Gu f

widow

䦧ᗲ೤䦨ϥ‫࿆܋‬ਜ਼ЧԒϦϡ ѽϪ䦚

ϤҮᓹ

B j nquàn

easy to persuade

јўϧ‫ݾ‬ϧϲ‫ݾ‬䩟ϸАϤ Үᓹ䩲

࿰

Y ng

face upward

ཛྷ

Bó

neck

ϨϸѦ䩟䦧࿰ཛྷ䦨ٰ䦨࿰ӳ䦨 ईϤЄ䩟Ёϥ࠘சϼϡ Һ‫ڽ‬䦚

ϣ ᄬ

C

side

Ӟਅᄬϡњ՟ᅜवϦ䦚

ጥ

ch

pull

јጥϦϣЎϢϡ᠗៿‫ࢎچ‬ ϦϢ䦚

࣬Ւ

b (y n)

open (eyes wide)

ϸ‫י‬ж࣬эҖՒϲߥ䩟చӡ ϥਜϦ䦚

Ῑ঩

ch nguài

blame; chide

ԧῙ঩Ϣ۲ϦԧϡТя䦚

௢બ

zh ngzu

slap

ϧϤಷಷԱҦ䩟ЩКϢ௢ϧ ϡબ䩔

ӆϱϲϸ ҘѨ

b nlái ji zh huí shì

That’s how it is.

‫ث‬౥ѮА䩲ӆϱϲϸҘѨ ৰ䩔

⎠۵ֲድ

ch ngm ji sh

be struck dumb

Ւӓϡ࡞඿इЏԧ⎠۵ֲ ድ䦚

ಙ

zh n

a measure word for a period of time

ϧϮϣಙжЬϱрѦ‫ܩܩ‬ Ϧ䦚

฽฽

hu nhu n

slowly

ј฽฽჋вӳ䩟ϣ࠘ቪҺ䦚

TWO MINDS

99

ᇹӳ

ni (tóu)

turn; twist

ࣀ ԑ

(d )l

acknowledge; respond ԧϣ‫ݱ‬ϳЁЬࣀ ԑϢ䦚

๋ଐ౤

y o rduo

whisper

ҡؔҷϣϳϼࠅϲЛ䩭 䦧ࠅϼϤ‫ےܙ‬ӳ‫ב‬ଐ๋ ଐ౤䦚䦨

ϩҺ‫ڽ‬

y uyìsi

falling for someone; checking someone out

ϧϸАԮКԧ䩟ϣӡϥцԧ ϩҺ‫ڽ‬Ϧ䦚

ࣣརར

luànz oz o

perturbed

јЛӮϦҦ䩟КѦࣣརརϡ Ъаା䦚

ҵ ࠧ‫ؽ‬

(z u)b iy n

bad luck

ϧЇϿϩҵࠧ‫ؽ‬ϡЗԃ䦚

Ⴒ൧

mányuàn

blame

оϦ՜֣ϤϴւϥႲ൧Ԇ Ϫ䦚

ᤋ

zhu ng

a measure word

јϡъᤋКѨభѦϪЁКҌ ୷Ҵ䦚

खһ

ti oshu

carry (buckets of) water (on a shoulder pole)

ԧҟϳЧ૯‫׷‬ख҅һѷ䦚

ᆝ

diào

lift

ђϩвԳҜҥЌᆝвϸАϽ ϡ੘࡮䦚

јϣᇹӳ䩟ଖӤ৳৳сҵ Ϧ䦚

න

ch ng

support

ᘰ஍

bi nd n

carrying pole

јѓ‫࣠ף‬ᘰ஍නвϦϸϬ ௃៑䦚

ᚿ

ch u

cast a glance

ј౭ЏЁϤ‫ٲ‬ᚿᄉՐϣՒ䦚

ⲓ

mi

squint; askew

ԧⲓϦϣՒϢ҂ϡѲ֞䩟Х ϥϤ‫ٶ‬Һ䦚

ϤߤϤջ

b l ngbúr

neither hostile nor friendly

ҰϪϤߤϤջϡ‫֏ݮ‬ўϢЪ Ϥস‫ע‬䦚

፲Ϥϥ

p ibúshì

apologize

ٰϣϬϪЛ䦧цϤв䦨ϲϥѯ ј፲Ϥϥ䦚

ᇄ

lòu

leak

ϸϬӤ‫ܧ‬ᇄӤ䦚

✂Ӿ

ku ngd ng

a clashing sound

Ͻ੏՟✂Ӿϣ‫ل‬ԮϼϦ䦚

ዓ‫ׯ‬

jìngzhí

straight

ј‫׆‬ӱዓ‫ݡۖ܊ׯ‬ ҵЧ䦚

ᙴબ

li (zu )

draw back the corners ъ‫י‬жᙴબϽߥϡ҈жѐ of one’s mouth ԡЃ䦚

ᔦ

l ng

stare blankly

јᔦϨъѦ䩟‫ٻ‬ϳѪҦ䦚

ࠧ‫ؙ‬

b iy ng

a view of someone’s back

ϢЃаԧϡࠧ‫׹۽ؙ‬Ϩ١ ௷Ѕ䦚

ϤӚК

b sxn

unwilling to give up

ԧӔҮҵϦ䩟ϤӚКЇЬ ѓϦ䦚

100 К  Ѩ

ЩКՒո

xi ox ny ner

petty

ՇЛѽϪЩКՒո䩲

ᏮӤ

d qì

feel wronged and act rashly out of spite

ϧϤ؎ٰ୊আᏮӤ‫ڒ‬ро ҵ䦚

ᘉ

lán

bar; block

јၜѲᘉ֙Ϣ䩟ϤўϢ֡ Р䦚

็Ѧฦຂ

x l hútú

muddleheaded

ј‫ݱ‬ϳ็Ѧฦຂϡ䩟‫ڃ‬ϳߎ ՆЁϤҌѬ䦚

ᅑӳᅑ‫ݽ‬

h ntóuh nn o muddleheaded

Ϣ࠯ԉЬӒϮ䩟ѴϨᅑӳᅑ ‫ݽ‬ϡЬ֚Ѻ‫ܠ‬䦚

୍ེ

fànchóu

worry

ьэѺϦ䩟јХϨЋѺ‫୍٭‬ ེ֦䦚

ϸЎж

zh xià (zi)

thus; this time

ϸ‫܌‬ᐚϧҵӮϦ䩟ϸЎжϥ ఍ӡϦ䦚

Џ഻

d zuì

o end

јϸҦЛЏϤׁ޸䩟Џ഻Ϧ ЪЄ‫ھש‬䦚

ਤષ

b ji

remedy

ϸϬӮணЬ֚ਤષϦ䦚

‫ڽ‬ϱЂЧ

s lái xi ng q

think back and forth

ϧϸ҈‫ڽ‬ϱЂЧӒϤаҢ䩟 ХϤҒՉѢոЎ‫ݸ‬К֦䦚

ഭຍ

g bì

next door

ԧ֙Ϣഭຍ䦚

оӌ

ch miàn

act on behalf of

ϸѨո‫ڃ‬Ќў୊আЋϢЙо ӌ‫ݸث‬䩲

Лє

shu qíng

intercede for someone

ϸѨոϧՏՇЛєЁЬѓ䦚

↤ऑ

duò(ji o)

stamp (foot)

јϣТӤϲ↤ऑඓ‫چ‬䦚

ᨰ

n ng

wring; twist

ϴэ՟Џ܏ᨰϣЎ՟өѲ䦚

ᯜ

duò

chop

‫ݽ‬ᅂ

n ok

skull

䦧ϧϸᯜ‫ݽ‬ᅂϡ䦨ϥϬҤߞ ԣܼ䩟ϥЛϧ‫ݽ‬жϤэ ᚍ䩟ѐЂ‫ݨ‬ϧᯜэ䩟ў ϧэᚍ䦚

ֲ

Ji

knot

ЪЄ‫ݘ‬ԘѓЅмֲ҂ܲ‫ݍ‬䦚

ⅼ

zuàn

ball one’s st

ϧⅼᎫӳ‫ݾ‬ѮА䩲ЂӋϪ䩲

ᯔᯔ

d ngd ng

sound of thrusting ԱϺ‫י‬жϡߥ‫ل‬䩟јь‫܌‬ᯔ against the ground ᯔ‫܊‬рާ䦚

੡༜

k nhuò

perplexed

ᄉՐϡ‫֏ݮ‬Їўࢴ‫ٷ‬Ъ੡ ༜䦚

Ϯ‫܇‬Ҧ

h oji nghuà

soft-hearted and easygoing

ॎѼъ֧ҡؔЪϮ‫܇‬Ҧ䩟ϼ Ϯјϡࠅ‫׊‬ϤъА‫ډب‬䦚

Ў॰Ե

xiàji liú

people of humble professions

䦧ϼ॰Ե䦨ф䦧Ў॰Ե䦨ϡϤӎ ঎঎ϥੲ‫׭‬Ӷ䩲

ЬϮӤ

m ih oqì

sulkily; snappily

ԧКєϤϮ䩟цՇЁЬϮ Ӥ䦚

TWO MINDS

101

ֲ࣬

ji ba

stammer

Ѻࠟ‫੽܇‬ϮϦϢϡֲ࣬䦚

ᄿ݆

qi ngdiào

tone of voice

ϧ՘Аϸ҇ᄿٰ݆ҡϪЛ Ҧ䩲

‫૴૴ڮ‬

hu làlà

burning

ԧ‫૴૴ڮ‬ϡՒ‫ظ‬өјइ֙ Ϧ䦚

Ừᦟ

du suo

shiver

јϤϥߤЏỪᦟ䩟ϥ౭Џ Ừᦟ䦚

QUESTIONS FOR DISCUSSION 1. What is going on in this story? Does Guihua like r Degu or not? Why is Guihua mad? What does she really want? 2. Does the ending surprise you? Did it make you laugh? 3. How is this courtship unique or not so unique? 4. Is this just a case of a misunderstanding? If not, what other obstacles do r Degu and Guihua face? Who/what is their biggest obstacle? 5. What paradoxes of life does the story capture? 6. Is r Degu’s continuing to apologize a good or a bad thing? Will it help save this relationship? 7. Write in as few words as possible what happens next in the story.

  ‫ݞ‬ѨѦϺ݄тТϦѮА䩲ᄉՐӍӧϤӍӧԏख़⚯䩲ԧӤϨ‫ڃ‬ո䩲ԧϺ݄ ЂϴѮА䩲   ‫ݞ‬ѨϡֲഅϧࢧϺϦӶ䩲ўϧԙо‫ل‬ϦӶ䩲   ԏख़⚯ϡؒЕҤܴЪ‫ئ‬ቕХϥЪϣડ䩲ЋѮАϸАЛ䩲   ԏख़⚯фᄉՐђϥོ֡ԑ‫ث‬ϩ՜֣Ӷ䩲ҒҝϤϥ䩟ъјЙҏҽХϩѮА ᅣዢ䩲Շ䩢ѮАϥјЙзϽϡᅣዢ䩲   ϸϬ‫ݞ‬Ѩቫ፬ϺϦѮА҈ϡТ҅₪‫ڹ‬䩲   ԏख़⚯Ϥ߾сѬቪϥϬϮѨХϥवѨ䩲јϸ҈҂ϩࡾӊјЙԮ‫ڍ‬ϡтࣁ Ӷ䩲   ѯϸϬ‫ݞ‬Ѩ‫ܐ‬Ϭзߣߦϡ۟䦡䦡‫ב‬ЎϱтТϦѮА䩲

102  К  Ѩ

AUTHOR BIO An amateur writer since the 1980s, Wang Qionghua (1971–) has published more than 800 short-shorts. More than 120 of them have been anthologized in annual collections or reprinted by such prestigious or popular journals as Selected Fiction, Selected Short-Shorts, 6HOHFWHG0LFURϮFWLRQ, and Readers. In 2012 his story “The Last Bowl of Soya Beans” (“зњϣಒࢷ ࠵”) served as the reading comprehension text for the college entrance examination in Liaoning Province. “Two Minds,” his representative work, was written in 2006 when he was heading the Organization Department of the Communist Party of China Linwu County Committee, Hunan Province. The department was the human resources engine for a county of about 400,000 people. Wang Qionghua attributes his understanding of human predicaments and his ability to present complex moments of life to his rich and diverse experiences. From a pancake man to a warehouse keeper to a clerical sta member to deputy director of the ducation Bureau of Chenzhou Municipality, the o ce he currently holds, Wang Qionghua has worked in more than a dozen professions. The one not included in this count is his role as volunteer promoter of the short-short genre. He has made use of his administrative power to facilitate educational-cum-promotional events for short-short ction both locally and nationally. He is also a vice-chairperson of the Chenzhou Federation of Literature and Art and a vice-chairman of Chenzhou Writer’s Association and does interior design for fun. He ranks among the top short-short writers in China.

2

ᘓ୩ϡЕє ଽᮃᮃ

ᘓ

୩ЃϼϦభѦϡ‫؀‬ӱఉޭю䦚 ᘓ୩๛෪ϪЧޭюрЛ෪䩟෪ϪҘϱЛ䩟ޭюϤӎҺ䦚 ᘓ୩՜Ћ੨䩲෪ϪᏌᏌ௪௪ϤЂЛ䦚ᘓ୩‫ׯ‬аା䩟ў෪Ϫߊ ‫܉‬Л䩟෪ϪҥЛ䩟ޭюЛϧѿ཯ߛ䩟Ϥ‫ٲ‬ፍ䦚ᘓ୩ϣԱ䩟КЛ䩟ϧքϤ‫ٲ‬ ፍ䩟ϢХքϴผѯϧ䩔 ᘓ୩рϡܶьѷЬϦ䩟сѦϡ҅ѿЄ䩟ԧЬЗҽЧձ䩟ϲЂўՇϼओЗ ‫ݨ‬ԧᶑϣೂҘϱ䦚ԜϨঅϼҳа䩟ޭюРϱϦ䦚ᘓ୩‫֙چ‬ј䩟՜јϥϤϥ ϼओЧ䩲ޭюЛϥ䦚ᘓ୩ϲЛ䩟ъϧ‫ݨ‬ϢձϣೂϽܶщ䦚ޭюӹЋ།ࠀϦ ᘓ୩䩟ӐԋϺԧ䩟ϩѢϤϮҺ‫ڽ‬䩟Ԝ༠ዀ֦䩟ᘓ୩Л䩟ေ䩟ؒϧϸѢոѨ ЁϤҲ䩲ޭюࡤЛҲ䦚 ᘓ୩ЧсѦ‫҅ݾ‬䩟өϽ՟ԪѦྟϦ䩟Ԫњ՟оЧ䦚Ѕ۹ҘϱԋϽ՟ҩϪ ҃Р䩟ϲҌѬϥޭю‫ܶ؟‬ϱРϦ䦚ᘓ୩‫ޤޤ‬Ѳ䩟޼խ‫עژ‬䩟ЂЧޭюрԼ ܶ䦚ЂϦЂ䩟ҍЬЧ䦚ԉϼ䩟ᘓ୩ӅѷР‫ۮ‬䩟ϲԱԋϩϪዎϽ՟䩟ޭюϨ ֔ӌஃ䩟ᘓ୩䩟ᘓ୩䦚ᘓ୩Ь҂‫ل‬䩟ԱϦϣϿո䩟Ь҃‫ݔ‬Ϧ䩟ҥӒЎ䦚 ҷԏϳϣՉ䩟ᘓ୩ՉՉϲЧϦޭюр䦚ϺϦјр䩟ЇϤՖࡨ䩟ഭаො ஃ䩭ޭю䩟ޭю䩟ϧ࠯ԉϥϤϥЧϢрϦ䩲ъ‫ٸل‬䩟ϽЏ‫ף‬ርࡂ਺ЁЌԱ

2 CUILAN’S LOVE Li Lingling

C

uilan fell in love with Ma Cheng, a bachelor in her village. Cuilan sent a matchmaker on her behalf to Ma Cheng’s house, but the woman returned with Ma’s refusal. Cuilan asked why he had refused. The matchmaker, speaking one word but swallowing the next, was reluctant to say. More and more agitated, Cuilan hammered at her to tell no matter what, so the matchmaker said, “Ma Cheng says that you’re too sharp to make a good wife.” When Cuilan heard this, she said to herself, “The more afraid you are of me, the harder I’ll work to be your wife!” Cuilan was running out of rice, but she was too busy working in the elds to get more. She thought of asking someone to bring her a sack from the market. As she was in the street looking for someone to ask, she saw Ma Cheng walking in her direction. She stopped him and asked if he was on his way to the market. When he answered yes, she told him to get her a sack of rice. Ma, who felt a little awkward at seeing Cuilan after rejecting her, hesitated. Cuilan beat him to the punch, “What’s the problem? You won’t even help me with a tri e like this?” Ma quickly agreed to help her. Cuilan latched the front door from inside her courtyard and left for work through the back door. When she came back at noon, she knew Ma Cheng had come by to deliver the rice, because the front door had been pushed slightly ajar. She washed her hands and changed into clean clothes. She intended to go to Ma Cheng’s house to get the rice, then thought better of it and decided not to go. That evening, just after dinner, Cuilan heard a knock at her door. Outside, Ma Cheng called her, “Cuilan, Cuilan.” She didn’t respond. She listened; after a little while the calling stopped and she went to bed. The next morning, Cuilan arrived at Ma Cheng’s house very early, but she did not try to enter the courtyard. She yelled from outside, “Ma Cheng,

106 ᘓ ୩ ϡ Е є

ԋ䦚ᘓ୩ஃԟϦϲϨ֔ӌҳ䦚ޭюХЬоϱ䩟ޭюϡር࢒ᄉᇙ܏оϱϦ䩟 Ѓԋᘓ୩䩟࠘ϣਭ䩟‫׆‬ӱҘЧϦ䦚 ᘓ୩ԋᄉᇙϸ҈䩟ϲҌѬ෪ϪЛϡϥѐϡ䦚෪ϪЛ䩟ޭюҏӛйϤӎҺ фᘓ୩ϡ֬Ѩ䩟ХϩϣϬ֍ӹ䩟ϲϥјКѦᠲаᄉᇙ֦䦚 ᄉᇙӔҮҘІϬո൙ЧϦ䩟ޭюҥоϱ䦚ԋϥᘓ୩䩟ϲЛ䩟Ϣ࠯ϳѯϧ ‫؟‬ϦҖᇜܶ䩟ϧЁЬϨр䦚ᘓ୩Л䩟Ϣ࠯ϳϨсѦ‫ݾ‬Ϧϣϳ҅䩟ԉϼѷԟ ‫ۮ‬䩟Ϻྴԏᣌр‫ܩ‬ϦϣϿո䦚ޭюЇЬ࢛ૢ䩟ϲөϽܶ‫؟‬Ϻᘓ୩р䦚 ᘓ୩ϨсѦೝԋϦྴԏᣌ䦚ྴԏᣌ൸‫ل‬՜ԧ䩟ϧٰޭю੨ЗԃϺϣв ϡ䩲ᘓ୩Л䩟ԏᣌϧНԆࣣЛ䦚ྴԏᣌЛ䩟Ϣ՘АϥࣣЛ֦䩟ޭюϼϧъ Ч䩟ՇϤҌѬљ䦚ᘓ୩ԙаЇϤᔪ‫ث‬䦚 ЬРЄ‫ڜ‬䩟ᄉᇙфޭюઠᒴϦ䩟ᄉᇙЛޭюКϤ஦䩟фԆϡѽϪϤ֜Ϥ Ձ䦚ᘓ୩КѦӍ䩟Нԣӌϼ‫ࣸ׊‬ЏЪဖା䩟ԧЧ‫ޭװ‬ю䩟՜ј‫ߞت‬ϥϤϥ ѐϡ䩟ᄉᇙϥϤϥϨЛԧ䩟ԧНйٰᄉᇙ‫ث‬౥֜௟䦚ޭюЛ䩟Ϥѓ‫ث‬౥䩟 ք‫ث‬౥քϤ֜䦚 ॼϳХЬРԟ䩟ᄉᇙϲผϪϦ䦚ޭюЪ‫޻׹‬䩟Ү‫ֳ׶‬аᄉᇙ֙Рϡࡨж тഗ䦚ᘓ୩ԋޭюϸ҈䩟ЇϤЧӋൢј䦚 ‫ڠ‬ϳϱϦ䩟рр‫ݐݐ‬ЁࡤϦвϱ䦚ᘓ୩Їࡤ䩟ԧኘԟϦ࠵жЂኘҙ≀ З䩟␻ఋवϦ䩟ϲЧޭюр౗䦚 ᘓ୩ϣՖࡨϲԱԋϣಙߥ‫ل‬䩟ϥޭюϡոжЩև䦚ޭюЬϨр䦚Щևਜ Ϧ䩟ЂІѝઅҤ۬ӌѷ䩟ֲҝө঄ᔘடࡒϦ䩟эһөЩևϡѲႆ‫؍‬Ϧ䦚

CUILAN’S LOVE

107

Ma Cheng, did you come to my house last night?” She was so loud that all the neighbors nearby could hear her. Once she was done shouting, she waited at Ma Cheng’s courtyard door. Guifang, a neighbor of Ma Cheng’s, came out before Ma Cheng did. Her face darkened when she saw Cuilan. She turned around and went back in immediately. Guifang’s reaction convinced Cuilan that the matchmaker’s words had been true the other reason for Ma Cheng’s refusal of Cuilan was Guifang, to whom Ma Cheng had taken a fancy. Ma Cheng did not show up until Guifang had disappeared into her own house. When he saw Cuilan, he said, “I tried to deliver the rice to your house twice yesterday, but you were not home.” Cuilan replied, “I was working in the elds the whole day, then I paid Auntie Wu a short visit after dinner.” Ma Cheng accepted her words without fuss and helped bring the rice to her home. In the elds, Cuilan bumped into Auntie Wu, who asked in a whisper, “Since when have you been with Ma Cheng?” “What nonsense!” replied Cuilan. “I’m serious,” Auntie Wu continued. “Ma Cheng visits you at your house. verybody knows it.” Cuilan smiled and made no attempt to debate or defend herself. The trouble between Guifang and Ma Cheng came to a head soon after. Guifang accused Ma Cheng of being insincere and coveting other women. Cuilan was delighted, but pretended to be worried about Ma Cheng. She went to ask him if the rumor was true, if Guifang thought she was the other woman, and said she would be willing to go to Guifang and clear his name. Ma Cheng said there was no need and any attempt to clarify things would only complicate the situation. Guifang got married before the summer was over. Ma Cheng, distraught, was often seen staring at Guifang’s house in a daze. Seeing Ma Cheng in such a state, Cuilan left him alone. Fall arrived. very household began to bustle with activity, and so did Cuilan’s. She nished harvesting beans. When she was moving on to sorghum, her sickle broke, so she went to Ma Cheng’s to borrow one of his. The moment she stepped into Ma Cheng’s courtyard she heard someone crying. It was Xiaodong, Ma Cheng’s son. Ma Cheng was not at home. Xiaodong was hungry and had tried to make instant noodles for himself. The hot water had scalded his hands when the thermos bottle toppled over.

108 ᘓ ୩ ϡ Е є

ᘓ୩َвЩևϲ‫ާࡨࣨ܊‬䩟ࣨТөЩևի‫؍‬ϡѲ‫د‬ႹϮϦ䩟ޭюҥ٬ Ϻ䦚ޭюКࡕсЃаոж䩟Ђََј䩟ҩᘓ୩ϣөԐэ䦚ᘓ୩Л䩟ϩϧϸ ҈ϡುӶ䩲ө‫י‬жϡѲႆюϸ҈䩔 Лԟ䩟َвЩևϲҵ䦚ޭюϨњӌٰа䩟ӪҋЂ‫ב‬РЩև䩟ᘓ୩ЁϤ ѯ䦚 ᘓ୩өЩևَҘϦІѝр䩟ޭюЇϴՖϱ䩟ҩᘓ୩ჲϨϦ՟֔䦚ԉϼ䩟 ޭюϱ‫ב‬Щև䩟ЩևϤҘ䦚ЩևЛ䩟ᘓ୩ᣌ҂ϡ‫ۮ‬ԝϧ҂ϡϮѷ䦚ޭюЂ Ֆ൙‫ܩ‬Ͽո䩟ҩᘓ୩ᘉ֙Ϧ䦚ᘓ୩Л䩟ѿԉϦ䩟ϧϲԆՖϱϦ䦚 Щև֙Ϩᘓ୩рϤ݁ҺҵϦ䩟ޭюϱ‫ב‬ϦϮӪҋ䩟ЩևЁϤҘ䦚ޭю Л䩟ϸ‫י‬ж䩟ѐϤ‫ګ‬Ѩ䦚ᘓ୩Л䩟ϽϪԝ‫י‬жХϤ‫ګ‬Ѩ䦚Лԟ䩟ҍϴԮϽ ՟䦚ޭюЛ䩟ҳҳ䩟ҳҳ䩟ϧ՘АւϤўϢՖ՟֦䩲ᘓ୩Л䩟Ϣϡ՟䩟Н Ϥϥ‫۬ڦ‬Ֆϡ䦚ޭюᔦϦᔦ䩟ЬЛҦ䩟ҵϦ䦚 Ӿϳԉϼ䩟෪ϪϲϱϦ䩟ϱ༗ޭюЛ෪䦚 

CUILAN’S LOVE

109

Cuilan picked Xiaodong up and dashed toward the hospital. Ma Cheng didn’t make it there until the doctor had already dressed Xiaodong’s burns. Ma Cheng, hurting for his son, tried to hold him, but Cuilan pushed him away, “I’ve never seen a father like you! How could you allow this to happen?” With these words, Cuilan picked up Xiaodong and walked out. Ma Cheng, trailing behind her, tried a few more times to take hold of his son, but to no avail. Cuilan took Xiaodong to her own home. When Ma Cheng tried to get in, she stood in his way. That evening, Ma Cheng returned to fetch Xiaodong, but the boy refused to leave. He told his father, “Auntie Cuilan makes yummy dishes, tastier than yours.” Ma Cheng wanted to come in and sit down, but was turned away once more. “It’s getting late,” Cuilan said, “and it would be inappropriate to let you in.” Xiaodong made Cuilan’s house his own and didn’t want to leave. Many times, Ma Cheng came to take him back home, but Xiaodong wouldn’t leave. “This kid really doesn’t know how to behave,” Ma Cheng said. “I know an adult who’s even worse,” Cuilan responded. With these words, Cuilan began to close the door again. “Wait a minute, wait a minute!” Ma Cheng interrupted, “Why do you keep me out all the time?” “To get in my door,” Cuilan responded, “one must perform the appropriate ritual.” Ma Cheng’s face went blank, then he left without a word. That very evening, a matchmaker came on Ma Cheng’s behalf to ask for Cuilan’s hand in marriage. (2009)

VOCABULARY AND USAGE Ѓϼ

kànshàng

take a fancy to; fall for

јЃϼϦϣ֧ӎ‫ڡ‬ϡ ѽТ䦚

๛Ϫ

tu r n

ask someone; entrust someone with something

ԧѵϳϴӸ‫ڡ‬䩟ϤЏϤ ๛Ϫө‫י‬жԪѺ‫בޥ‬ Ҙр䦚

Л෪

shu m i

act as matchmaker

јՏር࢒Чѽ‫י‬рЛ ෪䦚

ߊ‫܉‬Л

j ngu n(shu )

feel free to (say)

ϸև՝Ϣϩϡϥ䩟 ϧߊ‫ڛ܉‬䦚

110 ᘓ ୩ ϡ Е є

ϼओ

shàngjí

go to the market

ϧѵոϼओЧϤ䩲

ᶑ

sh o

take along something to or for someone

ϧ્‫܌‬Ҙϱ‫ݨ‬Ϣᶑ‫ڤ‬ѵ ϳϡԉ‫ۏ‬䩟ϮӶ䩲

‫֙چ‬

jiào zh

stopped

ԧۘϴҵ䩟ϢЬЌ‫چ‬ ֙䦚

།ࠀ

j ju

refuse; reject

Ϣ།ࠀϦԧϡѪԑϴ ؒ䦚

༠ዀ

yóuy

hesitate

ј༠ዀϦϣЎҥম‫׏‬䦚

ေ

z

why

ј‫چ‬Ϧ‫ٻ‬ϳ՟䩟ϧေϤ э֦䩲

‫ף‬ርࡂ਺

sìlínb sh

one’s near neighbors

ԧϡߥ‫ףل‬ርࡂ਺ЁԱ ϺϦ䦚

࠘ϣ ਭ

(li n y ) ch n

pull (a long face)

ј࠘ϣਭЛ䩭䦧ϪՉӚ Ϧ䩔䦨

࢛ૢ

xì ji

scrutinize; get to the bottom of something

՜֣оϨ‫ڃ‬ո䩟 ϧЙϣӡЏ࢛ૢ䦚

ᔪ‫ث‬

biànji

defend; explain

ϸѨոքᔪ‫ث‬քЛϤ ֜䦚

ઠᒴ

nào ji ng

come to a deadlock

јЙൟઠᒴϦ䩟дѲ Ϧ䦚

К ஦

(x n) ch ng

sincere; sincerity

јй஦‫ۉ‬Ϫ䩟ϩЪЄԴ Ҏ䦚

Ϥ֜ϤՁ

b q ngb bái

neither innocent nor clean; have an illicit relationship

ѽԴҎϤ‫ܙ‬јфԆϡѽ ϪϤ֜ϤՁ䦚

અ

pào

soak

ϸસϴઅϣϿոҥϮ ‫ޤ‬䦚

঄ᔘ

nu nhú

thermos bottle

঄ᔘϥЪЄЅмϪϡТ ҅‫ؑۓ‬Ԙ䦚

‫د‬Ⴙ

b ozh

bind up a wound

ϢЙѓ၏޿‫د‬Ⴙ‫ט؍‬䦚

٬Ϻ

g ndào

rushed to

ϢЙ٬ϺҜԿЗٟҜӔ ҮвٟϦ䦚

ჲ

d ng

block; keep o

ϣᇣҩըᅜࡒϡஔჲ֙ ϦϢϡբ䦚

༗

tì

for

Ϣ༗ϧө‫ڛڪ‬ϱϦ䦚

CUILAN’S LOVE

111

QUESTIONS FOR DISCUSSION 1. Why doesn’t Cuilan go get the rice from Ma Cheng at noon that day? Why doesn’t she open the door when Ma Cheng brings the rice to her that evening? Why does she go to Ma Cheng’s early next morning and make her visit known to all? 2. Does Cuilan cause the breakup between Ma Cheng and Guifang? 3. Does Cuilan love Ma Cheng? Is Cuilan trying to force love on Ma Cheng? 4. Why is Xiaodong necessary in this story? Will Cuilan and Ma Cheng be happy together? 5. What do you think of the way that Cuilan goes about getting her man? Are you delighted or dismayed by her behavior? 6. What does the story say about love and the little details of everyday life? 7. What does the image of Cuilan do to clich s about Chinese women?

  ᘓ୩ЋѮАϤӾϳЅ۹ЧޭюрԼܶ䩲ъԉޭюϱ‫ܶ؟‬ԧҍЋѮАϤэ ՟䩲ґԧҍЋѮАҷԏϳϣϽՉϲЧޭюр՟‫ט‬Ͻ‫܅᾽ل‬䩲   ᘓ୩ϥޭюфᄉᇙдѲϡ഻Წሃ۰Ӷ䩲   ᘓ୩ЕޭюӶ䩲ᘓ୩Ϩ௛ޭюЕԧӶ䩲   ϸϬ‫ݞ‬ѨѦЋѮАϴϩЩև䩲ᘓ୩фޭюϡֲׁϿ؄‫׫‬Ӷ䩲   ϧцᘓ୩ܹӡޭюϡҤܴϩѮАЃ֚䩲ԧϡߞҲўϧҙࣳХϥ‫ֳ׹‬䩲   ԮӊЕфҟяТ҅ҏᏋଦ䩟ϸϬ‫ݞ‬ѨϩаѮА҈ϡᶻ౥䩲   ᘓ୩ϸϣ࣏ࢣ՘҈৳ܑϦԮӊЅмѽԛϡವฒ޴݉䩲

AUTHOR BIO Li Lingling (1975–) grew up in North Willowton (‫ܚ‬ᑗஔᮩ), a division of Three Small Pieces of Stone illage (Щѧ࡮੘భ) in west Liaoning Province. She had only been outside her town a couple of times before writing this story in 2009. When she was fteen, she fell o her bike on her way to school and was subsequently diagnosed with progressive muscular atrophy. She started writing short-shorts twenty years ago. With only one limb her right hand still functional, she wrote herself to national fame.

112 ᘓ ୩ ϡ Е є

Her speech at an award ceremony in Beijing in March 2015 characterizes her view of writing’s role in her life. “Although ill-fated, I’ve had great luck in life. Selected Works of Fiction (Щ Л‫ש‬ᑂ) reprinted two of my stories; both have brought me joy and happiness beyond expectation.” The rst story is “Cuilan’s Love.” In 2010 it caught the eye of Yu Shengli, a top-notch television producer. Under his encouragement, Lingling expanded the two-page story into thirty-four episodes of a television drama. The royalty for the screenplay enabled her to buy a home in the city of Huludao in 2014 and to move her parents from their ancestral home into a life to which they had long aspired. “I’m extremely happy for being able to reciprocate my parents’ love this way.” Her second story that Selected Works of Fiction reprinted is “A Mathematician’s Love” (“ّѺрϡЕє”) published in 2014. It brought her to Beijing for the rst time one year later the story was nominated for an award by the China Writer’s Association. Three months after its appearance in Selected Works of Fiction, the story was adopted as part of the college entrance exam for Liaoning Province. “Because of my disability, I was not able to attend high school, let alone college. My work participating in the xam like this instead made up for the loss.” Lingling’s hard work is for a simple goal: “I don’t want to be a dependent; I want to live with dignity.” She is nishing up her second screenplay now and is busy putting together her rst collection of short-shorts for publication. “I want to sustain this urban life with the fruit of my own labor.” Lingling is thankful for life’s cruel sweetness: it con nes a youthful girl to a wheelchair and a ords her, in the meantime, rich experience of love and beauty.

3

རῨ ግЅԜ

ར

ῨϥъёபϳЬϦԲϪϡ䦚 ‫؀‬аӱϡ‫ޔܪ‬ϥརῨϡඃ䦚རῨผРϱϡЗԃ䩟‫ޔܪ‬Х ༗ҡϽКಣє݁ϡоϦ‫ـ‬䦚 རῨԲϪϡ᎒Ѩϥ‫ޔܪ‬Рϱ࢛࢛сࢧԑϡ䦚 ࢧԑԟརῨԲϪϡ᎒Ѩ䩟‫؀‬аӱϡ‫ޔܪ‬ϲцརῨЛ䩭៹䩟෈ХЩ䩟აՉ ผఉ⠾䦚 རῨЃϦЃХЩϡ෈䩟ҍֳֳՒӓϡ‫ޔܪ‬䩟ЬЄЛѮА䦚 རῨЬϩ‫ڒ‬эభນ䩟ЇϲϥЬ‫ڒ‬эརῨԲϪТ҅Рϡభນ䦚 ࡇϳϱϦ䩟భѦஔϼӗ‫ٶ‬Ϧࡇϳϡౘж䦚 རῨϲٰаࡇϳՖՊϦࡇϳ䩟భນϡᆜжϨϳϼٟ䩟ϨࡌѦٟ䦚 རῨհа෈Ӟ₋һ䦚 རῨϲө෈ӵϨ೧⎴ϼ䩟ъ෈Ϥߥ䦚 ବϮ੔੔ϡһӞ䩟རῨϲӞ䩟ӞЏ‫ٶ࠘ٶ‬ӳϥ๺䦚ӞϣϿ䩟ኡϣϿ䦚

  +HUH䦧ඃ䦨LVDVKRUWWHUPIRU䦧Щඃж䦨LHKHUKXVEDQG䦦V\RXQJHUEURWKHU

3 FOREVER BY YOUR SIDE 2 Wu Zhongzheng

T

hat winter, Zaokang lost her husband. Heipi was Zaokang’s younger brother-in-law and a bachelor. When Zaokang married into the family, he volunteered money to help his elder brother with expenses. It was Heipi who came over and, with great care, saw to his older brother’s funeral. After the funeral, Heipi advised Zaokang, “ lder Sister, your child is still young. The sooner you remarry, the better.” Zaokang looked at her small child and at her bachelor brother-in-law right in front of her. She didn’t say anything, at least in words. Zaokang didn’t leave the village. That is, she didn’t leave the village where her husband had lived. Spring came. Trees in the village were covered with spring leaves. Following in the season’s footsteps, Zaokang entered spring the way swallows in the village y to the sky, y as if in a painting. When she went to irrigate her rice eld, Zaokang brought her child along. She sat the child on a ridge outlining her eld. The child did not cry. She set up the narrow waterwheel and started to work. Soon sweat was streaming down her face. She had to alternate work with rest. 2. “Zaokang” (རῨ) is a loaded name. Originally a term for the food of poor people, it takes on additional meaning in the phrase “རῨҏഀ,” which can be translated as “a wife who has shared her husband’s hard lot.” It is an allusion to the classic story from The Book of the Later Han that made the saying “རῨҏഀϤЎஇ” (“a wife who has shared her husband’s hard lot must never be cast aside”) a byword in China. The line is part of the answer an o cial gave mperor Guangwu (5 BC –57 C ) when he tried to act as a go-between for his sister who wanted to marry the o cial. In 2013 a student from Taiwan, Liu Fangyin, rst translated the title as “Always by Your Side.” She argued for her translation with the help of the story from the Han dynasty. Her work inspires the current translation.

116 ར  Ῠ

ӾъӞ࣫ϼϡһา޻ЎЧњ䩟རῨϲЂвфԲϪϣӎӞһϡ҈䦚Ӟһϡ Ѳϲߝߝс߾Ўϱ䦚 རῨफ़۲Ϧ‫ܩ‬Ϩ೧⎴ϼϡ෈䦚 ъ෈޵Ϩ೧ѦϦ䩟тоϦߥ‫ل‬䦚རῨҥҘР‫ظ‬ϱ䦚 རῨӐϤ‫ٲ‬ЂъӚЧϡԲϪ䩟‫َࡤۂ‬въ෈䦚 ‫ޔܪ‬Рϱ䩟՜䩭ХӞϤӞ⠾៹䩲 རῨЃϦЃҳһϡ੓੓ϡ₋䦚 Ӟ⠾䩔 རῨۖϣ‫׷‬䩟‫ۖޔܪ‬Ϩϣ‫׷‬䩟ҖϪӌцӌсӞһ䩟ӞϼϡһϨӞ࣫ϼ቗ оϡһՐ䩟ϣ౤ϣ౤ϡ䦚 རῨϤኡ䩟‫ޔܪ‬ЇϤኡ䦚 ϩϪЃԋརῨф‫ޔܪ‬Ӟһ䩟ϲЛ䩟རῨ‫ܜ‬ϥ‫ޔܪ‬ϡϦ䦚 རῨϴӋё൷Ϧ䦚རῨц‫ޔܪ‬Л䩟ඃ䩟‫ב‬ϧРϱ҂ё൷䦚 ‫ޔܪ‬ϲРϱ‫ࡤݨ‬䩟Ӌቤ䩟ਮ‫ڮ‬䩟஍һ䩟ሯ়Ϧё൷ҍ҂䦚 ҂ԟ䩟‫ޔܪ‬ϲЛ䩭៹䩟ӐЬѨոϲҵϦ䦚 རῨЇϤ߈‫ޔܪ‬䩟‫ڛ‬оҖ࡮ё൷ခѯ‫ޔܪ‬䩟‫בޔܪ‬Ϧё൷ϲҵ䦚 ёϲϨേభӧьϡӤዝЅҵР䦚 РϦё䩟‫ޔܪ‬ϴоЧϣᇜ䩟ҵҏӓ䩟‫ޔܪ‬цརῨЛ䩭ъ෈‫ۻ‬аϧ֦䦚 རῨϣԱ䩟Ւॊआ۶ડ޻Ўϱ䩟Ϥϥ༸‫ڏ‬䦚 ‫ޔܪ‬ϥҷԏϳЅ۹Ҙϱϡ䦚‫ێ࠘ٶޔܪ‬ෟ䩟Ռ‫܅‬ϦϤվϡ‫ܦ‬䦚 ‫ޔܪ‬ҘϱϡЗԃ䩟հϱϣϬϪ䦚ъϪܵҙޭϽ䩟ಢಢсϨརῨӌӓϣ ۖ䩟རῨϲҌѬϥҘѮАѨϦ䦚 རῨц‫ޔܪ‬Л䩭ඃ䩟Ў੫жХ҂ϧϡ៹䦚 ‫ێێޔܪ‬ϡ࠘ϼХᤶэϦശശϡԙ䦚 ‫܊‬њ䩟རῨӞһϥٰъԲϪϣ࡮Ӟϡ䦚

FOREVER BY YOUR SIDE

117

As water passed through the wheel, it brought to Zaokang’s mind the memory of when she turned the wheel with her husband. Her hands slowed down, and then stopped. Zaokang forgot about her child sitting on the ridge of the eld. He fell into the water-covered eld and cried, which brought Zaokang back to the present. She did not dare to think about her deceased husband again. She rushed over and picked up her child. Heipi came over and asked, “ lder Sister, do you want to go on?” Zaokang looked at her parched seedlings. “Of course!” Face-to-face, they worked, with Zaokang on one side and Heipi on the other. The water the wheel brought up spun out a constant spray in the shape of one blossom after another. Zaokang did not take a break; neither did Heipi. Some people saw Zaokang and Heipi working together and said Zaokang would most likely become Heipi’s woman. It was time for Zaokang to make rice cakes. Zaokang asked Heipi, “Brother, can we get you to make rice cakes with us?” Heipi went over to help. He mashed the rice, fetched water, and tended the re. They steam-cooked a cake. When it was done, they made more. Finished, Heipi said, “ lder Sister, if there is no more work, I’m leaving.” Zaokang didn’t ask him to stay. She brought out two cakes and handed them to him. Taking the cakes, he left. The Spring Festival came and went in the cheeriness of the countryside. Heipi had to go out of town after the festival. Before he departed, he said to Zaokang, “That child depends on your care.” Hearing this, tears streamed down Zaokang’s face; wrenching, inexpressible emotions surged up in her. Heipi came back at noon the following day. His face was red he must have had quite a bit to drink. Heipi returned with someone tall and strong. When the man stood rm as a rock in front of Zaokang, she knew what this was about. Zaokang said to Heipi, “Brother, I’ll still be your sister-in-law in my next life.” A slight smile was barely discernible on Heipi’s red face. Zaokang started working on the waterwheel with the man.

118 ར  Ῠ

‫܊‬њ䩟རῨӋё൷ϥٰъԲϪϣвӋϡ䦚 རῨϥъёபϳ‫ܵڦ‬ҙޭϽϡԲϪ‫܊‬భນ֔ҵϡ䦚རῨϡϽ‫ژ‬ϥъԲϪ ༗ԧᑴࠤϡ䩟ઞϨభນϤ߾с൲ٟ䦚 ‫ٶ‬ӱϥઞϡ‫ޔܪ‬ϲ‫׾׾‬сٰа䦚Ϩоభ‫ט‬ϡբϼ䩟‫ޔܪ‬ϤЂঝ‫܌‬䦚 རῨ‫׷‬ҵ‫׷‬цъԲϪЛ䩭հϢҵϡ䩟֭ЏϤ֭Џ‫ޔܪ‬ϡҡϽ䩲 ֭Џ䩔 རῨҍЛ䩭հϢҵϡ䩟֭ЏϤ֭Џ‫ޔܪ‬䩲 ֭Џ䩔 རῨХ՜䩭հϢҵϡ䩟‫܊‬њХҘϱЃϤЃ‫ޔܪ‬䩲 Ѓ䩔 རῨඓ䩭ъϧϲцњӌ‫ٶ‬ӱϥઞϡ‫ޔܪ‬Л䩟ўјҘр䦚 ԲϪ֩༧䩟ٍоዜӱҨӤ䩟ஃ䩭‫ޔܪ‬䩟Ϥ‫؟‬Ϧ‫ޔܪ‬䦚 ैϽϡஃ‫ل‬ўъϽЏѪԝϡઞϣৢৢᢖЬ䩟ࣸЏᥚᥛ䦚 རῨϨъϣ‫ل‬Ѧ䩟ԵЎϦॊ䦚 ‫ޔܪ‬ঝ‫܌‬䩟ᨏаభӳъஔ䩟‫ڗ‬ՒӓϡઞѪਡϡٟ 

FOREVER BY YOUR SIDE

119

Zaokang began to make rice cakes with the man. The following winter, Zaokang left with that tall, strong man. The man wrapped Zaokang tightly up in her overcoat. Snow was ying all around the village as they walked o . Heipi, covered with snow, followed them at a distance. He didn’t even stop when he had reached the edge of the village. “Hey, will you always remember my rst husband?” Zaokang asked the man who was taking her away. “I will!” “Will you forever remember Heipi?” “I will!” “Will you bring us back here to visit Heipi?” “Of course!” “Then tell the snow-covered Heipi behind us to go home!” Zaokang yelled. The man understood. He shouted at the top of his voice, “Heipi, please go home.” Too weak to get through the terribly thick falling snow, the man’s loud cry seemed desolate. In the echo of the cry, Zaokang shed tears. Heipi stopped, leaning against the tree at the end of the village, letting the snow akes swirl aimlessly before his eyes . . . (2005)

VOCABULARY AND USAGE རῨ

z ok ng

poor men’s foodstu s 䦧རῨҏഀ䦨‫܋‬ϡϥٰ࿆ਜ਼ϣ вѷРܿϡഀж䦚

Кಣє݁ x ng nqíngyàn with all one’s heart

Ћ‫י‬жӾܵ҂ޭϢЇКಣє ݁䦚

ࢧԑ

liàol

arrange; manage

֑֑ЧԒњ䩟‫ݟݟ‬૎ૺࢧԑ рࠖ䩟ृࣇϢЙӗϽ䦚

აՉ

ch nz o

before it is too late

ફը‫ە‬ϴϱϦ䩟ϢЙაՉҘ рщ䦚

Ӟ₋ һ

ch (y ng)shu

draw water to irrigate јЙϣвѯ᝚೧Ӟһ䦚 a (rice) eld using a waterwheel

ҘР‫ظ‬

huíguòsh n

come to one’s mind

ԧ‫ٻ‬ϳҥԪ౜इЅҘР‫ظ‬ϱ䦚

120  ར  Ῠ

‫ܜ‬ϥ

pàshì

I’m afraid; I suppose

ϧӵϺ੦‫ص‬ϡ‫ܜـ‬ϥҘϤϱ Ϧ䦚

Ӌё൷

d (niáng o)

make (rice cakes)

֑֑ѓܶӋё൷䩮ࢯࢯѓ੏ Ӌ␻ఋ䦚

Ϥϥ༸‫ ڏ‬bú shì z w i

feel bad; upset

Ѓа֑֑ѷܿԧКѦϤϥ༸ ‫ڏ‬䦚

ܵҙޭϽ niúg om dà

tall and strong

ϸ‫י‬жЌѷ䩟ӗЏܵҙޭ Ͻ䦚

ᤶэ

yàng(k i)

ripple; brim over

ԱϺϸϬӍల䩟јጩ‫׷‬ᤶо ԙҺ䦚

ዜӱ

húnsh n

from head to toe

䦧ዜӱ䦨ϨϸѦٰ䦧Ҫӱ䦨ϡҺ ‫ڽ‬ϣ҈䦚䦧ٍоዜӱҨӤ䦨 ϲϥөҪӱϡҨӤЁѓϼ Ϧ䦚

ᢖЬ

y nmò

annihilate

јϡЩ‫ڪ‬Ъьҩະϳ౐сϡ о‫׉ؗ‬ᢖЬϦ䦚

ᥚᥛ

qiáocuì

haggard

ॎѼᥚᥛϦ‫ܙ‬Є䩟ϸ֧ᘎя ϡҴլ࣊ଓࣘ‫҅ٶ‬Ҩ䦚

ᨏ

y

lean on

ԧөӳᨏϨϢϡ෰ϼӒаϦ䦚

‫ڗ‬ཟ

r n(píng)

let; allow; at the mercy of

ԧϤାЇϤད䩟‫ڗ‬ཟ ‫ە‬Ѣ৛ ӋϨӱϼ䦚

Ѫਡ

wúx

disorderly

І‫ۥ‬ს৏ϥౢࣣѪਡϡს৏ Ӷ䩲

QUESTIONS FOR DISCUSSION 1. Why is the heroine named Zaokang? 2. Are Zaokang and Heipi in love? Do you see any expression of feelings between them? 3. Who/what is it that keeps Heipi and Zaokang apart? 4. Why is Zaokang grateful to Heipi for “imposing” a husband on her? 5. How does the change of seasons function in the story? What do you make of the last image? 6. Does love mean letting go? 7. Why isn’t the story a tragedy for Chinese readers? Does the question-andanswer scene impact you? What other emotions are there besides the bitterness of parting?

FOREVER BY YOUR SIDE

121

  ѽҰϪԍϡӜ‫ܒ‬ЋѮА‫چ‬རῨ䩲   རῨф‫ޔܪ‬ϥϤϥԚЕ䩲ϧϩЬϩЃϺјЙҏҽϡҀєԵਗ਼䩲   ϥՇ䩟ϥѮАўϩєϪ‫ټ‬ϤЌюᚐ٧䩲   ‫ޔܪ‬䦧‫מ‬Ӹ䦨ѯརῨϣϬ࿆ਜ਼䩟རῨЋѮА‫ބ‬ґϿҀࢫ‫ޔܪ‬䩲   ࡵ‫ڝ‬ϡԸ٩Ϩ‫ݞ‬ѨЅвϦѮАӑѓ䩲ϧҒ‫ح‬ԑ‫ث‬ЩЛϡзњϣ௷䩲   ЕҺ‫ڏ‬аӵѲӶ䩲   ЋѮАϸϬ‫ݞ‬ѨцЅмࢴ‫ٷ‬ϱЛϤϥϬ঳ঃ‫ݞ‬Ѩ䩲ъѧ՜ѧমϡҙ଎Н ߲цϧϩ౜ቂ䩲ϨјЙϡдԆҏܿѦХЌՄ‫ڏ‬ϺϪТϡ੨༸‫ڏ‬䩲

AUTHOR BIO Wu Zhongzheng (1968–) is a farmer. A native of Changde, Hunan Province, Wu started writing in the late 1980s. He paid out of his own pocket to study at Lu Xun Institute of Literature in 1990. His works have appeared in Farmers’ Daily (఻‫ھ‬я‫)ۏ‬, Beijing Literature (‫ߟܚ‬ҹѺ), Tianjin Literature (ϳဋ ҹѺ), Yellow River Literature (ࢷ૯ҹѺ), and many other established journals. He sold a silo of grain for his rst computer. His published pieces now number over 1,500, mostly short-short stories. He composed many of his stories while working in his perfectly manicured elds an idyllic scene with owing water below and ying egrets above. One could say he dreams atop a bed of literature, since he keeps all the journals where his works have appeared in drawers beneath his mattress. A top short-short writer from rural China, the nationally known Wu Zhongzheng seems anomalous to many of his fellow villagers, because he is content with what his writing has brought him. The modest royalties from his stories are not enough to substantially change his life; they are but a token of the indispensable joy that the experience of writing has given him. In 2004 Wu Zhongzheng put out his rst collection of short-shorts Over That Mountain (ࢬքъӏ‫)ځ‬. He had published two more volumes, Listening to Peach Flower Blossoming (෴ԱಱՐэӵϡ‫ )ٸل‬and That Tree (ϲϴъᇣஔ), by 2010. Wu represents many farmers in contemporary China who enjoy the aesthetic dimension of life and the satisfaction it brings.

ҷ‫אף‬

ࢅ੽ 

䦭ኮऎЗ‫ۏ‬䦮Ϩ2015ё5֊ಈබϦট໐‫׫‬ϽѺϡᱚྦྷ՝ট·‫ڌځ׫‬ ဨ䦚јϨঠϺЅм੽ԑϡҦ֣З䩟ϸ҈ЛѬ䩭 ЅмѐϡϥϨቦఉϡЗԃϲтҴϦѴ‫‐ܥڊ‬Մ‫ء‬䦚ϸϬՄ‫ء‬Ϩ‫ࡺש‐ܥ‬ ф੻౒‫܉‬ԑҤӌϩаԚц‫޴ۺ‬ԍԜϡࡄਡ䦚ԔϥцϢϱЛ䩟ХϩϣϬЪ ϽϡӥӥϨϨϡ՜֣Ьϩ‫ݸث‬䩭ॎѼϢЙНйЃϺϸԈࣲҡϡ‫੽ٰࢅت‬ ԑӾѵЅмϡՄ‫ء‬ҏҽϩϣӡϡԚঐԛ䩟ԔϨӥ࢙ৢӌϼ䩟ϢЙцЅм ௬ूՄ‫ڍ‬Ғ‫֞ح‬ӑҌҏ൬վ䦚

Էӥ‫۬س‬ϥगТगӗϡЅмϪ䩟ЇЪվϩӪϬцӾѵЅмϡ௬ूՄ‫ڍ‬ Ғ‫ؽح‬ӑϩ‫ކ‬৭䦙ਧ๞ϡϦ‫ث‬䩟ѸϤѓЛцϸϣ‫‐ܥ‬Մ‫ڍ‬Җ࡛Єёϱϡࠟ Ըϩ߿‫ޢ‬ϡ‫ڶ‬Ҍ䦚ॎѼԮӊӾ‫ڊ‬Ѕмϡϣડԛ‫ڪ‬ጭЇ‫׶׶‬Ն֘รՊцЅм ௬ूՄ‫ڍ‬ϡೀཾ䩟ԔъԈೀཾ֡‫׶‬ϤҪӌ䩟Їઑྩ‫ڌځ׫‬ဨًኗϽрЧ҂ ϡӥ࢙୳ૢ䦚ϸϬՄ‫חֵء‬ϤआϡԸ٩фϤ߾ϡ݆‫ݱ‬ЇՖϣ‫܌‬ӸϽϦϦ‫ث‬ ‫ؚ‬ϡ੡ԡ䦚ϢЙ‫ڶ‬Ћ䩟ъԈพюЅм‫‐ܥ‬Մ‫ڍ‬ϡ‫؃ܥ‬ЙНйϨϸѦ‫ݨ‬ө Ѳ䦡䦡༊ࢴјЙऴӊ֞ӑҮࣄӛ᫃‫ܐ‬ϡҹѺӑԘϿЋϢЙӋэϣϬϦ‫ث‬Ѕ

  ߭ҹϡ䦨JRYHUQ䦨‫ڈ‬ϥ䦨JRYHUQDQFH䦨Ќਦ৭ܷԣܼЅҹ䦨ࢅ੽䦨ϡҺ‫ڽ‬䩟ϸϨѺभ֎ХϥϣϬ ጊґ‫ݸ۔‬ϡ՜֣䦚Ғҝ䦨੽䦨ϡҺ‫ڽ‬ӔҮϥ䦨JRYHUQ䦨ъАЋѮАЅҹϡԣܼХؑϴࡔ֔ϣ Ϭ‫ܒ‬䩲ӆ‫א‬ϡ‫ݞ‬ѨϽมϤЌЋϧ֝٩߭ҹϡ䦨JRYHUQ䦨‫ڈ‬ϥ䦨JRYHUQDQFH䦨ϨЄϽࡄ֏ϼ‫ܼت‬ Ϧ䦨ࢅ䦨‫ܒ‬ӛ‫د‬ଭϡ䦨ుओ䦨䦙䦨ϣв䦨䦙䦨ӛϩ䦨ф䦨ֲࣕࢅϣ䦨ϡҺ‫ڽ‬䩟Ԕ‫ֳܨ‬ϸԈ‫ݞ‬ѨЌٍࢴ ‫ٷ‬цЅҹϡԣܼЋѮАؑϴ䦨ࢅ䦨‫ܒ‬ϩՖϣ‫܌‬ϡϦ‫ث‬䦚   ёٚ֊䩟䦭ኮऎЗ‫ۏ‬䦮֭‫ٷ‬ϲ‫ڌځ׫‬ဨϡҖӆЈ‫ڪ‬䩟䦭ू੽ែਡϡв੅䦮ф䦭ू ੽ែਡфू੽ᆽਠ䦮䩟цјՖҲϦಈබ䦚Տϼ䦭ኮऎЗ‫ۏ‬䦮ϡ6LQRSKHUHӽۖ‫ݓ‬Ѓಈබ ϡҪҹ䦚KWWSVLQRVSKHUHEORJVQ\WLPHVFRPTDQGDIUDQFLVIXNX\DPDRQ FKLQDVSROLWLFDOGHYHORSPHQWзњϣҋ‫ݓ‬බϨ 䦚

CHAPTER 4

GOVERNANCE 1

W

hen the New York Times interviewed Francis Fukuyama of Stanford University in May 2015, he gave this response concerning the topic of China’s governance:

China really invented modern bureaucracy at the time of the Qin and Han dynasties, with relatively impersonal forms of o cial selections and bureaucratic rules. But for me, there’s a big empirical question: You can see certain similarities between those traditions in ancient China and the system that governs China today, but I think we know relatively little empirically about how the Chinese government works.2

In truth, few native Chinese have a thorough understanding of how, exactly, the Chinese government works or an awareness of how the bureaucratic system has evolved over two millennia. General introductory books about contemporary China often attempt to include the Chinese system of governance, but usually they are not comprehensive and lack the empirical study that Professor Fukuyama calls for. The constant changes and perpetual adjustments within the system itself make the 1. It is still an open issue whether the word “govern” or “governance” can convey the meaning of ࢅ੽ in Chinese. If ੽ is “govern,” why does the Chinese expression need another character in it? The stories in this chapter may not help you quantify how much the Chinese collocation to “gather,” “together,” “all,” and “unite,” carried by the other character, ࢅ, is communicated by this translation, but they can, we hope, give you a better sense of why “ࢅ” is in the vocabulary. 2. For a full account of the interview on Professor Fukuyama’s two recent books, The Origin of Political Order and Political Order and Political Decay, please go to the New York Times blog Sinosphere, accessed on October 23, 2015, http://sinosphere.blogs.nytimes. com/2015/05/01/q-and-a-francis-fukuyama-on-chinas-political-development.

124

‫੽ࢅא‬

мߒ૜੽ԑՄ‫ڍ‬ϡ‫ئݼ‬ੳ‫ט‬䦚ӆ‫ݞא‬Ѩϡӑ‫ٷ‬ЁϥЅмϡऴৢ‫‐ܥ‬䩟јЙ ЁϨ໋ϣٛϡू௞‫ח‬՟‫ڗ‬ੲ䦚 ॎѼЅмϡू੽Մ‫ء‬ϨϤआԸ٩䩟Ϥӎ߇෢ЇࡖϨаई஬䩟ѴϨϡЅ м䩟Ϩ‫ߟܚ‬ϡЅ႑ू௞ҏЎϽऎϩٚৢҲҏϩ‫݌‬ϡсҤू௞䩭૸䩟с‫ص‬䩟 ໋䩟േ๮䩟భ䦚໋ٛϸϬৢҋ‫؝‬ӊٚৢֲพϡЅҽ䦚ЅмѵϳϽऎϩ ЄϬ໋䩟ϸԷЅ‫د‬၉໋ٛ‫ص‬䦚ҟϬ໋ٛू௞ЁНйЛϥмр‫ۋ‬ЌҜพϨӾ сϡჭ‫ؙ‬䦚цϨѤмՄ‫ֵء‬ӗϽϡѺТϱЛ䩟໋֚ࡨϲϥ໋ٛзҙ੹ҨҜ พ䩟ϸ҇Ѕмܴϡ໋ू௞ֲพϿٍјЙҀҢ෋Ϥаӳ‫ݽ‬䦚 Ѕмϡ໋֡‫׶‬Ϩ੻থϼԝѤм໋Ͻ䩟ֲพЇѸߒ૜䦚‫ص‬䩟ϣડϱЛ䩟Ϥ ϥсٛϲϥ໋ٛ䩮ґ‫ص‬Ѧϡ߇֡‫׶‬Ёϥ໋ٛ䦚໋ٛ੹ҨҜพ֡‫׶‬ઑϤϦϸ ҈ٚϬॵю‫ח‬д䩭໋Ϫ‫ूھ‬௞䩟Էзҙ֩ࣔҩीЋ໋ӗ䩮Ѕ࢕໋ణ䩟Էз ҙ֩ࣔҩीЋ໋ణ‫֭ڪ‬䩮໋ઓಋഠ‫ݓ‬ణ‫؃‬Ͽ䩟ߣी໋ઓഠ䩮໋Ϫ‫ڊھ‬ԣϽ Ͽ䩟ߣी໋ϪϽ䩮Хϩ໋Ϫ‫੽ूھ‬൓࠱Ͽ৷䩟ߣी໋ू൓䦚 ‫ܙ‬ЄЅмϡ‫ܥ‬ᨘфੲЌϨ߭ҹЅ‫װ‬ϤϺц‫׏‬ϡࢬፈ䦚ϸѯϱІԷјмр фҹ٩ࠧ࢓ϡѺТհϱϦЪϽ੡༜䦚ϣϬਹࡿϡຎжϲϥ䩟ॎѼ໋ू௞ϥ ૎ૺ‫ء‬ӡ‫ڋ‬ਢф௬Ҳू೫ϡҲू‫ח‬՟䩟‫ؚ‬ϡԳϽ‫ݸ‬೫‫ۓ‬છ܏ҮЅ࢕໋ణ۰ చ䦚ӛй䩟Ѕ࢕໋ణϡ֞ӑӔԁ໋ू௞ϡҲू‫ۋ‬Ќ๎ׁ䩮ґ໋ణ‫֭ڪ‬जϩ НЌϥ໋ϣٛзࡢ‫ؙ‬ড়Ҩϡ‫ݸ‬೫‫ٷ‬䦚േ๮ϣٛϡ੹ҨҜพϨЪϽࡄ֏ϼԳ ߒϦ໋ٛҜพ䦚ϸϣѢ䩟ࢴ‫ٷ‬НйϨҷԏϬ‫ݞ‬Ѩ䦭֜ᖈ䦮ЅЃϺ䦚 ϣϬ໋ू௞۠վ‫۠ۥ‬ϬϤӎ‫ח‬՟พю䩟ґϨϪ‫ט‬սРϣ‫ݚښ‬йϼ ϡϽ໋जϩНЌЄܼ۠Ϭйϼ䦚ϣડϱЛ䩟ҟϬ໋Ёϩ֐ϱϬ‫ڈ‬ϥ

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task of understanding it even more di cult. Perhaps reading the literature by the o cials who constitute the Chinese bureaucratic system and whose writings are based on their work experiences can o er a unique window into the complex systems of Chinese governance. The authors of the stories in this chapter all work at the county level of Chinese bureaucracy. Although a system in ux and with regional variations, China’s government currently has, below the central government in Beijing, roughly ve practical levels of local government: the province, prefecture/ municipality, county, township, and village. The county level is in the middle of the hierarchy. There are about 2,860 counties and cities with county status in China today. ach functions like a miniature state at the local level. For students in the United States, for whom county authority is represented by the courthouse, this can be an alien idea. Chinese counties are generally larger in scale and more complicated in structure than their American counterparts. Cities are mostly at prefecture or county level. Districts in a city are usually at the county level. Among the organizational bodies that constitute county authorities these ve are usually present: the People’s Government of the county (໋Ϫ‫ूھ‬௞ [LjQUpQPtQ]KqQJI࠽) and its head, the county governor (໋ӗ [Lj]KúQJ); the Communist Party of China (CPC) county committee (Ѕ࢕໋ ణ ]K‫گ‬QJJzQJ[LjQZ̋L) and its head, the secretary (໋ణ‫[ ֭ڪ‬LjQZ̋LVKࡃMu); the county Party Disciplinary Inspection Committee (໋ઓಋഠ‫ݓ‬ణ‫؃‬Ͽ [LjQMuOࡉMLúQFKiZ̋L\XiQKXu); the county People’s Congress (໋Ϫ‫ڊھ‬ԣϽ Ͽ [LjQUpQPtQGjLELúRGjKXu); and the county People’s Political Consultative Conference (໋Ϫ‫੽ूھ‬൓࠱Ͽ৷ [LjQUpQPtQ]KqQJ]Ku[LpVKčQJKXu\u). Many Chinese o cial titles and their functions, for which there are no nglish equivalents, have presented great challenges for students of other counties and cultures. For example, while the county People’s Government is the executive branch charged with making plans and implementing policies, the CPC County Committee must rst approve the government’s major decisions. So the CPC County Committee has been integrated into the decision-making process and its secretary could possibly be the most in uential decision maker at the county level. The county structure of power is to a large extent duplicated at the township level, as you can see in the second story, “The Clear Pond.” A county government is constituted of forty to fty units at least, though there can be as many as one hundred to one hundred fty or more

126

‫੽ࢅא‬

ѸЄϡЎ٧േ๮䦚‫ٿ‬ٛ‫؃ܥ‬фԍࠖ‫؃‬ЙϴϨϤӎٛԆф‫ח‬՟࿀่‫ے‬ӮϡԮ ‫ڍ‬ӽЅТࡖӥ٧Ϥ‫ډ‬䦚໋ू௞Х૎ૺϣԈ‫ࠖע‬ԛҲ‫׭‬ϡ‫ؽ‬҂䩟ҒѺ‫ޥ‬䩟ࣨ ࡨ䩟֘‫ڪ‬కҳ䦚໋ू௞ҜพЇϩᐢ‫ف‬Ռ࠱‫ނ‬䩟྄֞фԍ‫ޅ‬ҳϣԈఌѨ‫؀׭‬ ֧ϡૺ‫ڗ‬䦚ຎҒϨҷѧϬ‫ݞ‬Ѩ䦭Ͻ‫⥪ێ‬䦮ЅϲϩϣϬϸ҈ᤤ٧໋఻‫׭‬঵ϡ ࠱‫ނ‬䦚ϸр࠱‫ނ‬Ϩ‫ݞ‬ѨЅХϩѢոЩ‫ۋ‬Ќ䦚 ўѺТЧЂՌϣϬЅм໋ӗϡࡠաфੲૺЪϤ‫ډب‬䩮ϸцϨѤмЅ՝‫ח‬ ӗϽϡѺТදԷԡ䦚ӹЋϨъѦ䩟֡‫׶‬ϥӪϬϪϡฮѨణ‫؃‬Ͽ‫ڈ‬ϥᔇѨϿ ‫܉‬ԑаϣϬ໋Ԛцߣ‫؀‬ϡѨࠖ䦚Хϩ䩟ԪࣲϺѵ䩟Ѕмϡҡ‫ښ‬࿲ԁјЙू ௞ϡԮ‫ڍ‬䩟ٰϽЄّԷјмрԝ䩟ঐলѸ઼ܷԈ䦚ϸЇНЌҶӸѺТЙЂ ՌЅмϡԡ֏䦚 ϸѦ‫ࡺש‬ϡѧ֧ӑр䩟јЙϡ۰ϴੲૺϥू௞‫؃ܥ‬䩟ҹѺࡷӑϤРϥ јЙϡ‫׭‬൑ЕϮ䦚Ѽґ䩟ϸѧ֧‫؃ܥ‬ЁЯӑҳӱ䩟ЇЁϥЯӜϡЅмӑр ൓ϿϿ‫؃‬䦚ϨЅм䩟Ռϸѧ֧䦨ӱᄦԏੲ䦨 ϡ‫ܐ‬ӑ‫؃ܥ‬ϩЪЄ䩟‫ئ‬ԆϥϨऴ ৢ䦚ϸԈѴ‫ڊ‬ҹϪцӾ‫ڊ‬ЅмघϿфҹ٩ϩаϤНಃଯϡ‫ؙ‬ড়䦚ѴϨϥц јЙϡӑѓфᕟຸ҂ѸҪӌϡϦ‫ث‬ф߯ຽϡЗԃϦ䦚

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for large counties with populations greater than one million. On average, a county has a dozen or more subordinate towns. To navigate the intragovernmental web of horizontal and vertical relationships is no small matter for civil servants and o cials. The county government also runs serviceoriented units such as schools, hospitals, and libraries and maintains enterprise units such as shops, factories, and other companies. One such shop has a role in the third story, “Big Sweet Potatoes.” It is also hard for students to imagine the role of a county governor in China, especially if they grow up in a place like the American Midwest, where a board of supervisors or commissioners often manages a county’s relatively simple a airs. Additionally, it may be that, historically, Chinese people have been more involved with their government institutions than people of most other countries. The three writers selected here are rst and foremost government o cials. Creative writing is but a sideline for them. Yet all three have earned prestigious membership in the China Writers Association with volumes of published work. “Moonlighting” bureaucrats like these three are common in China, especially at the grass-roots level. These modern literati have exerted tremendous in uence on contemporary Chinese society and culture. A fuller understanding of their roles and contributions is overdue.

1

ະ੘५ ‫ر‬ம

ъ

ϳьЎ‫ڡ‬Ϧ䩟ϩळ੃өև૶ᘉϨϦ‫ފ‬ԍॣѦ䦚 ѮАѨ䩲և૶՜䦚 ະ੘५ϡѨ䦚ळ੃Л䦚 և૶ՀՀϽԙ䩟Л䩭ϢՉϲҌѬϧЙϿϱ‫װ‬Ϣϡ䦚 ๮ӗ䩟ԱЛࣲঅѦϡһတբϴۨю੘५բ䩲ळ੃ҍ՜䦚 ђϥϬЂ֚䩟ХϤю়䦚և૶Л䦚 ЄН‫ܜ‬ϡЂ֚ເ䩟ϴϥѐະЎЧϡҦ䩟ъНϥబ‫؍ھ‬੟ϡѨ䦚ळ੃Л䦚 ๮ӗ䩟ळ੃цະ੘५ϩҺԋ䩲‫ފ‬ԍॣҰ‫ڗ‬њϱ՜և૶䦚 ϥߠ䩟ЬҺԋҥϥ঩Ѩ֦䦚և૶Л䦚 Ұ‫ڗ‬झझબ䩟ԱϤ‫ګ‬և૶‫܇‬ϡҦ䦚և૶ज‫ޛ‬Ϧ‫ޛ‬јϡ෰ᅊ䩟ԙаЛ䩭 ೫ਢϣЎ䩟ळ੃Ͽ൐юະ੘५ϡ䦚Ұ‫ڗ‬ҍझझબ䩟ࣸѼ䩟ХϥϩѢϣҌ‫ٻ‬ ‫ث‬䦚 ⎮я䩟և૶ϲЧϦᇜࣲঅ䦚Էӥ‫ٍس‬ळ੃Ϥϱ‫ྱބ‬䩟јКѦЇϣ‫ׯ‬౺େ аъѨո䦚ђϥ䩟ϸ੘५ϤϥЂະϲЌະϡ䦚և૶ІѝКѦ֜௟䩟јϨҳ ϣϬׁ޸ϡЗҽੳ‫ט‬䦚 և૶٤аϣ࣠ኵᲖ䩟ՌႈϪঐϡ‫׷‬ҵ‫׷‬ዎ䦚Ϯ࡞ϡळ੃ϤआсࣻРϱ䩭 ๮ӗ䩟ϸϮϮϡһတբዎ‫ݾؚ‬੨䩲ϥϤϥϴະ੘५љ䩲

1 THE STONE-PAVING PROJECT Zhou Bo

O

ne day, right before Dongsha got o work, some townspeople blocked him from leaving his o ce. “What’s the matter?” Dongsha asked. “It’s about the stone-paving project,” the townspeople answered. Dongsha burst out laughing. “I knew you would come to see me about that.” “Mr. Mayor, is it true that the cement roads of the Old Street area are going to be replaced by stone-paved roads?” the townspeople asked. “It’s just an idea, nothing is rm yet,” Dongsha answered. “What a lousy idea. It’s going to be a real waste of money and manpower if it goes through,” the townspeople said. Later, the chief of the township general o ce asked, “Mr. Mayor, do the townspeople have misgivings about the stone-paving project?” “Yes. It would be odd if they didn’t,” Dongsha replied. The o ce chief pursed his lips. He was having a hard time understanding Dongsha. Patting him on the shoulder, Dongsha said with a smile, “We craft a plan, and then wait for them to come around.” The o ce chief pouted his lips again. Obviously, he still had only a very super cial understanding of the matter. Dongsha made a trip to the Old Street area the next day. The stonepaving project would have been on his mind even if the townspeople had not shown up to voice their opinion. In reality, the project would be easier said than done. Dongsha knew this very well. He was waiting for the right window of opportunity. With a bamboo pole in his hand, Dongsha kept tapping the roads like a blind man as he walked along. Curious townspeople continuously came around: “Mr. Mayor, why are you tapping on the good cement roads? Are you checking things out for stone-paving?”

130  ະ ੘ ५

և૶჋вӳЛ䩭ϤະϦ䩟ϢЃһတբϤӮ䦚 Ա๮ӗϸАЛ䩟ळ੃ኖсϣ‫ل‬ԙэϦ䩟டஇѦХড়вϦӧ॥ϡ௢‫ل‬䦚 Нϥ䩟Ϣтེ֦䦚և૶Л䦚 և૶๮ӗ䩟ϩѮАེ֦䩲ϢЙ‫ݨ‬ϧ‫ݸث‬䦚ळ੃՜䦚 Ϣ‫ז‬ϼӌઌൖϦϴະ੘५䩟ѴϨЬ֚Ч‫ڊے‬䦚և૶Л䦚 ϸѨߣ‫؀‬䩟‫ֺש‬Щடஇ‫۬ڦ‬ະϣЎЧ‫ے‬ईϤϲҲϦ䦚ϩळ੃٤৷䩟ϢЙ ЇϤЌРӊЋԡ֩ࣔ䦚٤৷ޭϼЏϺϽрϡড়‫׏‬䦚 ‫֯نن‬䩔և૶іԙаּвϦኵᲖ䦚 ҘϺ‫ފ‬ԍॣњϡև૶ࠤାኗओϩԮϪ‫؃‬䩟‫ڊے‬ະ੘५ϡѨ䦚և૶Л䩭Ϣ ЙѴϨϴະϣֺ҈५բ䩟‫ۓ‬છҙࡣ‫ކ‬Чԟю䦚 ҈५բԟюњळ੃ϲϤ‫ބ‬цԷјբະ੘५Ϧ䩲Ұ‫ڗ‬Л䦚 ळ੃ӆϱϲЬ‫ބ‬ц䩟‫ބ‬цϡϥϤላׁळ੃۱೯ϡѨє䦚և૶Л䦚 Ұ‫ڗ‬ҍझझબ䩟ϸҘјঐলԱ‫ګ‬ϦԈѮА䦚 ӹЋЏϺϦळ੃ϡԑ‫ث‬䩟҈५բະЏԚӾॅ۱䦚Ϥ‫ڜ‬䩟ԟ֞Ϧ䦚 ъϳьЎ‫ڡ‬Ϧ䩟ҍϩळ੃өև૶ᘉϨϦ‫ފ‬ԍॣѦ䦚 ѮАѨ䩲և૶՜䦚 ະ੘५ϡѨ䦚ळ੃Л䦚 և૶ՀՀϽԙ䩟Л䩭ϢՉҌѬϧЙҘϱ‫װ‬Ϣϡ䦚 ळ੃Л䩟ϥເ䩟঩ϢЙԋࡧվ䩟йӓϤҌѬ੘५բϿϸАϮ䦚 ϮϨ‫ڃ‬ո֦䩲և૶‫ݞ‬Һ՜䦚

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“Nope.” Dongsha raised his head and answered, “The cement roads look just ne.” These words from the mayor set o an outburst of laughter. There were even cheers and applause from the alleyways. “But I have worries now,” Dongsha said. “Mayor Dongsha, what’s bothering you?” the townspeople asked. “Let us help you.” “I have made the commitment to my superiors to pave the roads with stone. Now what do I tell them?” Dongsha asked. “It’s easy. Pick a small alleyway, pave it how you like, and then you’ll have a report to give them,” someone in the crowd suggested. “We shouldn’t make things too di cult for Mayor Dongsha, right?” His proposal immediately got the approval of everyone present. “Thanks!” Dongsha smiled and put away his bamboo pole. Upon returning to his o ce, Dongsha took emergency action to gather the relevant personnel and delegated the task of stone-paving. “What we are paving will be the sample road,” Dongsha said. “It must be of the highest quality.” “Will this sample road silence all objections to stone-paving other roads?” the o ce chief asked. “Townspeople don’t necessarily object to stone-paved roads. What they object to are projects that are not in their best interest,” Dongsha said. The o ce chief pouted his lips again, but this time he seemed to be able to make some sense of things. With people’s sympathy on their side, the township stone-paved the alleyway without a hitch, and the task was soon accomplished. One day, right before Dongsha got o work, a group of townspeople blocked him from leaving his o ce. “What’s the matter?” Dongsha asked. “It’s about the stone-paving project,” the townspeople answered. Dongsha burst out laughing. “I knew you would come to see me about that.” “It was our fault for not knowing better before; we admit it,” the townspeople said. “We never expected that a stone road could be this good.” “What’s so good about it?” Dongsha asked purposefully. “All the sewers are dredged; no one worries about oods anymore. The water pipes are upgraded; no one worries about water outages anymore.

132 ະ ੘ ५

ംོҪᎭ֡Ϧ䩟ӐϤ‫ܜ‬ᖻ⏒Ϧ䩮Іϱһ‫܉‬ԳЈ‫ؤ‬ϦӐϤ‫߾ܜ‬һϦ䩮ॼϳ ҵϨ੘५բϼЇऱьϦ䩮ࣲঅϡ‫ڏ‬ѬЇ൦Ϧळ੃Л䦚 և૶‫ב‬а՜䩟ъѵϳ‫װ֧ٿ‬Ϣϥ ϢЙϱϴؒະ੘५բϡѨ䩟Ѓ๮ӗѯϤѯӌж䦚ळ੃Л䦚 ϤҲ䩟҈५բԟ֞њ๮ѦϤӋ‫ڲ‬Ϩࣲঅະ੘५Ϧ䦚և૶Ъߤ‫ݔ‬сЛ䦚 ϸϸ๮ӗ䩟๮ѦӾ२НϥЂະ੘५ϡߠ䦚ळ੃Ӆҥϡջє ஂЗՌҩᘖϦϣᄹऱһ䦚 ѵϳРϱђ‫ڊ‬ԣϧЙӪϬϪ䩟Хϥࣲঅӛϩҡ‫ښ‬࿲䩲և૶՜䦚 ‫؎׏‬Нй‫ڊ‬ԣࣲঅҡ‫ښ‬࿲щ䩟ҒҝϩѮА՜֣ϢЙЧ҂֞ӑ䦚ळ੃Л䦚 ϤҲ䩟ϤЌະ䦚և૶Л䦚 ๮ӗ䩟ळ੃ϩϴؒϦ䩟‫؎׏‬НйະϦ䦚Ұ‫ڗ‬ઙаև૶ϡଐ౤൸൸Л䦚 ϧ‫ګ‬Ϭฯ䩔և૶өߖ࣭‫܊‬ఙжϼϣႦ䦚ϨԿϡळ੃Ёҩ౭Ϧϣ੩䦚 њϱӪϳ䩟Ϥआϩळ੃ϱ‫װ‬և૶䦚Ұ‫ڗ‬Л๮ӗоईЧϦ䦚ळ੃ϤҞ䩟Л ๮ӗϡӞжХϨ֦䦚Էӥ䩟ъӪϳև૶ϡ৭Ϩ֔ӌоई䩟ђϤРјӆϱЬ ‫ۓ‬ϴоϸᇜई䦚և૶‫ז‬Ұ‫ڊےڗ‬䩟ϩєୂ‫ڦ‬Зཹ‫ۏ‬䦚 ъӪϳ䩟Ұ‫ڗ‬ϣϳϣϬӈҦ䩟ळ੃ϴؒЪ‫૆מ‬䩟НйҲ҃ϦӶ䩲և૶‫׊‬ Л䩟з૟ϡЗҽੳ‫ט‬ХЬϱை䦚 ϩϣϳ䩟Ұ‫ۏཹڗ‬Л䩭ࣲঅϼϡ่ๆЁӋоϱϦ䦚և૶՜՘АҘѨ䦚 Ұ‫ۏཹڗ‬Лळ੃‫૆מ‬ϴࣲؒঅະϼ੘५բ䦚և૶‫ټ‬ӊेྦྷсԙвϱ䩟э‫״‬ щ䩔 ъϳ䩟և૶оईҘϺр䩟ҡਁҒဗ‫܋‬ајϡ຋жоӤ䩟ईѢөϢЇӾю ੘५ະЎЧϦ䩟ϧད೬੨ߠ䩲

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In summer, it’s cooler to walk on the stone. The Old Street area has an added charm because of it . . .” the townspeople said. Dongsha asked another question: “So you’ve come to see me today because . . .” “We’ve come to request more stone-paved roads. We hope, mayor, that you will respect our wishes,” the townspeople asked. “I can’t,” Dongsha said, keeping his cool. “The township has no plans for more stone roads in the Old Street area beyond the sample road.” “But . . . Mr. Mayor . . . It was the town’s original idea to stone-pave the area.” Dongsha’s answer had doused the people’s enthusiasm like a bucket of cold water. “Are you speaking for those who are gathered here today or on behalf of all the folks in the Old Street area?” Dongsha asked. “We should be able to represent everybody,” the townspeople said. “If not, we will work it out among ourselves.” “Nope. Can’t do it,” Dongsha said. The o ce chief whispered into Dongsha’s ear, “Mr. Mayor, we ought to do it now at the request of the townspeople.” “What do you know!” Dongsha banged his teacup on the table, an act that startled everyone present. In the days that followed, the townspeople came and went constantly looking for Dongsha. The o ce chief told them that the mayor was away on business. They didn’t believe him, saying that the mayor’s car was still in the parking lot. Dongsha was indeed away on business those days, but he didn’t really need to make the trip. Dongsha had instructed the o ce chief to keep him posted on any new development. During that time, the o ce chief called Dongsha every day. “The townspeople’s demand is getting intense. Shall we act now?” But Dongsha replied that the best window of opportunity was yet to come. One day the o ce chief informed Dongsha that a big banner had appeared on the Old Street. Dongsha asked what it was for. The o ce chief reported that people were adamantly demanding stone roads in the Old Street area. Finally, Dongsha let out a hearty laught. “Let’s get to work.” That day, Dongsha returned home from his business trip. With her nger in his face, his wife Rujing vented her anger: “They would have used me as a slab of stone to pave the road if they could. Why are you hiding?”

134 ະ ੘ ५

և૶ԙаЛ䩟ѽϪр‫ګ‬ѮА䦚ϤϥϢϤԚҞळ੃䩟ϥळ੃ϩԈѨϤҴѐ ԚؑϴϢЙЧ৉ࣔ䦚 ҒဗЛ䩟ϧϨ๮Ѧळ੃֞ӑЁϥϸА҂ϡ䩲 և૶Л䩟ѴϨԵҲ೫ਢ䦚ҒҝӾ२‫ݽ‬՟ϣջϤઈळ੃ӛ‫ڽ‬ӛЂϲЧະ੘ ५䩟ϤҌњҝϿҒ‫ح‬䦚ϢЇϥЬ‫֚ފ‬Ўϡ‫֚ފ‬ৰ䦚 ҒဗЬϮӤсЛ䩟ђ‫ױ‬ϣҘ䩟Գ୍ЩКϢЧ‫ݍ‬ϧ䦚 և૶ᚶаІѝϡબ䩟ϣ࠘‫י‬жӤсЛ䩟ҌѬϦ䩟ਜ਼Ϫ䦚 

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Dongsha said with a smile: “What do you womenfolk know? It’s not that I don’t trust the townspeople. They need our guidance for things they don’t know anything about.” “This is how you work with townspeople?” Rujing questioned. “It’s fashionable to strategize nowadays,” Dongsha said. “If I had acted on impulse and stone-paved the roads at the outset, without taking into consideration people’s views and opinions, who knows how it would’ve ended up? After all, I am just giving them a way out where none existed before.” “I’ll let you o the hook this time,” Rujing said curtly. “I may just have to report you if there’s a repeat o ense.” His hands over his mouth, Dongsha responded with the innocence of a child: “Yes, ma’am!” (2011)

VOCABULARY AND USAGE ю়

ch ngshú

mature

ЗҜХϤю়䩟ϢЙӐҳ ҳ䦚

బ‫؍ھ‬੟

láomínsh ngcái

waste money and manpower

ࠃ߃ϸАϽϡ‫ފ‬ԍ࣐Єబ ‫؍ھ‬੟љ䩔

झબ

n zu

purse one’s lips

јझаબЂϦ‫ٻ‬ϳ䩟Хϥ Ϥ‫ګ‬䦚

೫ਢ

c huà

plot; plan

ϸԿϩঙϡ‫ڝ‬۵ϥј೫ਢ ϡ䦚

ϣҌ‫ثٻ‬

y zh bànji

have a super cial knowledge of

јцЅҹђϥϣҌ‫ثٻ‬䩟 ҂ϤϦϸϬ࣮۵ϡࢬ ፈ䦚

⎮я

yìrì

next day

⎮яϲϥҴϳ䦚

ᇜ

tàng

a measure word

ϼ‫ر‬ϢоϦᇜई䦚

౺େ

q anguà

concern; worry

ϧϡӱՄ䩟ϧϡѺ‫ܠ‬Ёϥ Ϣҟϳϡ౺େ䦚

ኵᲖ

zhúg n

bamboo pole/rod

ѴϨХϩႈϪѓኵᲖ෬ բ䦚

it seems like . . .

ոж२ҋ‫ڒ‬р䩟֑֑Ռૐ Ϧฆঐϡ䦚

surround; encircle

ϸ֧Ҵլ‫׶‬ҩࠨࡋࣻвϱ Տј৕Ӝ䦚

Ռঐϡ xiàng . . . sìde ࣻ

w i

136  ະ ੘ ५

ኖ

h ng

an onomatopoeia

ஔϼϡధኖсϣЎҪٟ Ϧ䦚

டஇ

nòngtáng

lane; alley

۪Ҥϡடஇٰ‫ܚ‬ҤϪϡഐ ӎϥϣҘѨոӶ䩲

тེ

f chóu

worry

јтེߎϤϼϽѺ䦚

ઌൖ

ch ngnuò

commitment

ϧϡ৕‫ܒ‬ϲϥϧϡઌൖ䦚

‫ڊے‬

ji odài

(1) account for; (2) give order to

䩜оϦ՜֣Ϣϥϴ‫ז‬ϼٛ ‫ڊے‬ϡ䦚 䩜๮ӗҟϳϣϼ‫ז܏ڡ‬Ў ٧‫֞ڊے‬ӑ䦚

঩

guài

blame

ϸѨոϤ঩ј䩟঩ϢЬ‫ے‬ ‫֜ڊ‬௟䦚

‫ے‬ई

ji och i

report to the leadership after nishing a task

ϢٰϧоЧ։䩟Ҙϱ‫ڛ‬Ѯ А‫ז‬ҡ५‫ے‬ई䩲

ϤϲҲϦ

búji xíngle

Wouldn’t . . . be su cient?

ྸϦ䩟‫܅‬ѢոһϤϲҲ Ϧ䩲

Рӊ

guòyú

excessively

цϢϱЛ䩟Ҵ৸ಧܼϡӤ ԃРӊຘߤ䦚

Ћԡ

w inán

make it hard for

ϢϤЂў୊আЋԡ䩟ӛй ІѝӋ֞ฉѺ‫٭‬䦚

ኗओ

zh ojí

convene

ࡨӗҟࡵኗओϣҋҪࡨؔ ТϽϿ䦚

ላׁ

fúh

meet; be in line with; accord

ϩ‫ص‬ԿؑؒϤҳӊላׁϪ ‫ھ‬ϡ۱೯䦚

ԋࡧ

jiànshi

experience and insight

омѺ‫ܠ‬Ќӗԋࡧ䦚

ംོ

y ng u

sewer

‫ە‬һॅаംོԵϺ૯Ѧ䦚

Ꭽ֡

sh t ng

dredge

ϸֺ૯တ૶Є䩟ؑϴҮ‫׶‬ Ꭽ֡䦚

ᖻ⏒

hónglào

ood

ᖻһ߃юϡᇻߛϥ⏒ᇻ䩟 ӹ‫ױ‬ϩ䦧ᖻ⏒䦨ϣЛ䦚

ѯӌж

g i miànzi

show respect

Ӿ२

d ngch

at the beginning; in ϢЙӾ२ϥЬӋ‫ڲ‬ϴԏნ the rst place ϡ䩟НѴϨू೫ԸϦ䦚

ஂЗ

d nshí

immediately; suddenly

Ҧϣо‫ט‬䩟јஂЗϲњന Ϧ䦚

ᘖ

ji o

dash (water)

ԧ‫ڛ‬вѲ‫׷‬ϡϣ࣭һᘖ༭ Ϧ‫ڮ‬ြ䦚

ϨԿ

zàich ng

be present

ӞሃтТЗϢϤϨԿ䦚

ϴЂІӔϩӌжϲЏЗЗ ЂаѯԆϪӌж䦚

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౭ϣ੩

xiàyítiào

be surprised; freak out

ϸࠚжਯЏ౭ϦϢϣ੩䦚

ϱை

láilín

approach; arrive

ҪрϪЁϨЋࡇ‫ڝ‬ϡϱை ࡤ҅а䦚

่ๆ

h ngfú

banner

ѬբϡҖ೨ϩЪЄϪӋа ่ๆӧࣽԧ䦚

ेྦྷ

shu ngl ng

heartily

ϢՏј‫ࢥߖ܅‬ϳո䩟јे ྦྷсম‫׏‬Ϧ䦚

ईѢո

chàdi n(er)

almost; nearly

Ϣѵϳϼ‫ڡ‬ईѢոඥϺ Ϧ䦚

ད೬

du bì

hide; dodge

јϤ‫ٲ‬ҘрϥЋϦད೬ϼ ՟ϴᏗϡϪ䦚

ϤҴѐԚ

b míngzh nxiàng ignorant of the facts/truth

цϤв䩟ϢϤҴѐԚӮ঩ Ϧϧ䦚

৉ࣔ

y nd o

guide

ϸАЩϡ‫י‬жХϥؑϴϽ Ϫ৉ࣔϡ䦚

‫ݽ‬՟ϣջ

n om n y r

on impulse

ϢӾ२‫ݽ‬՟ϣջϲձЎϦ ϸӛҡࠚж䦚

ӛ‫ڽ‬ӛЂ

su s su xi ng

thinking; thoughts

ϢҌѬϧϡӛ‫ڽ‬ӛЂЁϨ ϸϬ‫י‬жӱϼ䦚

Գ୍

chóng fàn

repeat (a mistake)

ϢࠀϤϿԳ୍ӎ҈ϡӮ ண䦚

‫ݍ‬

gào

sue; accuse

ϧϸϥࢿϳϴ٣䩟Ϣϴ Ч‫ص‬Կ‫܉‬ԑ‫ח‬՟‫ݍ‬ ϧ䦚

ᚶ

w

cover

Ϣϣт‫ڮ‬ඓ‫چ‬ԧϲᚶвଐ ౤‫ڒ‬э䦚

with . . . all over one’s face

јⲓϦцѲϣՒ䩟ϣ࠘ว Ӥ䦚

ϣ࠘Ӥ y li n . . .qì

QUESTIONS FOR DISCUSSION 1. What is your impression of Dongsha as a grass-roots o cial? 2. Why is there an absence of personal identity in the representation of the townspeople? 3. Does the mayor have the townspeople’s best interests at heart? 4. What is it in the mayor’s behavior that bothers you? 5. Does the ending surprise you? Why does the story need to have Rujing in it?

138  ະ ੘ ५

6. Does the structure of repetition and reversal work for you? 7. Does this seem like an example of good governance? Why or why not?

  ϧцև૶ϸϬऴৢ‫؃ܥ‬୅ࢣҒ‫ح‬䩲   ЋѮА๮ϼϡേ֬ЙЬϩ‫ڃ‬ϬϪϥϩӜϩ࿲ϡ䩲   ๮ӗϥө๮ϼϪϡзϽ۱೯‫ؤ‬ϨКѦϦӶ䩲   ๮ӗϡӛӑӛЋ‫ڃ‬ϣѢўϧԡй‫ב‬ի䩲   ֲഅϧࢧϺϦӶ䩲ЋѮАϸϬ‫ݞ‬ѨϴϩҒဗϸϬϪ‫׉‬䩲   ‫ݞ‬ѨԳߒӸ‫׆ބ‬ϡֲพѓЏϮӶ䩲   Нйө‫ݞ‬ѨѦтТϡ؇Ћમूਹ౒Ӷ䩲ՏЛЛЋѮА䦚

AUTHOR BIO Zhou Bo (1968–) seems to be fortune’s favorite both as an o cial and a writer. A charismatic man in his forties with a master’s degree in Chinese, Zhou Bo is now deputy chief of the Bureau of Culture, Media, Press, and Publication in Zhoushan, a prefecture-level city of islands in eastern China with a population of 1,146,000. Zhou Bo also serves as a vice-chairperson of the Zhoushan Writer’s Association and enjoys national popularity in short-short literary circles. His writings have been published in seven volumes. His “Headline News” (“ӳֺЈࢩ”) and his collection of shortshorts with the same title are among his best-known works and have won him many awards. Zhou Bo does not want to see what has happened to Chinese sports which are very competitive but not a real cultural power happen to Chinese literature. He takes the aesthetic dimensions of life very seriously and dreams of a literature of the people, by the people, and for the people. Critical selfre ection is an integral part of his o cial function, as is shown in this story based on his real-life experiences. For a more comprehensive look at Zhou Bo’s life as an o cial and a writer, please go to his blog at http://blog.sina. com.cn/xingzoudeshali, especially the section entitled “Gnosis of Life in the Countryside” (“േభҀ༧”) to see how the two sides integrate. Zhou Bo was assigned to serve in Dongsha Township from 2009 to 2013, before his promotion to chief of the Press, Media and Publication Bureau of

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Daishan County. An ancient town with a four thousand–year history, Dongsha was home to a few hundred small businesses and cottage industries when Zhou Bo arrived. But the modern concrete roads were more than an eyesore they sealed, in Zhou Bo’s opinion, the town’s history. He proposed a change after three weeks on the job. This story was written in 2011, after the stone-paving project had been completed and deemed a success.

2

֜ᖈ ᓥᔜ

ವϽᜪ Ϣϡ՟ϥϨ֜Չҩẫэϡ䦚ϢϨӒଫҢ䦚ϣϳϣ١ϡӞិ‫ ە‬өേభԍբ ᘖЏՌӌֺ䩟ЎϤϦс䩟оϤЧ՟䩟ϧЛϤӒଫҢ‫ݾ‬ѮА䩲Н՟ҩẫЏ‫ځ‬ ড়䩟ϸଫҢϲӒϤюϦ䦚ϢӋэ՟䩟ϲЃԋϦъϬഐжࠁᲢ䦙ϣ࠘ᒏԚ䦙 Ր۴༣‫ژ‬ϼᕼ‫ٶ‬ϦတһϡϪ䦚ХЬҳϢЛҦ䩟ъϪϲ᜵᜵䩟Ϣ࿲᫅䦚ҵ љ䩟ϥϪϡϲٰϢҵ䩟ષϪЧ䩟ષϪЧ䩔 ϢϲٰајҵϦоϱ䦚ር࢒ЙЇٰајҵоϱ䦚ϢЙϲЃԋϣ௘‫ף‬Ϭଊ ϡൈၔՌђ᭐Ṿϣ҈ႹϨϦభ‫׷‬ϡѬོѦ䦚Ӟ՟ҩ१֙Ϧ䩟‫ޅ‬Ҝ१ϨҤ‫ז‬ ࣫фඹვӏ֧ҏҽ҃ഇϤЏ䦚Ϣфር࢒ЙҵϺ‫ײ‬ӓ䩟Ѓ֜ϦनؕфϪ䩟Ϣ Й‫׆‬ӱ۬‫܊‬Іѝр՟‫ט‬ҵ䦚 Ԇҵљ䩔ࠁӞࠁӞ䩟ϤЌՒᆕᆕԋӚϤષ䩔࿲᫅ϡ篫аಜऑᱦϡတ٬Р ϱ䦚 ѦӌϡϪϩ‫ـ‬䩟ўјՐ‫װـ‬ԆϪષщ䩔ϢЛ䦚 ϥљ䩟јޭϽЌ಄ϤϥЪЌ಄Ӷ䩲՘АϲЌ಄ϺོѦЧϦ䩲ር࢒ЙЛ䦚 ࿲᫅ϡ‫צ‬э‫ה‬Ꮢᘉ֙ϢЙ䩟ԋӚϤષЇ်ᏺ䦚Ϥ‫܉‬ѦӌϡϪϥ Շ䩟ѵϳ ϣӡϴષ䦚ϢϥЈϱϡേӗ䦚Շҵ䩟ЃϢйњ՘Аּ༺ј䩔 ϢЙ߾Ў䩟ૠԚֳֳҍϣвֳаӓӌϡఉж䦚

2 THE CLEAR POND Cai Nan

CHEN DACHEN Someone was hammering at my door. It was early in the morning, and I was still sleeping. It had rained all day and all night, and the country road had been soaked soft as a noodle. I couldn’t go work in the elds; I couldn’t go out for fun. What else could I do except sleep in? But the pounding on my door forced me out of bed. I opened the door and saw a man. His unshaven face gave him a menacing look, his plaid shirt was blotted with mud and rain. He yelled out before I could say a word, “I’m Feng. Come with me. Come, if you still have a heart, and help save a life!” I followed him out, as did my neighbors. Soon we saw an Audi with its four-ringed logo lying like a toad in a ditch at the edge of the village. Its doors were stuck, as was the man who was trapped between the steering wheel and the driver’s seat. Once my neighbors and I got closer, we recognized the license plate and the man, and we all turned around and headed for home. “Hold it! Come get the car out. Please. You can’t leave him there to die!” Feng rushed toward us through the ankle-deep mud. “The man inside has money. Let him hire someone to rescue him,” I said. “Right. Isn’t he Mighty Ma? How come Mighty Ma ended up in a ditch?” my neighbors echoed. Mr. Feng blocked our way with extended arms. “It’s a crime not to help in this life-or-death situation. We must rescue him, no matter who he is. I’m the new mayor in town. You’ll have to answer to me later if you leave now!” We stopped and looked at one another before our eyes settled on the man in front of us again.

142 ֜  ᖈ

ֳѮАֳ䩲ϤՌേӗ䩲჈䩟ъϥϢϡҲଽ䩟Ϣѵϳϼ‫ڡ‬ҷϣϳϲ߁ϺϦ ϸϬ䩔 ϢॅајϡѲ‫ֳ܋‬Ч䦚ϢֳԋϦൈၔњӌᘘаϣ௘਋ଓϡಎ๛Ӟ䩟Ӟϼ ѐϡဆаҩ⇍䦙࠘ᄹѮАϡ䦚ϤР䩟Չϲҩတቤฦ֙Ϧ䦚 Ϣ‫ז‬Ͻ඗ո‫࢙خ‬䩟Ϣϼ‫ڗ‬њϴ‫ݾ‬ϡҷϣխѨϲϥࢗϮϸֺբ䩔ԔϸϬ Ϫ‫ۓ‬છ܏ષ䩔᫅േӗϡՒ஄ᠹϦвϱ䦚ъխՐ۴༣‫⋷⋷ژ‬с‫܊‬Ў޵аတә ж䦚 ϢЙϲөޭϽЌ಄ષϦϼϱ䦚 ᫅േӗЬЛ஢Ҧ䩟֡‫૸܊‬мѬϡϸֺբјҝѼࢗϮϦ䦚‫ܶף‬ஞ‫ٻ‬Ⴞധ䩟 բӌఐ٩ЏЪϮ䦚зўϪइᚫϡϥ䩟ࢗբЬ҃േѦϣд‫ـ‬䩟ϥј‫ޭװ‬ϽЌ ಄൐ࡾϡ䦚ޭϽЌ಄ϥേѦϣр߃௝྄ϡҡ५䦚ԱЛ᫅േӗ‫װ‬јࠁ൐ࡾϥ ҵаЧϡ䩟֐ӪѦс䩟ђᨊаϣ߳႗һҡՁ‫ݾ‬䦚ϣ߳‫܅ܦ‬ԟ䩟᫅േӗᎄᎄ ෍෍ҘϺϦേू௞䦚ҷԏϳ‫ؖޝ‬ϲӋՖϦേ‫ݐ‬ӳ䦚 ԍբюϦϪЙϡՒ෿ж䩟᫅േӗЇюϦേѦϡКྉж䦚

ᓠ‫ֳܨ‬ ЛӥҦ䩟ϢЪЃϤ৩᫅േӗϡ҈ж䦚๬๬ࠁࠁ䩟ေေ॥॥䩟Ϥࢗ‫׷‬ๆ䩟ঐ ল‫ܕ׾ݖ‬ајъխଓՐ۴༣‫؝ףژ‬ᎄລ䦚НϪрϥ֩ࣔ䩟ЃϤ৩ЇЏᨦԃ Ϫр䦚ϢϨേམू‫֞ފ‬ӑ䩟Ϣϡӆੲ֞ӑϥ‫ܐ‬୰ࢧ䦚Нች‫֭ڪ‬ХўϢ૎ૺ ѯ᫅േӗӋэһ䦙༺␜ਛТ䦚ϨрѦЁϥҡԍᨦԃϢ䩟Ϩ‫׊֧؀‬ᨦԃԆϪ ϡҡԍ䦚ѐϥј‫ލލ‬Ϭଆ䩔

THE CLEAR POND

143

“What? You don’t believe I am the mayor? Look, my luggage is over there. I didn’t expect that you would welcome me this way on my rst day of work!” My eyes followed his nger I saw a beaten-up motorbike parked behind the Audi. There was indeed a bedroll and a washbasin, among other such common items, tied to the motorbike. They were, however, already covered with mud. “It’s my promise to you all: the rst thing I’m going to do after I take o ce is to x this road! But right now we must rescue this man.” Mayor Feng put on a stern face as mud clumps continued to roll o of his plaid shirt. So we rescued Mighty Ma. Mayor Feng kept his word and xed the road to the interstate as promised. It was four meters wide and sixty centimeters thick with a wellhardened surface. Most surprising of all, the township did not spend a penny on it. Mayor Feng got Mighty Ma to sponsor the project. Ma was the owner of a paper mill in town. It is said that Mayor Feng went to solicit funding from Ma on foot, with only a bottle of Hengshui Laobaigan liquor in hand, and walked a distance of more than a dozen kilometers. After the liquor in the bottle was gone, Mayor Feng hobbled his way back to the township government, and the fund for the road was wired to the township account the next day. The road became a community treasure, and Mayor Feng a beloved townsman.

SONG XIWANG Frankly, I couldn’t stand the sight of Mayor Feng. He was coarse, loud, unkempt, and forever sloshing around in the same worn-out plaid shirt. But he was the boss. I had to assist him no matter what I thought of him. I work in the Township General O ce for both the Party and the government. My job is to write speeches and reports, but Secretary Zheng also charged me with fetching hot water for Mayor Feng and with cleaning his o ce. What a load of crap! ven at home, it’s my husband who waits on me. But at work, I had to wait on someone else’s husband!

144 ֜  ᖈ

ъϳ䩟Ϣ٬‫ܐ‬ϣࢡԮӊࠃ‫ޕ‬ҹҴТ‫כݮ‬႗భϡཹ‫ۏ‬ઠϦ١ո䩟вԉϦ䦚 ҳϺө‫י‬ж‫؟‬ෂոࡪњ䩟ϲඥϺϦ䦚Ϣ٬ࠤ܏ЧേӗъѦ䩟‫ފ‬ԍఙϼະ‫ٶ‬ Ϧ‫ࢧޝ‬䩟јԜϣ‫ࢬ׷‬༊‫ڪ‬ӆ䩟ϣ‫׷‬ᒌаҤ۬ӌѷ䦚ъѷԚՌϬ‫י‬ж䦚 Ϣ⦣⦏аЛ䩟േӗцϤв䩟ϢඥϺϦ䦚ϧЃ䩟ਛТЬϩ‫ݱ‬䩟эһЇЬϩ Ӌ䩔 ᫅േӗӳЇЬ჋䩟ߓ۟ࢬ༊‫ڪ‬ӆ䩟໅໅ᖡᖡсЛ䩟ЬѨ䩔 Ϣ٬ࠤ‫ڛ‬в঄߳ЂЧસჵࠚ䩟᫅േӗ‫׊‬өϢ‫֙چ‬Ϧ䩟ᓠ‫ֳܨ‬䩟йњϧϤ ѓ‫܉‬ϢϦ䩟ϧϮϮ‫ܐ‬୰ࢧщ䩔ϢҍϤϥЩ‫י‬ж䩟ІѝЌؕઈІѝ䩔 ԟϦ䩔േӗ֭ኈϦ䩔ϢКϣऱ䩟‫׺‬঄߳޵Ϩсϼ䩟ଦϦ䦚 ϢҳаേӗѯϢ‫ܕ‬Щࠉ䩟ҳаേӗ݆Ϣҵ䦚ϸϣϳ‫ټ‬ӊϱϦ䦚ъϥϣϬ ‫ر‬ઃ䩟ϢХϨѯ‫܇ܐ֭ڪ‬Ҧ፻䩟᫅േӗөϢ‫چ‬Ϻј൙Ѧ䩟෋аഐжࠁᲢϡ Ў࣬цϢЛ䩟ϧ٤ӓҘрщ䦚 ϢЩКс՜䩟ЋѮА䩲ϢНϥЪझҨљ䦚‫ر֭ڪ‬ϣϡ‫܇‬Ҧ፻ХЬ‫ܐ‬Ϯ䩟 ϧ՘АЌўϢҘр֦䩲 ᫅േӗᦃЎϱϣ࣠ഐж䩟Л䩟Ϣ҂ϦϣϬ݆‫ݓ‬䩟ҟϳЎ۹Ў‫ڡ‬ӓϥϧЙ зࠤ‫צ‬ϡЗԃ䩟٬аҘр䩟٬а໚Ӟ‫יב‬ж䩟ϧϩϮӪҋЁӹЋԉ‫יב‬ж ҩҡؔ౓߯Ϧ䦚ӛй䩟Ԫѵϳв䩟ϧЙϩ‫י‬жϡѽӎ࢑Нй٤ӓϣЩЗЎ ‫ڡ‬䩔ՉՉҘр྅‫י‬ж䦙‫עژޤ‬҂‫ۮ‬䩟ᖮ෧ುਔ䦙ᖮ෧ԍਁ䦚ϧЧЎϬ֡Ҍ щ䩔 ъ୰ࢧ֦䩲‫ر‬ϣ‫֭ڪ‬Хϴ‫܇‬Ҧ֦䩔ϢЛ䦚 ‫ڛ‬ϱ䩟Ϣ‫ܐ‬䦚᫅േӗ‫ܩ‬ϨϦ‫ފ‬ԍఙӓ䦚 ъϳԉϼ䩟ϢцҡԍЛ䩟ϢЙ᫅േӗϥзϩ൨ϡԲϪ䩟јϡՐ۴ж༣ั ϥേѦϡϣѬը࢓䩔

THE CLEAR POND

145

One day I got up late because I stayed up the night before writing a report on building sustainable villages of civility. After I dropped my child at the kindergarten, I arrived late for work. I rushed to Mayor Feng’s o ce rst thing. His desk was messy with documents, and he was ipping through the pages of a book and chewing on instant noodles like a kid. “I’m sorry, Mr. Mayor, for being late,” I muttered. “You must have noticed. I’ve yet to clean your o ce and fetch the hot water.” Mayor Feng didn’t even look up. “No worries,” he blurted out, as he continued to ip through the book. I picked up the thermos quickly, but before I could head out to the boiler room, Mayor Feng stopped me: “Song Xiwang, please don’t do this for me anymore, and concentrate on what you must write. I’m not a child. I can take care of myself.” Oh, no. It’s all over! Mr. Mayor now holds a grudge against me. As my heart sank, the empty thermos dropped to the ground and broke into pieces. I started waiting for the mayor to squeeze my shoes about it for the day he would get rid of me. It nally came on a Friday, as I was writing a speech for Secretary Zheng. Mayor Feng brought me to his o ce. With his hand rubbing his scru y chin, he said to me, “Please go home early.” “Why?” I asked, carefully. I have been working hard, I thought. How could you send me home when I am not done with Secretary Zheng’s speech IRU¬0RQGD\" Mayor Feng plucked a hair from his beard and said: “I did some research. The most frantic time of the day for you folks is when you get o work in the afternoon. You want to get home quickly, and you have to catch the crowded bus to pick up your kid. The kindergarten teachers have reprimanded you several times for picking your child up late. So from now on, female employees with kids can get o work an hour early! Go and get home early to feed your kid, do your laundry, cook and care for your parents or in-laws. Please go notify everyone in writing of this.” “What about the speech?” I asked. “Secretary Zheng is to give the speech on Monday.” “Bring it to me. I’ll nish it,” Mayor Feng said, as he sat down at his desk. I told my husband that evening that Mayor Feng was the classiest man around and his plaid shirt a pretty sight to see in town.

146  ֜  ᖈ

ች޿৆ ϢࡒѐЩЃϦЩ᫅䦚ϸр඗ЪϩҖЎж䦚ѴϨЃϱ䩟ϢөјϴϱϽළേӾ േӗϥϴцϦ䩟ЇϥϴӮϦ䦚 ϢӆϱϥЂϴϬϩЌҨϡϮ‫ݨ‬Ѳ䦚Нϸр඗ЌҨϥϩ䩟‫׊‬ϤЌ‫ݨ‬Ϣࡤ䩟 Х८ѯϢྔࣣ䦚຃ϤЛјࢗբфІѝܹϬϪྕୋϡѨϦ䩟ϲЛՒЎޭϽЌ ಄߃௝྄ϡѨєщ䦚ॎЛϧષϦϪрϡТ‫ܞ‬䩟НЇўϪро‫ࢗޝ‬բϦљ䦚 ੜЛϸԮ‫؎׏ڍ‬քϱքϮ䩟НјϤ䩟ѴϨҍϴўϪр߾‫߃ۨݘ‬䦚ޭϽЌ಄ Ϥ‫ݾ‬Ϧ䩟ј‫װ‬ϺϢϸѦϱ‫ݍ‬૮䦚јЛ䩟ች‫֭ڪ‬ϧЃϢНϥѯ൫сҤϼ҂Ϧ ᕟຸϡϪ‫ڃ‬䩟ᇃϢϣдЇЬվ‫ڛ‬䩟ࢗբዊ‫ܝ‬ϢНϥ‫ڃ‬ҘЇϤᄂา䦚ϧЃ᫅ േӗϸϪఐϥфϢРϤЧ䩟јөϢЁ‫ݱ‬Ϻ໋ѦϦ䦚ࢲ ‫خ‬঵ϱ‫װ‬Ϣ䩟ўϢ߾ ‫੽ݱݘ‬ಘһٕӵ‫ࢅڍ‬䩟ϴ‫ٻஂݱ‬ё֦䩔ϴϥϸ҈䩟Ϣ‫ݾ‬໸Ԯ‫צ‬ЏϦ䩔 ϢାϦ䦚ϢөЩ᫅‫װ‬ϱ䦚Ϣ՜ј䩟Щ᫅䩟ϸАϽϡѨϧЇϤфϢ࠱֝ϣ Ў䩲 јϨϢϡ‫ފ‬ԍఙӓϣ‫׷‬ᅝа຋႘䩟ϣ‫׷‬ጤ⑜а䩟ࡻϤ‫ب‬฽љች‫֭ڪ‬䩟߃ ௝྄ᇉท଴Գ䩟‫ࣻر‬сѦЁϤӗນ⅒䩟ป‫ײ‬ೞӤᘠϳ䩟ҡ‫ښ‬࿲‫܅‬ϡһЁϩ ঩‫ڏ‬ո䩟ӐᦋணЎЧϿоϪ‫ܞ‬ϡ䦚ӛй䩟Ϣϲ‫ܐ‬Ϧ‫ݍۏ‬ခѯ໋ѦϦ䦚 ϧ٬ࠤө‫ݍۏ‬ѯϢϴҘϱ䦡ϢөКЕϡཎጹߖ࣭Ё࿉ϨϦсϼ䦚

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ZHENG BULIN I have indeed underestimated Little Feng.3 He is really something. It now appears that I was both right and wrong to choose him to be mayor of Dawan Township. My original intention was to get a capable helping hand. This fellow is capable all right, but instead of being my helping hand, he has done nothing but rock my boat. Let’s put aside his issue of using the road to build himself a cult of admirers and focus on the current problem at Mighty Ma’s paper mill. It is true Feng saved Ma’s life, but he also took his money to x the road. Their relationship should be getting better, but Feng won’t let it. Now, he is asking Ma to suspend production in order to x his plant. Mighty Ma is fed up with this crap. He has come to me to complain. Ma said, “Look, Secretary Zheng, I have been a great contributor to our local community. I pay my taxes in full and I have never played fast and loose with the donations for road construction. But look at Mayor Feng, he is literally trying to undercut me. He’s sicced the county authorities on me. The county nvironmental Protection Bureau checked me out and ordered me to halt production until I x the wastewater discharge system. This project will take half a year! If I do that, I might as well shut the mill down for good.” I was furious. I called Little Feng in and asked: “Why didn’t you check with me before you made a big decision like this?” He was standing in front of my desk. He grunted while picking his nose, “Secretary Zheng, we have no time to lose. The pollution by the paper mill is so serious that crops aren’t growing around it; the stench nearby is overpowering; even the drinking water has an odd taste to it. Delaying further would have put people’s lives in danger, so I wrote the report and sent it to county authorities.” “You go and get that report back right now!” I even hurled my favorite purple sand4 teacup to the ground. 3. It is common for a senior superior to pre x his address of a younger colleague with “little” (Щ [LúR). 4. Purple sand ceramic products, made from the local clay of Yixing in Jiangsu Province, are usually handcrafted and valuable. The making of ne quality ceramic in Yixing goes as far back as Song dynasty (tenth century). Today an everyday utensil like a teapot or teacup is often used, as well as cherished, as a piece of artwork.

148  ֜  ᖈ

ֲ‫ܬ‬ ᫅േӗϲЧϦ໋Ѧ䦚НϥјϸϣЧϲЬϩҘϱ䦚ၖࡄಬЅ䩟јϡಎ๛Ӟф ϣ௘࢞ӞජϨϦϣв䦚ϲϨјࢗϮϡъֺբϼ䦚ϥವϽᜪ‫ۏ‬ϡҞ䦚Ӿᓠ‫ܨ‬ ֳ֩аേू௞ϡϪ٬ϺЗ䩟᫅േӗ఑Ϩ߱ᓉѦӔҮЬϩϦӤ֥䦚ъխՐ۴ ଓ༣‫ژ‬䩟ᕼ‫ٶ‬ϦԝॼϳࢷᅑХϴ‫ێ‬ϡ৲߱䦚ϪЙϨј༣‫טژ‬ೂѦࢬоϦъ ‫ڤ‬ў߃௝྄߾‫ஂݱݘ‬ϡ‫ݍۏ‬䩟Хϩׄࡠ‫ـ‬䦚 ᫅േӗӚњ䩟ϽළേϡϪϨъϬբ‫߹ט‬Ϧ࡮ᗍ䩟ϼӌࡻϦҖϬϽ‫ܒ‬䩭֜ ᖈ䦚 ֜ᖈϥ᫅േӗϡӜ‫ܒ‬䦚 

THE CLEAR POND

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EPILOGUE So Mayor Feng went to the county seat, and it was a trip of no return. His motorbike crashed into a van on his way back home, on the very road that he had helped x. Chen Dachen brought the news. By the time people from the township government arrived, led by Song Xiwang, Mayor Feng had lost all signs of life and was lying in a puddle of blood. That worn-out plaid shirt of his was soaked redder than the summer sunset. In its pocket, they found the report requesting that the paper mill halt production for renovation. Along with the report was a 5 yuan note and 80 cents in change. Later, the people of Dawan Township erected a stone tablet at the crossroads where Mayor Feng died. ngraved on it were two large characters: ֜ᖈ.5 It was Mayor Feng’s given name, Feng Qingtan. It means “clear pond.” (2011)

VOCABULARY AND USAGE ẫ

l i

beat; pound

ࠨࡋЙৼ෇ẫೖЋјӸ ‫ܟ‬䦚

ӒଫҢ

shuìl njiào

sleep in

јӹЋӒଫҢϼࠅඥϺ Ϧ䦚

Ӟិ

ch zhóu

axle

ӞិϥӞϡϣϬԳϴ‫ח‬ խ䦚

Ӟិ‫ە‬

ch zhóuy

nonstop rain

ϸӞិ‫ە‬ӔҮЎϦҖϳҖ ١䦚

ᘖ

ji o

drenched

Ͻ‫ە‬өϸसᢼᘖ઱Ϧ䩟ϧ ХϥҳҴϳኘसщ䦚

Ўс

xiàdì

go work in the eld

ϢϸӪϳϤЌЎсϦ䩟ϴ Ч‫ڝ࠹ߟܚ‬۵䦚

‫ځ‬ড়

sh nxi ng

thunderous

јϴϥӒаϦ䩟ϧϲϥө ՟ẫЏ‫ځ‬ড়䩟јЇԱϤ ԋ䦚

5. The play on words emerging from the similarities between ֜ᖈ (TҸQJWiQ, clear pond) and ֜‫( ܥ‬TҸQJJXčQ, clean o cial) may be lost in translation. The name in Chinese, however, is indicative of a longing for the latter.

150 ֜  ᖈ

ഐжࠁᲢ

húzil ch

a stubbly chin

ϧНϤЌϸАഐжࠁᲢс ЧԚ֬䦚

Ԛ

xiàng

the look

ϢϣӡЌߋ䩟ӹЋϪϪЁ ЛϢϩഃ‫ݳ‬Ԛ䦚

ൈၔ

àodí

a transliteration of Audi

ԧӍӧൈၔनϡӞ䦚

᭐Ṿ

háma

toad

ϧϸϥ⋎᭐ṾЂѷϳᏝ ‫ރ‬䦡䦡Ь՟䩔

Ⴙ

zh

plunge (headlong)

բϼϩ઄䩟ϢାᏸӞЗϣ ӳႹՖϦ೨‫׷‬ϡѬོ䦚

҃ഇϤЏ

dòngtan b d

cannot move

Ͻ੘ӳय़֙Ϧјϡ‫ה‬Ꮢ䩟 ўј҃ഇϤЏ䦚

Ւᆕᆕ

y nzh ngzh ng unfeelingly

ϢϤЌՒᆕᆕсЃаԆϪ ๑૎Ϣϡ‫י‬ж䩔

ԋӚϤષ

jiàns búji

not to help a dying man

ϢϥࣨТ䩟ϤЌԋӚϤ ષ䦚

篫һ

t ng

wade

ಜ

qí

reach the height of

ϸѦϡһӔҮಜଧ‫ٹ‬Ϧ䩟 ϧ篫ϤРϱ䩟࡛‫ݚ‬Ԇ੼ ছ䦚

ऑᱦ

ji ohuái

ankle

ҡёϪ҂‫҃ؽ‬දԷϴ‫ڀ‬Һ ‫ࣇخ‬ऑᱦ䦚

Ќ಄

n ngnài

ability

јЬϩѮАѐЌ಄䦚

်ᏺ

pànxíng

sentence (to prison)

ϨϢЙϸո䩟ӋІѝϡ‫י‬ жЇϥϴ်ᏺϡ䦚

ּ༺

sh ushi

settle accounts with somebody

ј҂ϡवѨѿЄϦ䩟Չϲ ؎ּ༺јϦ䦚

ఉж

hànzi

man; fellow

ϧЛҦ‫ّڲ‬䩟ϥֺఉж䦚

ᘘ

chu

stand

ϧԆᘘϨъոϤ҃䩟‫ݨ‬а ௭௭ಒᛣ䦙ઉઉު䦚

ಎ๛Ӟ

mótuóch

motorbike

ϢЙ໋Ѧэӈ҃ಎ๛Ӟϡ ϪХϥԝэЩ᜸ӞϡϪ Є䦚

ဆ

b ng

fasten

јөҲଽဆϨಎ๛Ӟϡњ ӏϼ䦚

ҩ⇍

b ir

bedding

ҩ⇍ЁϥࢭϼѓԘ䩮⇍ж ະϨӱЎ䩟ҩж౐Ϩӱ ϼ䦚

တቤ

níji ng

mud

ฦ

hú

paste

ϸѦϡग‫ڱ‬Ϯ䩟ᬞတቤН йѓϱฦො䦚

ϼ‫ڗ‬

shàngr n

take o ce

ϧϥ‫ڃ‬ϣёЧ‫ځ‬ևϼ‫ڗ‬ϡ䩲

THE CLEAR POND

151

ᠹՒ஄

d ng y nj ng

stare; glare

јϣᠹՒ஄ϢЙϲҌѬј ТӤϦ䦚

⋷⋷

s s

an onomatopoeic term for rustling

Щըೈϱ䩟ஔౘ⋷⋷т ড়䦚

஢Ҧ

x (huà)

empty; false (words)

јߞҲϣঊ䩟ԪϤЛ஢ Ҧ䦚

Ւ෿ж

y nzh zi

eyeball

ԧЕࣇϸ‫ח‬ѲҜϲՌЕࣇ ІѝϡՒ෿ж䦚

ࠁ൐ࡾ

l (zànzh )

draw; appeal (for support)

൐ࡾ

zànzh

sponsor

ϧϥјϡԴҎ䩟Ϥ؎ࠁј ൐ࡾϸϬЬϩӓಬϡ࣮ ۵䦚

ᨊ

ln

carry

ЛϣϬϪϿѯ֩ࣔᨊ‫د‬ϥ Лј৖ӊֲ࣬ॗϮϼ ٛ䦚

ҡՁ‫ݾ‬

l obáig n

Laobaigan (a popular brand of liquor)

јٰѽԴҎԣՁӓ‫܅‬Ϧϣ ಒҡՁ‫ݾ‬ฅ༈䦚

ᎄ෍ລ

huàngyou/ dang

swinging

ј‫௴܅‬Ϧ䩟ҵբ‫ׯ‬ᎄ ෍ລ䦚

transfer (money into an account)

֑֑ҟϬ֊ЁߵЗөТ҅ ‫٭‬ӋՖϢϡཫ‫ݐ‬䦚

ө‫ ـ‬ӋՖ (b qián) d jìn ཫ‫ ݐ‬ (zhàngh ) К ྉж

(x n)ji nzi

tip-top; the most important; the best of its kind

ԧϡ‫י‬жϥԧϡКྉж䦚

ЃϤ৩

kànbúguàn

detest; frown upon

๬ࠁ

c l

coarse; crude

Ϣ‫҅ݾ‬๬ࠁ䩟࿆ਜ਼ЃϤ ৩䩟Ї‫׶‬իਁਁ‫ૺ܋‬䦚

ေ॥

z hu

loud; show o ; bluster

֑֑‫׶‬Лѽ‫י‬жϴಢԳ䩟 ϤЌေေ॥॥ϡ䦚

Ϥࢗ‫׷‬ๆ

b xi bi nfú

slovenly

Ϥࢗ‫׷‬ๆϡԲϪҥற֦䩔

‫؝ף‬

sìch

everywhere and all directions

ϧϩ‫׺‬ЧЅм‫؝ף‬ЃЃ䦚

ᨦԃ

cìhou

wait on; serve

‫י‬ж䦙࠴Ϫ䦙ҡϪЁؑϴ ϢЙ಄Кᨦԃ䦚

ӆੲ

b nzhí (xi )

one’s job; one’s duty

‫ ܐ‬୰ࢧ

cáiliào

prepare written material

ѯ֩ࣔ‫ܐ‬୰ࢧϥϢϡӆੲ ֞ӑ䩟ѯјЙઉߖࡒһ Ϥϥ䦚

༺␜

shídu

tidy up

ϧ؎༺␜ϣЎІѝϡࠚҽ Ϧ䦚

Т‫כݮ‬႗

sh ngtài píng h ng

ecological balance

‫ז‬૯ѦٕӵᇉһϿ਋वТ ‫כݮ‬႗䦚

152  ֜  ᖈ

ཹ‫ۏ‬

huìbào

report

٬‫ܐ‬

g n xi

dash o

ԧЋϦ٬‫࠯ۏཹܐ‬١ӒЏ Ъԉ䦚

ઠ١

nàoy

a colloquial expression for “burning the midnight oil”

ӭЁϸАϽёઓϦ䩟ѐϤ ؎ઠ١Ϧ䩟ӱՄѷϤ‫۽‬ ϡ䦚

ᒌ

jiáo

chew

ԧҡϦ䩟ӔҮᒌϤ҃ՐТ ܶϸ҈ϡ‫׉ې‬Ϧ䦚

ѷԚ

ch xiàng

manner of eating

ϧЌԪϣϬϪϡѷԚЃо јϡ‫ޚڌ‬䩲

⦣⦏

ni rú

mutter; speak haltingly

ј⦣⦏а௪оӪϬ‫ܒ‬䩟Ϣ ЙЁϤҴՁѮАҺ‫ڽ‬䦚

Ӌһ

d (shu )

draw; fetch

Ӌ‫ۮ‬䩟Ӌһ䩟Ӌ඼‫ܟ‬ϸԈ ѨոҒѵӔҮϤЄԋ Ϧ䦚

໅໅ᖡᖡ

w wul lu

unclear sounds

ϧ໅໅ᖡᖡЛѮА֦䩲

֭ኈ

jìchóu

bear a grudge

ϧѿЄКϦ䩟јϤϥъ҇ ϣѢոЩѨϲ֭ኈϡ Ϫ䦚

К ऱ

(x n)liáng

disappointed; disheartened

ѧёЬϩјϡ‫ٸ‬ల䩟ԧϡ К๞݄ऱϦ䦚

‫ܕ‬Щࠉ

chu nxi oxi

make things harder for someone

јҢЏІѝЪԟѤ䩟ҡ५ цјϤ‫ٶ‬ϥѯј‫ܕ‬Щ ࠉ䦚

ᦃ

zhuài

pull; drag

јᦃϦᦃ഑жЛ䩟䦧ϤӗϤ ߦ䩟ԜϮ䩔䦨

ᖮ෧

xiàojìng

show lial respect for цӗ੫ϡᖮ෧‫؎׏‬ϥтІ ֵКϡ䦚

Ў֡Ҍ

xià t ngzh

make an announcement

Ҵϳϩફըઞ䩟Ѻ‫ޥ‬Ў֡ Ҍ߾ࠅ䦚

ϩ൨

y u pài

charismatic

јϥϬҍІҞҍᕨ஢䦙֐ дϩ൨ϡϮࠟ‫؃‬䦚

ϩҖЎж

y u li ngxiàz

have real ability and skills

ЬϩҖЎжԧЌӾ๮ӗ Ӷ䩲

р඗

ji huo

guy; fellow

ϸр඗ϩӓ॓䩟ԆԚҞ ј䦚

८

jìng

entirely; only

ϣ١Ͻը䩟‫ٶ‬с८ϥ޻ ౘ䦚

ྔࣣ

ti nluàn

mess things up

‫י‬жϨϸѦђϿѯϧྔ ࣣ䦚

ྕୋ

ch ngbài

worship

ЪЄࢴ‫ྕٷ‬ୋᒊࡲԝ਒䦚

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153

ੜЛ

ànshu

in the ordinary course of events

ੜЛϢЙࠬӥҨЪ‫מ‬Ϥ؎ ఍ϡ䦚

ᄂา

shu huá

act in a slick way

јϼѺϡЗԃϲ‫׶‬ᄂา䩟 ᐌԆϪϡӑ‫׭‬䦚

ఐϥ

yìngshì

obstinately

ҴҴϥј‫ݾ‬ϡ䩟Нјఐϥ Ϥઌ‫ڶ‬䦚

фРϤ h . . .guòbúq Ч

nd fault with someone

ϢӍӧϡϧϣӡЛԡЃ䩟 ϧЋѮАւϥфϢРϤ Ч䩲

Ԯ‫צ‬

gu nzh ng

close down

Ϩёӳ䩟࠱‫ނ‬э‫צ‬Ԯ‫צ‬ϥ ‫׶‬ϩϡѨո䦚

ЏϦ

d le

let it go at that; forget it

ϧϨϸոЬϩӱ‫ڤ‬䩟ϤЌ ‫֞װ‬ӑ䩟ϢЃϧХϥ‫ڒ‬ эЏϦ䦚

ᅝ຋႘

w (bík ng)

pick (one’s nose)

ϨԆϪӌӓᅝ຋႘Ϥѿ઩ ޴䦚

ጤ⑜

d nong

mumble (complaints) јϤ‫ٶ‬Һсጤ⑜ϦӪ‫ط‬䦚

ࡻϤ‫ب‬฽

k b rónghu n

permit no delay

ೞӤᘠϳ

chòuqìx nti n

overwhelming stench ъϬ٩྄֞ϡ‫ࣻر‬ೞӤᘠ ϳ䦚

ҡ‫ښ‬࿲

l ob ixìng

ordinary people

ԧѨѨ‫؝؝‬Ћҡ‫ښ‬࿲а Ђ䩟ϥϬϮ֩ࣔ䦚

ᦋண

d nw

delay

ϸѨոϪ‫ܞ‬Ԯϳ䩟ϣд‫ވ‬ ЇϤЌᦋண䩔

оϪ‫ܞ‬

ch r nmìng

cause death

эӞϤЩКϿоϪ‫ܞ‬ϡ䦚

hand over to; deliver

ԧө‫ڮ‬ḗခϺϢϡѲЅ䦚

ခѯ䩢Ϻ dì(g i/dào)

‫ڌ‬ड़ۨཪࡻϤ‫ب‬฽䦚

ၖࡄ

f nch ng

return (trip)

ϢЧϦϲЬӋ‫ڲ‬Ҙϱ䩟Ь ЂРϴձၖࡄ‫ܯ‬䦚

ಬЅ

túzh ng

during the journey

ϺᆙӸࢯХϩЄ߭Ѧ ֦䩟ಬЅ‫ۓ‬છ߾ЎϱӸ ‫ܟ‬䦚

ජ

zhuàng

hit; collide

ԧජϺϦఙжࡠϼ䩟өӳ ජ਋Ϧ䦚

߱ᓉ

xu pò

a pool of blood

ј೺‫ח‬Ѕഇ䩟ࡒϨ߱ᓉ Ѕ䦚

Ӥ֥

qìx

breath

ࣨТϺܼЗјӔӤ֥Ҫ Ѫ䦚

߹

lì

erect

ᗍ

b i

upright stone tablet

јЙϨъ࡮೧ϡЅ႑Ћേ ӗ߹Ϧ࡮ᗍ䦚

154  ֜  ᖈ

QUESTIONS FOR DISCUSSION 1. Who are Chen Dachen, Song Xiwang, Mighty Ma, Zheng Bulin, and Feng Qingtan? What demographic groups do they represent? 2. Whose narrative, in your opinion, identi es Mayor Feng most accurately? What does the narrative technique employed here say about human perception and identity? 3. How does Mayor Feng deal with Mighty Ma at rst? Why is Feng’s way e ective? Is his way commendable in your opinion? 4. Do you like his executive order regarding female employees with children? 5. What is his leadership style, especially in contrast to that of Zheng Bulin? 6. What have you learned about the Party-State bureaucracy at work from this story? 7. Why did Mayor Feng get the report back? Is he a hero or a coward? Why do the local people commemorate Mayor Feng?

  ՇϥವϽᜪ䦙ᓠ‫ֳܨ‬䦙ޭϽЌ಄䦙ች޿৆ф᫅֜ᖈ䩲јЙдԆ‫ڊ‬ԣъԈ ϤӎळՄ䩲   ϧ‫ڶ‬ЋՇϡᆡ਎ЛоϦзѐӥϡ᫅േӗ䩲ϸѦϡᡵ਎৔ಌϨ೩тц‫ڶ‬Ҍ фІϢ䩛LGHQWLW\䩜ѮА҈ϡ‫ߎڽ‬䩲   ᫅േӗэ‫״‬ϡЗԃϥ՘҈ٰޭϽЌ಄Ӌ‫ے‬Ѭϡ䩲јҤܴЋѮАЪϩ‫݌‬䩲 ϧҢЏјϡ҂֚ߚЏ൐ೄӶ䩲   ϧӍӧ᫅േӗЋϩ‫י‬жϡѽԛੲ֞ӛЎϡҲू֡‫ݍ‬Ӷ䩲   ᫅േӗϡ֩ࣔը۴ϥѮА҈ϡ䩲јԁች޿৆ϡը۴ϩѮАϤӎ䩲   ԮӊЅмམू‫‐ܥ‬Ҝพϡ‫ؽ‬ӑ䩟ϧԪϸϬ‫ݞ‬ѨЅЁѺϺϦѮА䩲   ᫅േӗЋѮАө‫ݍۏ‬ϴҘϱϦ䩲јϥϬ߭೰ХϥϬ༈Щ૤䩲ЋѮАӾс ϡҡ‫ښ‬࿲Ͽઓ݉ј䩲

AUTHOR BIO Cai Nan (1965–) works with townships like this on a daily basis as chief of the General O ce at Renqiu Local Tax Bureau in Hebei Province. A native of Renqiu County, Cai Nan proudly sees himself as an o spring of the Lotus Lake School, an in uential contemporary school of literary thought and

THE CLEAR POND

155

artistic expression from his native region. Cai Nan enjoys writing in his spare time and loves reading international writers and Nobel Prize winners in translation. He has published seven collections of stories and two volumes of prose and essays. Literary journals and magazines across China have carried his ctional works, among them prestigious venues like People’s Literature (Ϫ‫ھ‬ҹѺ), Beijing Literature (‫ߟܚ‬ҹѺ), Tianjin Literature (ϳဋҹѺ), Great Wall (ӗ‫)ڵ‬, and Readers (ࢴ‫)ٷ‬. Among his best-known works are “Fish Walking” (“ҲҵϨ࿝ϼϡֿ”), “Looking Back at Life at the Moment of Death” (“ТӚҘ ”), “August Mood” (“ࡂ֊єో”), and “Life CD” (“ᡵѨ‫)”ׇ࣫‬. His blog pro le emphasizes three things: his membership in China’s Writers Association, his directorship on the short-short story committee at the Hebei Writers Association, and his position as vicechairman of the Cangzhou Writers Association. A representative writer of the short-short genre in China, Cai Nan is best known for his experiments with the art form and innovative contribution to its success; his ability to present complexity in economic prose; and his sense of social responsibility, which he invests quite a bit in the character of Mayor Feng in “The Clear Pond.”

3

Ͻ‫⥪ێ‬ ߲‫כ‬

Ͻ

૯భϡಧϽϬж䩟҇‫҇⥪ێ‬оϦӜӤ䦚ӓҖϳ䩟Ϩ૸‫ڵ‬৓‫ފ‬ ϡ఻ࣁϿϼ䩟ј‫ࣁ؟‬ϡϽ‫⥪ێ‬䩟ԅϦ‫ؖ‬؋䦚 ໋௞‫ྴފ‬Ұ‫چڗ‬ϱϦЩข䩟ϴјЧϣᇜϽ૯భ䩟өєୂ ட֜௟䩟߹ޭ‫ڛ‬оϣϬҮࡑ୰ࢧϱ䦚ྴҰ‫ڗ‬Х‫ئ‬ҺѯЩข൨Ϧϣ௘Ӟ䦚Щ ขՖ໋ू௞‫ފ‬ԍॣЗҽߦ䩟ЛѮАЇϤ؎‫ݼ؀‬൨Ӟ䦚й۠ӊඹვ‫؃‬Щղ䩟 ϨӞϼ䩟ХϣϬབྷс՜Щข䩟ྴҰ‫ڗ‬ϥϧ֬ᛐ䩲 ЩขԪྴҰ‫ފڗ‬ԍॣоϱϲ‫ׯ‬౶Ͻ૯భ䦚ঠϺ֞ӑ䩟ЩขዜӱϼЎϩٍ Ϥԟϡབྷ䦚ХϩҖϬ֊䩟Щขԍࠖ‫؃‬ϲ‫׆‬ԜϦ䦚јЂ‫ݾ‬оюၾ䩟ѯ֩ࣔ߈ ϬϮ୅ࢣ䩟йњ䩟ϩϬϮӓಬ䦚 ЩขϨϽ૯భጬϦϣ‫ݱ‬ϳ䩟Ҙϱ䩟ԮϨ൙жѦൎϦϣ‫ݱ‬١䦚ҷԏϳ䩟Ӌ аՀ๲䩟ᚥаϣ‫ה‬෣ࢌՒ䩟ө୰ࢧ‫؟‬ϺྴҰ‫ڗ‬ѲѦ䦚 ྴҰ‫בڗ‬Р୰ࢧэ‫״‬Ѓ䦚Щข᝝ᝥϤԥсֳаྴҰ‫ڗ‬䩟й‫׈‬Ԫј࠘ϼ ЃоϣԈ۰చф൐‫ܙ‬ϱ䦚ЩขѺϡϥҹ੶䩟ϽѺѦϲэ‫״‬Ϩ‫ۏ‬ᑂϼтԣҹ

3 BIG SWEET POTATOES Zeng Ping

B

ig Su of Dahe illage had made a name for himself growing sweet potatoes. Two days ago, his showpiece won the gold medal at the state fair in the provincial capital. Afterward, Chief Wu from the General O ce of County Government6 summoned Little Liu. He asked Little Liu to make a trip to Dahe illage to check on everything and to report on Big Su’s experience immediately. Chief Wu also arranged a car for Little Liu, speci cally for the trip. A novice to the General O ce, Little Liu shouldn’t have been given such a privilege, so Little You, the driver, kept pressing him even when they were well on the road, “Is Chief Wu a relative of yours?” Little Liu made straight for Dahe illage from Chief Wu’s o ce. When it came to work, Little Liu exuded boundless enthusiasm from head to heel. In another two months, he would obtain his permanent civil servant status. He wanted to impress his superiors by doing great work and accumulating honors for the great future that lay in front of him. Little Liu spent the whole day in Dahe illage and the whole night working on the report after he got back to his room. Yawning and rubbing his eyes, which now had dark circles under them, he handed the report to Chief Wu the next day. Chief Wu took the report and began to read. Anxiously, Little Liu looked at him, hoping to nd signs of approval and praise. He had majored in secretarial studies in college and had started to publish in newspapers and journals when he was still a student, so everyone called him a wit. County Governor Li’s secretary had recently assumed the 6. This general o ce runs the county government’s daily a airs. In his secretarial and coordinating functions, the o ce chief has close ties to the high-level county bureaucrats.

158 Ͻ ‫⥪ ێ‬

‫א‬䩟ϽрЁ‫چ‬јҥж䦚з‫ײ‬䩟ଽ໋ӗϡ੶‫ڪ‬Ϻ๮ϼ҂ై‫֭ڪ‬ЧϦ䦚Щขൿ Ђ࠾᡻䩟ϿϤϿϥଽ໋ӗфྴҰ‫ڗ‬ϨߎൌІѝ֦䩲 ྴҰ‫ڗ‬Ъьө୰ࢧခРϱ䩟ϴЩขӐЃЃ䦚 ЩขЃϤ֜ྴҰ‫ڗ‬ϡԣє䩟ϣӳᇔһ䦚ЩขђЏ‫ڛ‬а୰ࢧЃ䦚Էӥ䩟୰ ࢧЩขЁЌࠧ᫥Ϧ䦚 Щข‫ܐ‬ϦಧϽϬжҒ‫ح‬вՉဲ‫ܪ‬䩟ৌа໏໏ჴя䩟੼а෴ᄹϽ‫ؘە‬น࢛ ӑ䦚јԗಧϽϬжङसւֲЋ䦨ҖՉҖ۱ѓ䦨䩟ැএւֲЋ䦨ѧཕϣँ‫ڀף‬Һ䦨 䩟Ԫड़ြϺᝁ๭ϺּԅւֲЋ䦨Җ٤ӓѧϺ֧䦨䦚јХөಧϽϬжϡ‫⥪ێ‬ф ‫׷ر‬ळ੃ϡ‫⥪ێ‬ՖҲԝࢹ䩟ੜಧϽϬжϡ҇ယ‫֚ފ‬䩟ϣᣆс䩟۠վҶ‫ݘ‬ѧ ‫౉ښף‬䦚 јөϸ҇ᝁ҇Ҥ֚‫ܞ‬ӜЋ䦨ಧܴᝁ֚҇䦨䩟୰ࢧֲഅ䩟ј‫ٶ‬ଭ‫ٹ‬єс‫ܐ‬ Ѭ䩟ಧܴ‫⥪ێ‬ᝁ֚҇䩟ϥ‫҇⥪ێ‬ယ৔भϡࡷЈ䩟ϥ఻‫ھ‬Ҷּϡ‫ٸ׫‬䩟ԟҪ ‫؎׏‬ϨҪ໋Ҫ‫ص‬ᑏ۠Ҫ૸Ԑܲ䦚 Щขө୰ࢧ፞аЃϦҖৄ䩟ЬϩтѴӮԆ‫ط࠴ܒ‬䩟ЇЬϩтѴфϼٛ‫ؘ‬ ‫ظ‬৳߷ҏ‫؝‬䩟‫߷ॸ׍‬о఻‫ھ‬Ҷּ䩟ࠃ‫ޕ‬घϿҰॶЈ఻భҰ֣䩟ЛѮАЇ؎ ϥϣࢡϮ୰ࢧљ䩔 ྴҰ‫ڗ‬ԙԙ䩟Л䩟ХЬтѴ՜֣䩲 ЩขٍབྷЂϦҍЂ䩟‫ټ״‬ЂϤо䩟ђϮЛ䩟Ьϩ䦚 ྴҰ‫ڗ‬эࣔЛ䩟Щขљ䩟Џ҃‫ݽ‬ᄍљ䩔 Щข৿ణ໔䩟‫ܐ‬ϸϬ୰ࢧ䩟ј‫ݽߊ᧶ڲ‬ဝϦ䦚 ྴҰ‫ڗ‬ЃјϤэᚍ䩟ђϮЛ䩟ϸ୰ࢧ䩟ЏԳЈ‫ܐ‬䦚 ЩขାϦ䩟Л䩟ЋѮА䩲 ྴҰ‫ޛޛڗ‬јϡ෰ᅊ䩟Л䩟Ԇା䩟ߝߝϱљ䩔 ྴҰ‫ڗ‬ђϮѢጁј䩟Л䩟ϧЂЂљ䩟ಧϽϬжϡЈࡿ‫ڃ҇⥪ێ‬Ѧϱϡ љ䩲 ЩขЛ䩟േ఻৔ۖљ䩲

BIG SWEET POTATOES

159

o ce of deputy party secretary in a nearby township government. Little Liu’s imagination ran wild: Could County Governor Li and Chief Wu be testing KLPDVVHVVLQJKLP" Soon Chief Wu handed the report back to Little Liu and asked him to take another look at it. Little Liu, unsure of what Chief Wu’s facial expression meant, couldn’t make heads or tails of what was going on. He felt obligated to check over the report in his hand, but truthfully, he had already committed the whole report to memory. Little Liu wrote about how Big Su got up early and worked late, and how he farmed intensively and carefully whether under the scorching summer sun or in pouring rain. He summarized Big Su’s weeding method into “two early starts and two good strategies,” his fertilizing technique into “triple diligence plus one deduction and four cautions,” and the process from seeding to planting to harvesting into “two in advance and three in place.” He also compared Big Su’s output with those around him. Big Su’s way of farming yielded at least 300 to 400 jin more per mu. Little Liu named Big Su’s method “the Su farming style.” At the end of the report he wrote with deep feeling that the Su style of growing sweet potatoes was a scienti c innovation that meant good news for increased production. Absolutely, it merited promotion throughout the county, the municipality area, and even the province. Twice, Little Liu closely checked the report. He didn’t see any misuse of words or syntactical errors, nor could he nd anything that contradicted the directives from the higher authorities. And with the prominence given to the themes of increasing farmers’ output and of building a new socialist countryside, this should be a good report no matter how you read it. Chief Wu smiled and asked, “Still don’t see any problem?” Little Liu thought long and hard, but couldn’t come up with anything. Finally he had to say, “No.” Chief Wu urged him, “Rack your brain, Little Liu!” Little Liu felt hurt. Writing this report, he had racked all the brain he had. Seeing that Little Liu was stuck, Chief Wu told him: “You must rewrite this report.” Little Liu was upset, “Why?” “Calm down and take it easy,” Chief Wu said, patting him on the shoulder. Chief Wu felt he ought to set things straight for Little Liu. “Think about it, where did Big Su get the new sweet potato seeding?”

160 Ͻ ‫⥪ ێ‬

ྴҰ‫۟ߓڗ‬Ѣጁ䩟Л䩟ѯ‫⥪ێ‬ැϡ٩এ֦䩲 ЩขЛ䩟Їϥേ఻৔ۖљ䩲 ྴҰ‫ڗ‬Л䩟ϸϲцϦ䦚఻৔ۖϥԪ‫ڃ‬Ѧϱϡ֦䩲 ЩขЛ䩟఻‫׭‬঵љ䩲 ྴҰ‫ڗ‬Л䩟ϸϲцϦ䦚఻‫׭‬঵Շ֩ࣔљ䩲 ЩขЛ䩟ଽ໋ӗљ䩔 Щขइ࡞сЛ䩟Ұ‫ڗ‬ϡҺ‫ڽ‬ϥ‫ܐ‬ଽ໋ӗ䩲 ྴҰ‫ڗ‬Л䩟ϸϲцϦ䦚 Щข৿੡༜৿ඥ௅䩟Л䩟Ұ‫ڗ‬䩟ϸϩԈ౺‫מ‬ปϿщ䩲 ྴҰ‫ܬڗ‬ԳКӗсЛ Щขљ ϸ‫چ‬౺‫מ‬ปϿӶ" Ϥϥ䩔ҒҝϧఐϴЛϥ Ϣ‫ݍ‬ऩϧљϢЙϸԈҹ੶Ϫ‫؃‬ХѐϴϩѢϸ҈ϡऴӆ‫֦ۋ‬䩔 

BIG SWEET POTATOES

161

“From the township agrotechnical station, of course,” answered Little Liu. “What about the fertilizer used?” Chief Wu continued. “Also from the township agrotechnical station,” Little Liu answered. “That’s right!” Chief Wu said, and then asked, “Who set up the station?” “The Bureau of Agriculture, of course,” Little Liu said. “Right again!” Chief Wu continued, “Who leads the Bureau of Agriculture?” “County Governor Li!” Little Liu said and was shocked by his own realization: “You mean I should write about County Governor Li?” “Now you get it!” Chief Wu answered. Little Liu, confused and reluctant, asked again, “Isn’t this stretching things too far, Chief Wu?” Chief Wu replied in all earnestness, “Little Liu, how could this be stretching things too far? No! If you say it is, I will tell you that we secretarial sta truly need the basic skill of being able to stretch things too far!” (2011)

VOCABULARY AND USAGE ఻ࣁϿ

nóngzh nhuì

the agricultural fair

‫ࣁ؟‬

sòng zh n

send to an exhibition for display

ѵёϡ఻ࣁϿ䩟ј‫ࣁ؟‬ϡ‫ݘ‬ ԘϥІѝ҇ϡϽՁު䦚

൨

pài

assign; send

໋ӗ൨ϢЧҜԿ‫ۺב‬Ϫ䦚

‫׆‬Ԝ

zhu nzh ng

become a regular employee

֡РϦϸҋߎՆ䩟ϢϲНй ‫׆‬ԜϦ䦚

ጬ

d n

stay

ጬѢոϲϥЧϣϬऴৢ‫֧؀‬ ֞ӑ䦙݆୳䦚

ൎ١

áoy

stay up late

јЋੜЗ‫ܐ‬ԟ‫ݍۏ‬ൎϦϣ ‫ݱ‬١䦚

᝝ᝥϤԥ

t nt b n

nervous; uneasy

Ϣ᝝ᝥϤԥсҳ‫ۉ‬аߎՆ ֲҝ䦚

ҥж

cáiz

gifted scholar

ࣝЛ࿔ᐑഝϥҴச࢖۪ҷϣ ҥж䦚

ൿЂ࠾᡻

fúxi nglián pi n

thoughts lled one’s mind

ѵϳϡӈ‫ؙ‬ўϢൿЂ࠾᡻䦚

ϣӳᇔһ

y tóuw shu

cannot make heads or tails of something

ϸѬ֣ѿԡϦ䩔ϢϺѴϨ Хϥϣӳᇔһ䩟ϤҌ՘ А҂䦚

162 Ͻ ‫⥪ ێ‬

вՉဲ‫ܪ‬

q z ot nh i

work from dawn to dusk torrential rain

ЋϦЌўϢϨѤмࢴ‫ڪ‬䩟ࠜ ֑֑ࠜвՉဲ‫ܪ‬с֞ӑ䦚

෴ᄹϽ‫ە‬

q ngp ndày

‫ؘ‬น࢛ӑ

j ngg ngxì zuò farm with meticulous care

‫ؘ‬น࢛ӑϤҒЄѓ఻੊٩এ ૸Ѩո૸Ҩ䦚

Ҷ‫ݘ‬

z ngch n

ѵёᇫ‫ې‬Ҷ‫ݘ‬Ϧӛйᇫ٣Ў ݆Ϧ䦚

፞

d ng

߷о

t ch

give prominence to

ϸࢡ‫߷ݍۏ‬оϦ఻‫ھ‬ϡཕబ ф޺༫䦚

᧶ߊ‫ݽ‬ဝ

ji ojìnn ozh

rack one’s brain

Ϣ᧶ߊ‫ݽ‬ဝЇЬЂоѮАϮ ‫֚ފ‬䦚

эᚍ

k iqiào

begin to understand

Ѣጁ

di nb

give hints

ϸ‫י‬жКՒӥ䩟‫ݽ‬ж‫׶׶‬Ϥ эᚍ䩟Хਝ‫ޓ‬ӭЄ‫٭‬К ѢጁаѢո䦚

౺‫מ‬ปϿ

qi nqiángf huì

far-fetched

ϧϡ‫ث‬౥౺‫מ‬ปϿ䩟ϢϤϿ ԚҞϡ䦚

‫ܬ‬ԳКӗ

y zhòngx n cháng

sincere and earnest

ࠜࠜϡҦ‫ܬ‬ԳКӗ䩟Ϣ֭Ϩ КϼϦ䦚

increase production x one’s eyes on

ϸ҈ϡ෴ᄹϽ‫ە‬ЎϤӗ䦚

ј፞аъ‫צ‬с֘ЃϦϣϼ ۹䦚

QUESTIONS FOR DISCUSSION 1. Is this a story of a novice getting his rst taste of workplace politics? How are the o ce politics di erent here? 2. Why is Little Liu so serious about the report? 3. Why does the driver keep asking Little Liu, “Is Chief Wu a relative of yours?” 4. “[W]e secretarial sta truly need the basic skill of being able to stretch things too far!” Does Chief Wu really believe in what he says? Why? 5. Although both may have sel sh motivations, Little Liu is still di erent from Chief Wu. What sets them apart? 6. How does the “presence” of County Governor Li function in the story? What/who is the object of criticism here? 7. Zeng Ping, the author, wrote this story while serving in the same o cial capacity as County Governer Li. How does this fact a ect your understanding of this story and Chinese bureaucratic institutions?

BIG SWEET POTATOES

163

  ϸϥϣϬԮӊЈѲ२ᇎ‫੽ू֧؀‬ϡ‫ݞ‬ѨӶ䩲ϸѦϡ‫ފ‬ԍॣू੽ٰϧӛ় ๐ϡϩѮАϤӎ䩲   ЩขЋѮАөϸϬ‫ݍۏ‬ϸАӾҘѨո䩲   ‫ޅ‬ҜЋѮАϿ৪՜Щข䩟䦧ྴҰ‫ڗ‬ϥϧ֬ᛐ䩲䦨   䦧ϢЙϸԈҹ੶Ϫ‫ ؃‬ХѐϴϩѢϸ҈ϡऴӆ‫֦ۋ‬䩔䦨䦡䦡ྴҰ‫ڗ‬ѐҞјІ ѝЛϡϸԈҦӶ䩲ЋѮА䩲   ॎѼЩขфྴҰ‫ڗ‬НЌЁϩІ೙ϡ҃Ҝ䩟ԔҖϪ഍फ़ϤϥϣҘѨո䦚ј ЙϡϤӎϨ‫ڃ‬Ѧ䩲   ଽ໋ӗϤਗ਼ӌոϡࡖϨϨ‫ݞ‬ѨЅвϦѮАӑѓ䩲ϸࢡ‫ݞ‬Ѩ౓߯ᅶᄞϡӛ ‫܋‬ϥՇ䩢ѮА䩲   ӑ‫ܐכ߲ٷ‬ϸϬ‫ݞ‬ѨЗӛ‫ܥڗ‬ੲٰଽ໋ӗणঐ䦚ϸϣѨӥϿ՘҈‫ؙ‬ড়ϧ цϸϬ‫ݞ‬ѨйߵЅм‫‐ܥ‬Մ‫ء‬ϡԑ‫ث‬䩲

AUTHOR BIO Zeng Ping (1970–) is a farmer’s son. After graduating college, he taught at a rural school. His articles in the local newspaper caught the attention of county authorities, and his o cial career soon took o . Zeng Ping started from a position much like that of Little Liu’s in the story and worked his way up through the ranks. In his thirties, he was head of the government of Longmatan District, part of the Luzhou Municipality in Sichuan Province, with a population of more than 340,000. Zeng Ping also has been on the fast track of advancement with his creative writing. His published works now number more than three hundred, more than one hundred of which have been reprinted by such prestigious journals as Selected Fiction (ЩЛ ‫ש‬ᑂ), Fiction Monthly (ЩЛ֊‫)ۏ‬, Beijing Literature (‫ߟܚ‬ҹѺ), Selected Short-Shorts (ЩЩЛ‫ש‬ᑂ), 6HOHFWHG 0LFURϮFWLRQ (іࡿЩЛ‫ש‬ᑂ), and Writer’s Digest (ӑрҹሁ). The majority of Zeng Ping’s ction is novellas and short stories. Some of his short-shorts are also nationally known, for example, “The yes Behind” (“ӱњϡՒ஄”) and “On That Rainy Night” (“‫ە‬١”). Many of his short-short stories have been anthologized, including “Big Sweet Potatoes.” Zeng Ping wrote this story when he was serving in a capacity equivalent to that of the County Governor Li in the story.

ҷٚ‫א‬

ІϢ䩛‫ئ‬෥䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ䩜

Ԯ

‫ڀ‬Ӿ‫ڊ‬Ѕмҹ٩ϡϪНЌϿтѴϸ҈ϣϬ₪‫ڹ‬䩭քϱքЄϡ Ϫ䩟‫د‬၉ъԈϬϪҺࡧ‫׺‬ӓҙඞϡё‫ڴ‬Ϫ䩟‫ࡺש‬ੲ‫׭‬ЗϥԱ ԪрϪϡҺԋϡ䦚ॎѼӾѵϡࢲ॒ԝй‫حڗ܊‬ЗԃЁѸӸೖ ಿІϢтࣁ䩟Ԕ‫׊ؚ‬ЬЌϩ‫݌‬с৉вц‫ئݼ‬ІϢѸЄϡԮ‫ڀ‬䩟ЇЬЌհϱ Ѹ‫૆מ‬ϡӥѴϣѝҏٓϡֳ݁䦚Ԛ‫ބ‬䩟ϪЙ֡‫࣊׶‬ଓԗϬϪ۱೯ԑ‫ث‬Ћԁ ळՄ۱೯ԚᔅԚю䩟ХϥϨϤឮझҨсөϬϪӍϮٰр೛ॶࠖ൓݆ϣঊ䦚 Ғ‫ح‬ԑ‫ث‬ϸ҇ԁϬϪІϢҺࡧᨍᒜࠧѬґዃϡ䦨‫זބ‬䦨тࣁ䩲й‫܊‬ԍ‫ڶ‬ϡ޴ Ѣ䦡䦡ЅмϪઑྩІϢҺࡧ䩟йळՄЋԳґᔮᓙϬϪ䦡䦡ӔϤ߿й‫ث‬౥ѵ яҏѴ૮䦚 ,GHQWLW\ϥϣϬߒ૜ϡม݉䩟ϨЅҹѦЬϩԁҏц‫׏‬ϡԣܼ䦚ϢЙؑϴ ѓ䦨‫ئ‬෥䦨䦙䦨ӱ‫ڤ‬䦨䦙䦨‫ڶ‬ӎ䦨ѧॵࡏϬ‫ܒ‬䩟ҥЌ๬ଯсԣܼLGHQWLW\ϡҺ‫ڽ‬䦚 ϸࡏϬ‫ྱބܒ‬ϦЅмϪцLGHQWLW\՜֣ϡߒ૜‫ߎڽ‬䦚ዌ‫ڽ‬ϸԷЅϡᝒҺ䩟ද ԷϥӾࢴ‫ٷ‬ӌц൘Тϡ‫ܠ‬ཞф޴݉З䩟НЌϿюЋՖՊӆ‫ݞא‬Ѩϡϩ‫݌‬ῌ ዓ䦚 䦭಺੣ЙӗϽ䦮ўϢЙЃϺ䩟ЋϬϪ‫ڱئ‬҂ࡣࡧ䦙ᆃࡣ৕ϥၵబϡ䦚‫ݞ‬ ѨѦ಺੣ЙϡLGHQWLW\НЌѸՌ৸ಈ䦭ьӂϡ॓Ѻ䦮Ѕϡࢽฆ䩟ЇϥϤआԸ ٩ϡҨ֝ҏԚૠӑѓϡֲҝ䦚ԁ‫ױ‬ӎЗ䩟ҟϬ಺੣ъࣿϣડϡ‫ئݼ‬ຓҨ䩟 ҍϤի‫ء‬ӊ‫حڗ‬Ѭख़်आϡᤗ᝵䩟‫ټ״‬Ғϣ䦚಺੣ЙюӗЅϡԸ٩йߵԸ ٩ϡֲҝўϢЙϤ๫ϴ՜䩟ࡻҺӋ߃ԁ੃ϤӎϡVHOILGHQWLW\Һ‫ڏ‬аѮА䩲 ॎѼVHOILGHQWLW\ࠃพаϢЙҟЗҟࡻϡࡖϨ䩟ЇНЌϡ৭ϩϣᖝԛ䩟ԔՇ Ќӡॶ‫ؚ‬䦙ྟӡ‫ؚ‬䩲ԁ੃ϤӎϡLGHQWLW\ϡ࣏юϽมϤϿ‫ֲټ‬䩟ґϥ‫׾ݖ‬Ё ϨТ҅ϡ෬౱䦙Ը٩ф‫ׁݱ‬ЅϤआю࣏䦚

CHAPTER 5

IDENTITY

O

bservers of contemporary Chinese culture may discover a paradox: more people, many with an unprecedented sense of individuality, are following career paths chosen by their families. Today’s milieu, more encouraging of self-development than ever, has not done much to develop more concern for the unique self or a stronger desire for the realization of personal dreams. Instead, individual interests are still often understood to be in agreement with those of the group; personal preferences are still in the process of aligning with family obligations. How do we understand this “inverse” movement to the development of individual identity? The accepted account of the dedication to the group over the individual in Chinese ideas of identity is no longer su cient. The fact that it takes six Chinese characters in three combinations to convey a rough idea of “identity” shows that “identity” is a complex concept and that the Chinese language does not have an established terminology for it. Re ection on the complexity of Chinese thought on this idea can be a productive approach to the stories in this chapter, especially as readers encounter what may be unfamiliar practices and perceptions. “Brothers” shows the futility of trying to map or label idiosyncrasies. More like the Soul in Friedrich Nietzsche’s The Gay Science, the personal identity of each brother is also an interaction of changing forces; yet their enigmatic uniqueness remains constant and de es judgment. How and what the brothers turn out to be makes us wonder what it means to construct a distinct self-identity. Although it forms who we are from moment to moment, and may prove consistent, it cannot be de nite or certain. The formation of distinct personal identity is probably never nished but is continually processed through life’s ongoing exploration, transformation, and integration.

166

ІϢ䩛‫ئ‬෥䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ䩜

䦭ቯϤІҌһЄվ䦮ӛ‫܇‬ϡ‫ݞ‬ѨϩЛ‫ڌ‬ԛ䩟Ԕ‫ؚ‬ѓ೅᠅ϡҤܴ䩟᙭౥Ϧ ϣϬᏠϩЈҺϡԮӊІϢфLGHQWLW\࣏юϡ޴Ѣ䦚ϸϬ޴Ѣ‫ٹ‬ယӊ౷‫ڌ‬ϡ䦨ࢉ в䦨ҏЛфࢂ෻և‫ڽ‬Ђϡ䦨ळ੃բ۶䦨䦚ՏՄϿϣЎ䩟ѓळՄϡҨ֝ϱᄽ߃Ϭ ԛ٩тࣁϸ҈ϡ₪‫ڹ‬ϥਦЇϩԷ‫ࡻٹ‬ϡѬԑ䦚ц‫ݞ‬ѨϡҰϪԍᩋІ‫ھ‬䦡䦡 ϣϬభ‫ܥ‬ϱЛ䩟মଈϥచӡϡ䦚ј୊֬‫ت‬ဨϡюӗԑ‫ڹ‬ϣҤӌϩцϬϪ LGHQWLW\‫ۘ׍‬વ߹ϡԑ‫ث‬䩟ࡔϣҤӌЇ‫د‬၉ϦцϪЙНѪࡳၜ෨ҏЌҨϡҞ К䦚јϸ҈ϡԑ‫ث‬фҞКᄘӹԒҽϡϣܷЁ‫؝‬ӊ࠾҃Ԯ‫ڍ‬૮‫ݮ‬ҏЅ䦚Ӿᩋ І‫ݸھ‬ӡЧ‫ׯ‬ӌ‫۔‬ҌϡЗԃ䩟јϨࣁܾцϪण࢕ϩԜЌ֝Ҟ༌ϡӎЗЇй ӥকҲ҃ԣѴϦІѝ‫ئݼ‬ϡϬԛ䦚 ϢЙ৩ӊөLGHQWLW\ԁ҇ఓ䩟ԛԆ䩟႒ٛ䩟ᅓ‫ڌ‬䩟ఓᶜ䩟ੲ‫ڈ׭‬ԛԼ‫ז‬ҳ େᠻ䦚઩ࡽ䦛ख़ѦܼϥϬоТӊ०঒ߵ۱਒ϡ֚мϪ䦚јЛІѝϡ䦨оТ‫ݸ‬ ӡϦј૽ϥϸϣϬЇϥъϣϬ䦚䦨 јц‫ھ‬ఓмрLGHQWLW\ϡ౓߯٤ՏъԈ࿰ ተ੹۱䦙‫עء‬Ҝ‫ء‬фӛ஼Ұ੹Һࡧࠃพвϱϡ䦨ҰՄ䦨‫ڽބ‬LGHQWLW\Ϻ݄ϥѮ А䩟йߵө‫ࢣࡢؚ‬٩ϡњҝ䦚䦭ᖷআ䦮ЅϡᖷআϩϬ‫੶ظ‬ϡ៚ࡺ䩟‫ؚ‬ϥц өLGHQWLW\ࡢࢣ٩ϡ๞݄ਦ‫ݸ‬䦚цᖷআ‫ױ‬৓ϡϸડԑ‫ث‬ϥࢴ‫ګ‬ϸࢡᝠКЩЛ ϡԮඡ䩟Їϥԑ‫ث‬ԏ֐Ԓઓࡏ֐ё‫ڊ‬ϣϬЅмേభѽжцТ҅‫ؙ׾ٹ‬ড়ϡ Ԯඡ䦚 цख़ѦܼϱЛ䩟мጭϥϬ䦨Ϥ৭ӡϡ䦙‫ײ‬ϱҥϩϡ䦙‫ۻ‬Ϥ֙ϡ䦙ϪЋ ϡ䦨և՝䦚‫֎׷‬Їϥӎ҈䦚ᖷআϡྤࣲభນϲӏ޻Ϩϸ҈ϣֺ‫֎׷‬ϼ䩮భ‫ھ‬ ϡТ҅ҤܴЇѪЗѪࡻϤϨҮࣄԸ٩䦚ٰ‫ܙ‬ЄϪϣ҈䩟ᖷআ݁йІѝϡబ ҃юҝЋൻ䩟ԔԧࠀϤኧ‫حڗܙ‬ϪөԧԁࡆϬև՝䦙ࡆ҇ҲЋ‫ࡆڈ‬ϣֲҝ ਢҳً䦚ϸ҇Ϥ৭ܷ䦙Ϥ‫ۻ‬ഉϡҳܴϥцԧϪ۴ಀ଴ϡзϽ༽୍䩟ԧ‫ۓ‬છ Ϥਪϣܷ‫ڊ‬٣໹йҘࠀ䦚ђϴϥТ҅ϲϿϩҺЂϤϺϡѨє䦚ᖷআԁјϪ ф‫ث‬ϡҤܴф‫݌‬ҝЇЛҴԧࡖϨϡҺॶ‫׾׾‬սքϦԧӛ҂ϡ‫׉ې‬䦚Ԛцӊ

  ઩ࡽ䦛ख़Ѧܼ0RQROLQJXDOLVPRIWKH2WKHURU7KH3URVWKHVLVRI2ULJLQፈ‫ٷ‬᭾‫ئ‬Ѧࡽ䦛 ՟ຩ䩛ট໐‫׫‬ϽѺо‫ؗ‬घ䩟䩜䦚ҷ‫ސ‬䦚

  ӎϼ䩟ҷ‫ސ‬䦚

IDENTITY

167

By way of metaphor, the didactic storytelling of “Water in the Well” introduces a nuanced view of self and identity formation. The view is deeply rooted in the Buddhist principle of “dependent origination” and the Maoist notion of “mass line.” Please see whether the paradox of individuation through collective strength here makes any sense to you. It does for the protagonist Geng Zimin, whose work identity is as a village o cial. His father’s theory of individual development includes an understanding of individual identity as inseparable from others and a faith in endless human capacity because of the interconnectedness of all. When Geng Zimin decides to give the unknown a chance, he is entrusting himself to the power of shared humanity and also making a statement about individual uniqueness. Too often we associate identity with race, gender, class, religion, ethnicity, occupation, or sexual orientation. A Frenchman born in Algeria, Jacques Derrida claimed that he was “at once one and the other by birth.”1 His critique of national identity invites the “I” associated with power, mastery, and sovereignty to re ect on what identity is and the consequences of objectifying it. To read the titular character’s mysterious act in the story “Auntie” as an ultimate rejection of such objecti cation is key to understanding the intense drama and profound impact of a rural Chinese woman’s life in the 1960s. Citizenship for Derrida is “precarious, recent, threatened and articial.”2 The same can be said of borders. Auntie’s Mongolian village is located on such a border, and the villagers’ ways of life are undergoing transitions. Auntie, like many laborers, is happy to be identi ed by the fruits of her labor, but she cannot tolerate being equated with any one thing, one action, or one result. Such an equation, precarious and arti cial, is the worst violation of her human dignity, and she must reject it at all cost. What life is devoid of unpredictability? As Auntie’s act of reconciliation shows, she represents much more than the food she makes. As no categorization su ciently captures any individual experience, no identi er

1. Jacques Derrida, Monolingualism of the Other; or, The Prosthesis of Origin, trans. Patrick Mensah (Stanford, Calif.: Stanford University Press, 1998), 13. 2. Ibid., 15.

168

ІϢ䩛‫ئ‬෥䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ䩜

ϪϡТ҅фҮࣄ䩟ЬϩѮАдण‫ܞ‬ӜНйϥԟ‫ݱ‬Ѫઑϡ䩟ЇЬϩ‫ڃ‬Ϭࡣࡧ Нй‫ކؘ‬Ѫண䦚ᖷআ߭ରсᙢਛϦԧϡІ‫ۥ‬фಀ଴䦚 䦭ߩϪ䦮ЅሏߞܴϡᅲѴөТ҅Ԑ࡙۠ঊ䩟ўϢЙЃϺөЂՌЅϡLGHQ WLW\ ӾϦѐϡњҝ䦚༊ࢴЗЇՏ‫ڀ‬ҺӚ༆ϱைЗъᏠࡢӍঃաࠡϡϣࡻ䦚Ϩ ъϣࡻѦ䩟޿ӧո‫ܙڈ‬ϥհацЕϡ‫܌߿ٶ‬Պϳஇ䦚

IDENTITY

169

can completely encapsulate an individual. Auntie has defended her freedom and dignity heroically. The allegory in “The Love of Her Life” pushes things to extremes and shows what happens when an imagined identity is believed to be real. Please do not ignore the comic touch of this story at the moment of death. In it, you may nd that Buhuaner does not die of a broken heart.

1

ᖷআ ℯਸ਼۱

ᔙ

ᔙрϥྤఓϪ࢒֙ϡນж䦚ྤఓϪϡນжҩϣৢധӥϡນ⅒ ࣻᑴа䦚 ϨϪЙϡ୅ࢣЅ䩟ྤఓϪࣄϱЁйӵᖥЋТ䩟ԷӥЇϤ ҌԪ‫ڃ‬Ϭச‫ڊ‬в䩟ϲϩϣԈ‫ח‬ఓ൸൸сۨԸϦТࡖҤܴ䩟ԸӵᖥЋ҇ᇫ䦚 ᔙᔙрϲϥϬਹࡿϡຎж䦚 ᔙᔙ䦙ᔙ૿ϥӪ֐ёӓྺѲҵϡ䦚Ғѵ䩟јЙԏҡ߈Ўϡࡨ޻ѦђൊЎ ᖷᖷϣр䦚 ᖷᖷрϢЧϡҋّϤվ䩟ѯϢ߈Ў୅ࢣз‫ٹ‬ϡϴّᖷআ䦚 ᖷআӗЏЪ‫׶כ‬䩟≤୔ЎϡҖ࡮‫ރ‬ϣё‫ࡵף‬ւϥཎ‫ێ‬ϡ䦚 ᖷআЛҦ‫ل‬ԝቘж‫ل‬ϽϤϦЄվ䩟঱Й䦙૧ЙϼϦ᱕‫ݡ‬䦙ՖϦ൙䩟ϸ҈ ϡ‫ٸل‬ϥ౭Ϥҵ‫ؚ‬Йϡ䦚ӊϥᖷআϲөѲऑϣಜ҂оᄧ⎪ϡବܴ䦚Ѫ෠䩟 ϸ҃ӑЇЬϩϣѢ‫ৣڮ‬ᒏෑϡ‫ڏ‬Ѭ䩟ߊ‫܉‬ᣲᓙЙҵϦ䩟ЇЁϥᒰ۰৿೺с ҵϡ䦚 ъёᎭ્Ϫ‫ט‬䩟ϢᎭ્ϺϦ‫ލލ‬р䦚֭Џઉ۹‫ڝ‬ӅР䩟ᖷআϱϦ䦚ԧϱ ‫ב‬ϢЧ֙Ӫя䦚

1 AUNTIE Yu Shengli

M

y mother’s family lived in a village inhabited by Mongolians. Fields of thick crops surrounded it. In people’s minds, Mongolians were nomads who had always made a living by grazing. As a matter of fact, some Mongolian tribes had been quietly changing their way of life, transitioning from grazing to farming, since before who knows which dynasty. Mother’s family was a typical example of this. My maternal grandma and grandpa had left us decades ago. Now only my uncle’s family lived in the ancestral courtyard they had bequeathed. I’d been to Uncle’s many times. His wife, Auntie, was the member of the family who impressed me the most. Auntie was plain-looking with two chubby areas that were always purplish right under her cheekbones. When she talked, she sounded like a mosquito, a little louder, but not much. She was too soft-spoken to scare away the chickens and pigs when they got into the house and onto the hearth. Auntie would then try to gesticulate threateningly to get them out. This gesture of hers, however, carried little temper and ferocity. The animals would get out all right, but they moved arrogantly, with their chins up and their chests pu ed out. That year, urban populations underwent dispersion, and I was evacuated to my paternal grandma’s house. I remember that Auntie came right after the Dragon Boat Festival to take me to her place for a few days.

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ᖷআ‫ܩ‬Ϩ⊤ϼ䩟Ӆ‫܅‬Ўϣ‫ט‬һ䩟ϲϣՒ᪾ԋ⊤ϼࡏᣌӅรԟϡϣђࠉ݄ ո䩟ԧॅѲ‫ڛ‬РϱЃϦϣՒ䩟۬іԙацࡏᣌЛ䩟੣፟ϥਅѲ҂҅щ䦚ࡏ ᣌ۬‫ۂۂ‬Ѣӳ䦚 ‫ލލ‬РњцນѦϪЛ䩭Ьԋ‫ڛ‬ఱ۶䩟ђЃϦՒϪр҂ԟϡ҅ 䩟ϲҌѬϥ ਅѲૼѲ҂ϡ҅‫ڋ‬䩟ϧЙՇҲ䩲 ᖷআ҂в҅ϱߝЏўϪаା䦚ЄାϡѨ䩟Ϩԧ࠘ϼϧЇ‫װ‬Ϥо‫ٻ‬Ϭା ‫ܒ‬ϱ䦚ѲऑѸϥߝߝ෍෍䦚᱕Ўྔϣө‫ڮ‬䩟᱕ϼϲઙઘж䩟બϼٰϧࣀа Ҧ䩟ХϤЗ੪ϣөർܶཇႦѯࡨѦϡ঱Й䦚҃ӑॎߝ䩟Եһӑ‫׭‬ঐϡ䦚‫ڃ‬ Ϭ܏䩟‫ڃ‬Ϭњ䩟ԧКѦϩّ䦚‫׶׶‬ϥ‫׆‬Ւ‫ۋ‬ਜ਼ϲөϣఙϨേЎϪЃϱЪߎ ૢϡ‫ުۮ‬҂Ϯ䩟੷‫׾ۉ‬Ҥϱ‫ۺ‬䦚 ᖷআз‫ڛ‬Ѳϡϥ҂Щܶ‫ۮ‬䦚оϦસϡЩܶ‫ۮ‬ഄϨಒѦાાড়䩟ՌϥϨഄ ϣಒ૶ж䩟‫ۮ‬ཇҏҽශϤ፥‫ۂ‬䩟҂়ϡ‫ۮ‬ԁТЩܶϣ҈䩟 ЃϤоࡋශᨍᒜ фԸ٩䦚ᒌϨબѦϲϥఐ䩟‫ٻ‬ಒ‫ۮ‬ѷЎЧ䩟ஏ࣠ϲ߼ࡕϡϤЂӐѷϦ䦚 ϩϣё૿૿Ϻᔙᔙр‫ב‬ϢҘЧРё䩟ைҵЗ䩟ᖷআ҂Ϧϣҋϸ҈ϡ‫ۮ‬Ћ ϢЙ‫؟‬Ҳ䦚ѷԟ‫ۮ‬䩟૿૿ϲհϢҘϱϦ䦚 ҷԏϳѷԟՉ‫ۮ‬䩟њࡨਯӳрϡϱ၌՟䦚‫⊤ܩ‬ϼЬЄ‫ڜ‬䩟‫ލލ‬ϲЛ䩭ҡ ૿ж࠯ϳЧ‫י‬жᔙᔙр䩟‫י‬жјᖷআѯ҂ϦஂЩܶ‫ۮݾ‬䩟ҡ૿жҘϱϣϬ བྷոЛ‫ۮ‬҂ЏϮѷ䦚Л൫ນѦЬјᖷআъ҈ϡಌ፟೤䩟јϣ੫жХЬѷР ϸАϮѷϡЩܶ‫֦ۮ‬䩔

AUNTIE

173

Auntie sat down on the kang bed.3 After her rst sip of water, she spotted the shoe sole that my Sixth Auntie had just nished on the bed. She picked it up for a quick look, and then said to Sixth Auntie, smiling, “You must be left-handed.” Sixth Auntie nodded repeatedly. My paternal grandma challenged her villagers afterward: “Can any of you tell simply by looking at the nished product, without seeing the person with needle and thread in hand, whether the work was done lefthanded or right-handed?” Auntie’s slow pace of work could wear out your patience. However pressing it was that the job be nished, you wouldn’t see any trace of urgency on her face, to say nothing of her movements. She would add more wood to the re before pasting pancakes to the wok, chatting with you all the while, and occasionally throwing handfuls of corn to the chickens outside. Slow as she was, Auntie operated like an assembly line. She knew well what came rst and what came after. Often, in the blink of an eye, she’d have a meal, quite elaborate for country folks, ready to treat her guests from afar. Auntie’s specialty was boiled millet. The steaming-hot grains of millet sounded like sand when you put them in a bowl. They did not get sticky, and the cooked millet looked the same as the uncooked. They didn’t swell or seem to change in any way. They were hard to chew. Halfway through a bowl, your jaws would get tired, and you would want to stop eating. One year, my paternal grandpa came to take me to his house for the New Year. Before we departed, Auntie made her specialty to see us o . I left with Grandpa after the meal. After breakfast the next day, Guitou’s wife, from the courtyard behind ours, dropped in. My paternal grandma told her about the millet meal soon after she sat down on the kang bed. “When his grandpa went to fetch him yesterday, his Auntie treated them to a meal of millet. Since they got back, his grandpa has been saying over and over how great it was. He said no daughter-in-law in our village had such skill, and that it was the best boiled millet he’d ever had!”

3. A kang bed is a heated sleeping platform commonly used in villages of northern China. The heat comes from the kitchen stove linked to the bed by ues. The re from cooking dinner warms up the bricks and clay, from which the bed is built, and provides enough warmth during the freezing winter nights.

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ϢӥϨϤҴՁ䩟ϲ՜‫ލލ‬䩟ъАఐ䩟ъАԡᒌϡЩܶ‫૿૿ۮ‬՘АХЛϮ ѷ֦䩲‫ލލ‬Л䩟ϸ҈ϡ‫ۮ‬ϥ࡙ԡ҂ϡ䩟੨ЗЎܶ䩟ಓܶ䩟ᄒ‫ۮ‬ϡЗҽ䩟ᱝ ‫ۮ‬ϡ‫ڮ‬ԃҳҳЁϥԮ‫ڝ‬䩟ޭഝϤЏ䦚ϧᖷআ҂ϡϸ‫ۮ‬䩟ఐ䩟НϤТ䩟়䩟 ҍϤಊ䩟քᒌք‫ܫ‬䩔ЌөЩܶ‫ۮ‬҂ЏϸАсѬϡ䩟֐Ϭಌ፟೤ѦЇԡखо ϱϣϬ䦚 ϢњϱҌѬ䩟ϸЩܶ‫ۮ‬ϥᖷআЋ‫֠ۺۉ‬҂ϡ䦚Ԕϸ҈ϡЩܶ‫ۮ‬ᖷআϤ‫ڴ‬ ‫ډ‬҂䩟ЇϤϥՇϱЁ҂䦚 ϩϣёபϳ䩟ϢҍЧ֙ᔙᔙр䦚ϣϳՉந䩟ϢӅвϱ䩟՟֔ϩϪஃ䩟 ֍ϱϥϽԣࢯ‫۔‬ϱϡ࿆Ϫо֔‫ފ‬ѨբРϸѦ䦚ъёϽԣࢯ֐ࡏۗ䦚֬рࠪ ՟䩟ϣрϪІѼջє‫ۉב‬䦚‫׆‬Ւ䩟᱕ҽϲ൲оϦ‫ڏܫ‬䦚ϤϣϿո䩟‫ۮ‬ఙ௭ ϺϦ⊤Ѕ႑䩟ԣࠒઉϼϣϽಒՁު჎࠵ฒ䩟ϣᖦភުિ঱ࠠ䩟ҖᖦІрᔐ ϡᓪު䦚՟ᖵϣ៦䩟ԣࢯө‫ۮ‬ᄹઉՖϱ䩟ϥϣᄹ‫ࢷܟࢷܟ‬ϡЩܶ‫ۮ‬䦚 ϸϿո䩟ᖷᖷԜф֬рࢥЏ‫ٶ‬ӌ‫ׇێ‬䩟ԋϽԣࢯө‫ۮ‬ഄϮϦ䩟ϲ‫ڛ‬вϦ ᛣж‫ࠇۺ‬сՏ֬рѷ‫ۮ‬䦚֬рઉвϦಒ䩟ᖷᖷϸҥөҷϣ‫ۮט‬ᗄՖબѦ䦚 јᒌϦϣ‫ט‬䩟୴с߾Ўϱϣ⊼䩟Ւ‫ޔ‬ᘦϦӪᘦ䩟ҍөબѦϡ‫ۮ‬ь‫ݬ‬сᒌϦ ӪЎ䩟࠘ϲાсࠁϦЎϱ䩟Ԕҍ઎ѪԷѨсࡤѯ֬р࿒ުЧϦ䦚 ϢϤҴՁ֍‫ۥ‬䩟ЃϦϣՒϽԣࢯ䩟ҥтѴϽԣࢯЇϨઋઋс‫ڛ‬Ւ஄᧾ᖷ ᖷ䦚 ϸϿո䩟ᖷআՖϱϦ䩟ϣ‫׷‬Ϩࣻ୑ϼ୸Ѳϣ‫׷‬ф֬р‫ۺ‬Ӥа䩟Ւ‫ظ‬ঐল ЬϬа޻䩟ՌϨདరѮА䦚 ᖷআӅ‫ڛ‬в‫ۮ‬ᎃж‫ިކ‬ഄ‫ۮ‬䩟ఙжъ‫׷‬ϡᖷᖷ‫׊‬өಒ‫܊‬ఙϼϣӵ䦚ᖷᖷ ϸϬіЩϡ҃ӑԆϪϽมЬ‫ڀ‬ҺϺ䩟Ϣ‫׊‬ԱоϸಒӵЏϩԈԳ䩟ࡤ᪾Ϧϣ Ւᖷআ䩟ᖷআഄ‫ۮ‬ϡѲ߾ϦϣЎ䩟ҖՒ‫ڀ‬؇аੳ֔䦚߾ஂॎϥ࡙ߦ䩟Нъ Ւ‫׊ظ‬ўϢ۲ϤϦ䦚ъՒ‫ظ‬Ъϥ‫׺‬ၻ䦚

AUNTIE

175

I simply couldn’t understand and asked Grandma why Grandpa liked that hard-to-chew millet so much. “It’s very di cult to make,” Grandma said, “you must be very careful at every juncture when to put millet in, how to boil it, strain it and steam it, in what temperatures and for how long, and so on. Your auntie’s millet is hard to chew but it is not undercooked; it is well done but not overcooked. When it’s boiled, the more you savor it, the tastier it becomes! We’d be lucky if we could nd one among ten skilled housewives who could make millet that well.” I didn’t know until later that this boiled millet was a special treat for guests. Auntie did not make it often; nor did every visitor get to taste it. One winter I went to stay at Auntie’s again. As soon as I got up one morning, I heard someone outside calling. It turned out be my eldest cousin’s future father-in-law. He was just stopping by while running an errand. My cousin brother was sixteen at the time. When an in-law came to visit, the family naturally treated him warmly. Soon, that familiar aroma wafted in from the kitchen. In short order, the table was set up on the middle of the kang bed. A cousin sister set out a big bowl of cabbage stewed with frozen bean curd and a dish of stir-fried eggs with chives, along with two saucers of homemade pickles. Then with the lift of the door curtain, my cousin brother brought in the food basin a basin of glistening golden millet. Uncle was conversing animatedly with his in-law. He politely picked up his chopsticks and invited his in-law to start after my cousin brother lled the bowls. Uncle ate his rst morsel only after his in-law had taken up his bowl. His jaw came to an abrupt stop mid-chew. He gave a start, blinked, quickly chewed some more, and then pulled a long face. Then, pretending nothing was amiss, he got busy serving his in-law. Puzzled, I glanced at my cousin brother, only to nd that he was also secretly looking at Uncle. At that moment, Auntie came in. Wiping her hands on her apron, she politely acknowledged her in-law, but her eyes seemed unable to settle, as if they were trying to dodge something. Just as she began to scoop some millet into her bowl with the ladle, Uncle laid his bowl down at the other end of the table. Though Uncle’s slight movement probably drew no notice from others, it struck me as being oddly forceful. I shot a glance at Auntie her hands froze, her eyes gazing out the window into the distance. The moment was brief; but the look in her eyes engraved itself on my mind. It was a look of total emptiness.

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ъҋ‫ۮ‬䩟ॎѼѷаХϥఐ䩟ԔЄվ઱ϦѢ䩟ϢХЌᓳ‫במ‬ի䦚ԔϢ‫׊‬Ϥ ҌѬ䩟ϲӹЋ‫ۮ‬઱ϦѢ䩟ҥтТϦਘϢϣ‫ׯ‬ԡйԑ‫ث‬ϡѨє䦚 ѷԟ‫ۮ‬䩟Ϣϲфԏԣࢯ‫ڛ‬а઄ӞϺ૯‫׷‬ЧϦ䦚ԏԣࢯᕶа઄ӞϨ೧⎴ϼ ੩ϱ੩Чсާа䩟ϢҵϨњӌ䩟ᖷআъ‫׺‬ၻϡՒ‫ظ‬ҡϨϢՒӓర҃䦚 ᔙᔙръֺ૯І՝‫ז‬ևቋаນжਢϦϬॽѦᘣდϡ᧹䩟ϣё‫ࡵף‬ЁϨ ᆰ৉Ϫ䦚ॼϳЌ‫ׇ‬а慷ղһ䦚ࡇ‫ڠ‬ϳ҂Ϭֿᑭᑭֿ䩟ৌϤ௸ЇЌӋ‫ٻؚ‬я һ੆䦚பϳ䩟ѓӪ࣠ަᖙ྽юϣϬҤ५䩟݄Ў‫כ‬ҲаୡՖҖ࣠੏ࡋ䩟઄Ӟ ϲ҂юϦ䦚࣫ଆ‫܊‬ϼϣ‫ܩ‬䩟ѲѦⅼ֙Җө઄ỽ‫܊‬઄ϼϣႹ䩟‫ה‬Ѳ‫܊‬Ў‫܊‬њ ϣѓҨ䩟઄ӞϲᆛᆛᐦᐦсาоЧϦ䦚ߊ‫܉‬ϸԈѪ֚ԁ‫ڵ‬Ѧϡ઄ӞԚԝ䩟 ԔϨേЎ䩟۬ϤӐϩѸҙϡွֳ䦚‫ܩ‬Ϩߣᢓϡ઄Ӟϼ䩟फ़Ї։Џ۲Ϧ࿲Ѯ А䦚 ϪЌ۲Ϧ࿲ѮА䩟‫׊‬۲ϤϦѷ䦚Ϣфԏԣࢯ։Џ୷ж‫چ‬Ϧҥּ༺Ϧ઄Ӟ ‫܊‬рҵ䦚 Ϩᔙᔙр䩟ப੖ЗѷҖஂ‫ۮ‬䦚ϢЙҘϺрЗ‫ۮ‬ఙӔҮ௭Ϯ䦚ᖷᖷԋϢЙ ҘϱϦϲӋϦ‫੷ل‬॥䩟ѼњϣጞଆϼϦ⊤䩟࣫ଆ‫ܩ‬ϨԜ۰䩟‫ڛ‬вᛣжЛ䩟 ѷщ䩔‫י‬жЙϲ࿟ঐсᏌϦвϱ䦚 ϢѷЎЧ‫ٻ‬ϬർܶઘжЗ䩟ҥтѴᖷআϤϨఙ‫׷‬䦚ҍЂвՉ‫ۮ‬Зᖷআъ ‫׺‬ၻϡՒ‫ظ‬䩟ϲச᱕ҽஃᖷআϱѷ‫ۮ‬щ䦚ᖷআ‫׏‬Ϧϣ‫ل‬䩟ХϥЬՖϱ䦚Ϣ ϲтѴϽԣࢯЇѷϡϤঐ‫܊‬я࿟ল䩟ХϤЗઋઋ᧾ᖷᖷϣՒ䦚 ϢҍஃϦᖷআҖҋ䩟࣊ଓЬϱѷ䩟ЇϲઈϤϦ‫ܙ‬Є䩟Іઈ࿷ລаఙϼϡ ‫ުۮ‬䦚 ѷईϤЄϦ䩟ϲ૖۟Ӌаড়ᩰӵЎϦᛣж䩟ԣ಺ࠒЙࡤа‫܊‬Ўּ༺а䦚 ᔃӾϦ䩟ᖷᖷЎ⊤оϦ൙䦚

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The boiled millet was still hard to chew, but a little softer than before. I could manage it ne with an e ort and didn’t realize that the slightly softer millet would be the cause of an event that would long ba e me. After the meal, I went with my second cousin brother to ski at the bank of the river. He bore the skibob on his shoulder, running and jumping along the ridges of elds, while I followed, the vacant expression in Auntie’s eyes ashing through my mind. The river nestling up to Auntie’s village zigzagged from west to east. It was a place of seductive charm all year round great for skinny-dipping in summer and spear shing in spring and fall with homemade spears. If nothing else, you could spend half a day there skipping stones. In winter, we’d make a square board with wooden sticks, run two wires horizontally through the bottom, and voila, a skibob was born! We’d sit cross-legged on it with two icepicks in hand. With a hard push down and backward, the skibob would waggle out onto the slippery ice. Although it was nothing like the skibobs in the city, we kids in the countryside had no desire for anything fancier. Sitting on our crude skibob, I enjoyed myself so much that I forgot who I was. I could a ord to forget myself, but not my next meal! My cousin and I only picked up our skibob to head home when our stomachs began growling. During winter break, it was the local custom to have only two meals a day. Food was on the table when we got home. Uncle greeted us, and then raised his leg to get on the kang bed. He sat cross-legged at the head of the table and picked up his chopsticks. As soon as he said, “Go ahead,” we kids gobbled away. Half of a corn pancake later, I realized that Auntie was not there. The empty look in her eyes at breakfast ashed across my mind again. I called toward the kitchen for Auntie to come eat. She answered yes, but didn’t come to join us. I noticed that my eldest cousin brother didn’t seem to have his usual appetite either. He kept shooting secret glances at Uncle. I called for Auntie a couple more times. When she still didn’t come, I forgot my concern and turned my attention to the food on the table. One after another, belching loudly, we laid down our chopsticks when the food was almost gone. My cousins got busy clearing the table. When it was all cleared, Uncle got o the kang bed and left.

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ϣϿո䩟ᖷআՖϱϦ䩟சϢԙϦԙ䩟Ւ‫׊‬ශѪԙҺ䦚Ѽњϲࢬྏж䩟҃ ҃ϸ䩟ЃЃъ䩟Ւ‫ظ‬ϤӐѪа޻䩟өϴЃϡև՝ЃЏЪ௩࢛䩟ঐলϴЃՖ Ւ஄ѦЧ䦚ҍ࣊ҋсөԣࢯԣࠒЙ‫چ‬Ϻӱ‫׷‬䩟Щ‫ل‬сЛϦԈѮА䦚 ϢӾЗ‫ܩ‬Ϩ⊤Ѧ䩟‫ۻ‬аੳ‫֔܊ݐ‬ഐࣣсЃа䦚ᖷআ‫ٸل‬ЪЩ䩟ϢЇԱЏ ѐܷ䩟ЁԱ‫ګ‬Ϧ䩟‫׊‬ҍՌϥЬԱ‫ګ‬䩟ЁϥԈр‫׶‬ҦЬ੨Ј৲ϡ䦚КЂ䩟ϩ ੨ϮЛϡ䩲 ᖷআ‫چ‬ԣࠒөቍӳ‫ڛ‬Рϱ䩟ϲ఑ϨϦ⊤ӳ䩟ϤӐЛҦ䦚࠘ϼվԋϡૌ ‫ݔ‬䩟ҖђՒ஄ҡֳаੳ֔ϣϬѮАсҤ䦚ϽԣࢯҖѲᗧϨ഑ያѦ䦙ฯ੦‫ۻ‬ Ϩ⊤ቋ‫׷‬䩟ϤՌۖЇϤՌ‫ܩ‬䩟Ѓ֙ϣϬсҤЇϥϤ҃䦚ഭϣЩϿո䩟ϲ߷ ѼЃϣՒᖷআ䩟ӐٟьсөՒ‫ظ‬ӵҘ֍‫؝‬䦚‫ܩ‬Ϩ⊤ᲦϡЩԣࠒรаϣђࠉ ݄䩟⁂֯䦙⁂֯ϡࠁ۶‫ࠁل‬ЏϪК‫ޓ‬䦚 ‫ݱ‬Ϭ൙жঐলϨጵаѮА䦚ϩъАϣởҽϢҢЏϸҽϽ൙жьϴߥв ϱ䦚 ᖷᖷҘϱϦ䩟ҍ‫ۻ‬аྏжۖа䦚ЃаϩԈജࣣϡ൙ж䩟ҍЃЃ఑аϡᖷ আ䩟ҍөՒᘦϦӪᘦњϲச᱕ҽҵЧ䦚 ߷Ѽ䩟ᖷᖷஃϦϽԣࢯϣ‫ل‬䩟ϽԣࢯାࡤާϦоЧ䩟Ϣϣၜӳ䩟ϲԋᖷ ᖷѲѦ‫ڛ‬аϣϬЩႊж䩟ўϽԣࢯЃ䩟ҍЛϦ‫ط‬ѮА䩟Ͻԣࢯϲ䦨໅䦨сߥ оϦ‫ل‬䩟Ѽњ䦨↸Ӿ䦨ϣ‫ل‬эϦ՟ٟާоЧ䦚 ᘦՒҽ䩟᪺‫؃ޚ‬ԏԣᖷާϱϦ䩟‫ٶ‬ӱХେаसᕎж䦚‫ڦ‬њ䩟ಃ֯֯ҍϱ ϦϮԈЅёфϼёઓϡҡϪ䦚ϣϬᒝаྤఓтࡿϡҡѿѿϣՖ൙ϲᖡᖡϣ ‫ܬྤט‬䩟ԏԣᖷ‫ۂۂ‬Ѣӳ䦚ࡤٰԣࢯЙЛ䩟ьЧ₍੓࠵䩔ҖϬЅёѽϪٰ ‫י‬жЙըϣ҈ᅜоЧϦ䦚 ϸЗ䩟ϪЙϲцᖷᖷ‫܋‬Ѳਢऑ䩟‫܋‬຋жᠹՒ䩟ྤఉҖ҇‫ߞܬ‬ԁᥳᕎլж ౢ૜Ϩϣвࡒ‫ז‬ጬϨсϼϡᖷᖷ䦚ᖷᖷъϿոђϥࠍаӳ䩟ϣ‫בט‬ϣ‫ט‬с ࢻଘ䩟ઢ঒჋ӳЛϣ‫ط‬ѮА䦚

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Auntie came in shortly after and gave me a smile that was not re ected at all in her eyes. She then searched through her drawer, touching one thing and looking at another. There was purpose in her eyes now as if she were trying to imprint the objects on her memory. She looked at each piece with meticulous care. She then brought my cousins to her one by one and whispered in their ears. I was sitting on the inside of the kang bed at the time, leaning against the window and looking out aimlessly. Auntie’s voice was very low. I listened earnestly. I heard every word, yet I didn’t understand what was going on. Nothing new was being said, just the tri es of everyday life. What’s the SRLQW" I wondered. Auntie had her daughter bring over a pillow. She lay down and stopped talking. Her face was oddly serene; her eyes xed on a place outside. My eldest cousin brother, with his hands inside his sleeves and his butt against the bed, was half standing and half sitting. He was also staring and motionless. He would, however, dart his eyes toward Auntie occasionally, then quickly settle his gaze back where it had been. My youngest cousin sister was sitting at the edge of the kang bed, making the sole of a shoe. The sound of her pulling the thread through grew rather annoying. The whole room seemed to be under enormous pressure. For a moment, I felt that this big room was going to burst out crying. Uncle came back and stood against the drawer. He looked around the somewhat messy room, and then at Auntie lying there. His eyes blinked a few times before he headed for the kitchen. Suddenly Uncle let out a cry for my eldest cousin brother. As he ran out quickly, I craned my neck and saw Uncle holding a little jar for my eldest brother to see. “Arghh,” he cried, weeping as he heard what Uncle had to say. Cling-clang! He opened the door and dashed out. In the blink of an eye, Second Uncle, the breeder, was there, grass clippings all over him. At his heel quite a few middle-aged and elderly folks swept in. An old lady with a Mongolian hairstyle entered, babbling instructions in Mongolian. As Second Uncle nodding repeatedly, he told my cousin brothers, “Run make some green bean milk!” My cousin brothers and two middle-aged women swished out like the wind. People were now pointing ngers at Uncle. Switching between Chinese and Mongolian, they snorted and stared, sputtering as they dumped criticism upon him. Uncle squatted with his head down; all he

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ᖷআϸϿո࠘ϼ࣊Ѽ‫ݔכ‬䦚ҖՒХϥֳаੳ֔ъϬҡсҤϣ҃Ϥ҃䦚Շ ٰԧЛѮА䩟ϪЙЛᖷᖷѮА䩟ԧЁЬϩ‫حڗ‬ԣє䦚НϢХϥтѴϩϣҲ ॊһॅаᖷআϡՒࡠ൸൸‫܊‬Ўҵ䩟ҵЏъА‫ݔ‬䩟‫ݔ‬ϡϢ൬۠ϩъА‫ٻ‬д‫ވ‬ ӪলԱϤϺ‫ݱ‬Ϭ൙жѦϡࣣኖኖ䦚Єվёњϡϣϳ䩟ӾϢԱϺϣђЩ٤ᅄ ࠟᄊоӪϬኂ࢛අᙙϡᅰಋЗ䩟Ϣ߷ѼЂϺϦᖷআՒࡠъҲ൸൸ҵаϡॊ һ ੓࠵ᨠюϦӌ䩟ՉϩϪөһਮэ䩟৳Ϧϣಒ䩟‫ٻ‬Т‫়ٻ‬ϡઉϦՖϱ䦚੃ Ϫᐢвᖷআўԧ‫܅‬Ϧ䩟ϣ‫܅ۂ‬ϦҖಒ䦚 ϩϪϲэ‫״‬ᚥаᖷআ୷ж䦚ЬϣϿո䩟ᖷআϲЎϦ⊤䩟ӪϬϪϲᐢаᖷ আЧϦ៭ࠚ䦚 ϣЩϿո䩟ҍЧϦϣҋ䦚ϣ‫ۂ‬Ӫҋ䦚 ЬϪ‫ݍ‬ऩϢૢफ़ϥ՘АҘѨ䦚 ЁЪԉϦ䩟ЃЃᖷআЬѮАѨϦ䩟ϪЙҥѧѧҖҖ્Ч䦚ϣрϪՇЇЬ ϩЛҦ䩟۬຦ࡤּ༺Ϧ䩟ՉՉ໎Ֆҩྰ䦚 ᠬϦ୦䩟ϢᆕϽՒ஄ᚿаᠤᢅЅϡࠚᅯ䩟झҨсᢛ௒аϸϣϳтТϡ Ѩ䦚 ՉநϣᆕՒ䩟ЁвϱϦ䩟ҩжᓆЏಜ‫ݱ‬䩟ᖷআ‫ۻٻ‬ϨᓆϮϡҩжϼ䩟੃ ϪЁϩѨѪѨс‫װ‬аѨ҂䩟ђϥϤԋϦϽԣࢯ䩟Ϣ՜Ԝ҂‫ۮ‬ϡԣࠒ䩟ԧЛ Ͻԣࢯ‫װ‬ј࿆ϪЧϦ䩟Ϣ՜‫װ‬ј‫ݾ‬੨䩟ԣࠒЛ䩟࠱֝Ѩոщ䦚 ҝѼ䩟РϦℲ۹䩟Ͻԣࢯфј࿆ϪϱϦ䦚ϣՖ൙ϲ՜੨Ѩߠ䩲ᖷআЛ Տј‫ࠁࡤݨ‬Ѣަӳ䩟‫יܜ‬жЛϤ֜䩟ӛйՏјϱ䦚ҍЛϦԈѪԮࠤϴϡѨ ո䦚ϣ‫ܩ׷‬аϡᖷᖷђϥႼႼՀՀ䦚ѨոЛԟϦ䩟֬рϲϴҵ䩟ҩϽԣࢯ

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could do was pu away on one cigarette after another, only occasionally looking up to say something. Auntie was as peaceful as before. Her eyes were still xated on the place outside. She hadn’t reacted at all to the words directed to her or against Uncle, but I was able to spot streams of tears silently escaping from the corners of her eyes so silently that they momentarily took me away from the noisy disorder of the room. Years later, when I heard a lovely, sorrowful melody on a violin one day, Auntie’s quiet streams of tears unexpectedly came to mind. As soon as the green beans were crushed into a powder, someone already waiting there poured boiling water over it in a bowl. They brought this half-cooked green bean milk to Auntie. Many hands helped Auntie up to drink the liquid, two bowls in a row. The next thing was to rub Auntie’s stomach. Before long, Auntie got out of bed. Several people lent their arms to support her as they led her to the latrine. She went a second time a short while later, then a third time, and then a few more times . . . No one told me just what was going on. Late that night, once they’d made sure that Auntie was all right, people began to disperse in twos and threes. Not a word was exchanged in the house. We got ready and slipped into bed as fast as we could. The lights were o . I opened my eyes wide and stared at the beam in the darkness above me, trying hard to make sense of what had happened that day. verybody was up when I woke the next day. The quilts were neatly folded, and Auntie, sitting, was leaning lightly against them. verybody else was busy with something they either had or didn’t have to do. Only my eldest cousin brother was missing. I asked my cousin sister, who was cooking, where he was, and was told he’d left to get his in-law. “Why?” I asked. “To talk about things, perhaps,” she said. As expected, my eldest cousin brother came back in the afternoon with his in-law, who asked, upon arrival, about the urgent business. Auntie then requested his help with moving some wood, and added that she’d wanted him to come because she’d feared a child might not say clearly what she needed him to do. They engaged in small talk for a while, with Uncle hemming and hawing on the sidelines. When the conversation was over and the in-law got up to leave, my cousin brother anxiously prevented him. Auntie said she

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Ӛ҅ᦃ֙䦚ᖷআЛ䩟Ϻѷ‫ۮ‬ЗԃϦ䩟ХЌўϧ‫୷׺‬жҘЧ䩲֬рЇϲϤӐ ‫ۺ‬Ӥ䩟‫⊤ܩ‬ӳфᖷᖷцаࢻଘ䦚 ‫׆‬Ւ䩟᱕ҽҍଘᇔᯑᄴ䩟ջӤ౴౴䩟ԋϤϺϪϼӱ䩟ђЃϺᖷআϡҖֺ ଆϨଘᇔѦ⠨ϱ⠨Ч䦚Ϣઢ঒բР᱕ҽϲҩᘠЏ຋ᘂՒॊ䦚ᖷআՖ൙З䩟 ϢЃԋԧϡ࠘ශѪ߱ա䩟ѲϼઉϡᄹжЇՌϥЪਭϡ҈ж䦚 ЪьުϲϼϦఙж䦚Ұު޼Ϧϣ҈䩟Է‫ؚ࣊‬ଓ䩟࣊ѼҖᖦҖಒ䦚Ͻԣࢯ ҍө‫ۮ‬ᄹઉϦՖϱ䩟फ़ҍϥϣᄹࢷ݊݊ϡЩܶ‫ۮ‬䩔 ѷ‫ۮ‬З䩟ᖷআՉՉՖϱ䩟֬р੷॥ԧьϱѷщ䩟ԧЛϤস‫ע‬䩟ϧЙѷ щ䩟ѷ౟Ϧ䦚ԧϲ‫ܩ‬Ϩ⊤‫׷‬รаࠉ݄䩟ߊ‫࠘܉‬ա࣊ѼཀྵՁ䩟Ԕϣఱϣ۶Х ЪІҒ䩟ԣєԝ‫׶܊‬ѸӸઉນ䦚 Ͻԣࢯ࣊ଓ‫ט‬ᒌа‫ۮ‬䩟Ւ஄ઋઋ᧾ӪՒᖷᖷ䩟ԔϤӐϥᤝᤝϡ䦚 ᖷᖷϣ‫׷‬ϣ५ϣՒс‫܊‬બѦᗄа‫࢛࢛ۮ‬сᒌ䩟ϣ‫׷‬Ϥ‫ّ٘׹‬сؕઈаӱ ‫׷‬ϡ֬р䦚ಢಢӾӾсਧਗ਼аϣрҏҰ֐߿ϡІҞ䦚јϤЃᖷআϣՒ䩟Ԕ ϢдҴҀϺјϨѓՒ஄ϡ൑‫ׇ‬ҀҢаᖷআ䦚 ‫ۮ‬ϥԝ࠯ϳఐЄϦ䩟ϢՌᒌ૶жડϡᅗԡ䩟‫ٻ‬ЩಒϤϺ䩟ஏ࣠ϲ߼ࡕԡ ಄䩟ϲᝂЎಒϺϣ‫׷‬Ч։䦚 Ӫϳњ૿૿ϱ‫ב‬Ϣ䦚ᖷᖷϣрϪө૿૿фϢ‫؟‬оນж䩟ϽԣࢯҍোϢЙ ҵϦϣ‫ݫ‬䦚ϢϨӓ‫ާ׷‬а䩟‫܊‬૯ѦႦа੘ж䦚Ͻԣࢯٰ૿૿Ϩњ‫׷‬ЛаѮ А䦚 ҘϺ‫ލލ‬рӔҮЪԉ䩟ससּ༺њࡒӳϲӒ䩟ϣҢϳ݊䦚Չ‫ۮ‬њ䩟Ϣϲ ө‫ܙ‬ЄฦຂѨ՜‫ލލ‬䩟‫ލލ‬Л䩟ϧᖷআ‫܅‬Ϧឦһ䩔Т੓࠵ҍᗵҍ‫ఽث‬䩟࿤

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couldn’t let him go at mealtime on an empty stomach. The in-law acquiesced and sat down opposite Uncle on the kang bed to enjoy a smoke with him. The kitchen was instantly alive with steam and smoke, which completely enshrouded Auntie’s upper body and knocked me at with tears when I happened to pass by. All I could see were Auntie’s feet running around. She looked pale, and the basin in her hands seemed heavy as she appeared at the doorway. The dishes were on the table quickly, two main courses and two pickles, as before. One of the main courses was di erent from yesterday, but the rest of the meal was the same. When my cousin brought the food basin in, the boiled millet glistened inside! Auntie came in earlier than usual that day. The in-law invited her to eat at the table, but she said she was a little under the weather. “You go ahead and eat,” she urged us, “and eat well.” She then sat at the edge of the kang bed and worked on a sole, one stitch at a time, poised and at ease. Still pale, she looked more digni ed than ever. My eldest cousin brother still kept glancing at Uncle as he chewed, but there was boldness in his eyes now. As Uncle methodically attended to his food, chewing carefully, he took care of his in-law with due etiquette, with the air of a fully secure and condent patriarch. He never looked at Auntie, but I could certainly feel him watching her with his peripheral vision all the time. The boiled millet was much harder to chew than yesterday. I felt like I was munching on sand. It wore on my teeth painfully after less than half a bowl, so I left the table to play. A few days later, my paternal grandpa came to fetch me. Auntie’s whole family went to see us o at the edge of the village. My eldest cousin brother accompanied us a little further. He talked with Grandpa as I ran ahead along the river, throwing stones in its waters. It was late when we got home. I washed up hastily, hit the pillow, and slept soundly till the next day. After breakfast, I brought my many confusing questions to Grandma. “It was brine that your aunt took,” Grandma told me.4 “Raw green-bean milk cleanses and detoxi es. Luckily your uncle 4. A strong solution of salt and water, brine is used in Chinese cooking, especially in making tofu. The amount used is usually very small, as the idiomatic saying goes, “Drops of brine turn soymilk into bean curd there is always one thing that subdues another䩛ឦһѢ࠵ ฒ䩟ϣ‫ઁ׉‬ϣ‫׉‬䩜. Brine overdose, however, can be dangerous and life threatening.

184 ᖷ  আ

ϧϽᖷ‫ؘ‬Ҵ䩟тѴЏՉ䩟ԉϣϿոϲЬષϦ䦚Ϣҍ՜䩟ᖷআЋѮАϴ‫܅‬ឦ һ֦䩲‫ލލ‬ҍᄅϦ‫ט‬Ӥ䩟өҖѲӵϨฯ੦݄Ў‫ܩ‬а䩟ҖՒֳаੳ֔‫ځ؝׾‬ ᇾϼϡນ⅒Л䩭ນ⅒Ϫ‫ڃ‬䩔ϧϤ‫ګ‬љ䦚ҏњ䩟ԧөӱжϣӓϣњ䩟‫ڴڴ‬с ᎄа䦚 

AUNTIE

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was quick-witted and realized it in time. Otherwise it would have been too late.” “Why would Auntie drink brine?” I asked. Grandma sighed. Sitting on her two hands and looking through the window at the crops on the distant hillsides, she uttered these words: “We peasants, how could you understand us?” Then she gently rocked back and forth. (1992)

VOCABULARY AND USAGE ྺѲ

s sh u

pass away

૿૿ϥЧёྺѲҵϡ䦚

ّ ବܴ

sh

be uppermost

൫భѦّјӜӤϽϦ䦚

jiàshi

pose

ј҂оϦϴ҃Ѳϡବܴ䦚

ᄧ⎪

h ng ni n

drive out

Ϣөር࢒ϡ঱ᄧ⎪оЧ䦚

รࠉ݄

nà(xi d )

sew/make (cloth soles of shoes)

Ѳ֞รࠉ݄ЪՐЗҽ䩟 ЇЪ‫٭‬བྷ䦚

҅‫ڋ‬

huóji

(handicraft) work

భѦϡ፟೤䩟ఱ۶҅‫ّڋ‬ ԧ҂ЏϮ䦚

ࣀҦ

d huà

get in a word; talk; answer

јҵРЧԁԧࣀҦҏӓӔ Ү޴ൌԧҡ‫ٻ‬ϳϦ䦚

‫ڛ‬Ѳ

násh u

good at

ԧ‫ݝ‬ဇ‫ܮھܚ‬з‫ڛ‬Ѳ䦚

ાા

shu shu

an onomatopoeia

ըೈஔౘાાড়䦚

߼ࡕ

su nt ng

sore; painful

Ϣҷϣҋ࿃෼ҏњഢ‫߼ރ‬ ࡕϦϮӪϳ䦚

ഄ‫ ۮ‬

ch ng(fàn)

ਯӳрϡ

guìtóuji de

Guitou’s wife

ਯӳрϡӍӧٰ‫ࢥލލ‬ ϳ䦚

ҡ૿ж

l oy zi

father or grandfather

ϢЙрҡ૿жϡ੻ᗀНЄ Ϧ䦚

‫ڮ‬ԃ

hu hou

duration and degree િϸϬުϣӡϴ‫ڮૢ܇‬ of heating ԃ䦚

ᔐᓪު

y n (xiáncài)

preserve in salt; pickle

өֿᔐϦ߈аபϳѷщ䦚

៦՟ᖵ

xi n (m nlián)

lift up (curtain)

ԧϣ៦՟ᖵϲՖЧϦ䦚

֍‫ۥ‬

yuányóu

reason

ϧТӤւЏϩϬ֍‫ۥ‬щ䦚

᧹

hú

a curve

ࠡᅋϥϳϼϣѬѤ‫ܣ‬ϡ ᧹䦚

ᆰ৉

g uy n

allure; seduce

ϧ↨ЂѓϮѷϡᆰ৉Ϣ䦚

ll a bowl

ϢഄϦ‫ٶٶ‬ϣಒܶ‫ۮ‬䦚

186 ᖷ  আ

ৌϤ௸

d ngbújì

at least

ϸଌৌϤ௸ХЌ‫ྸثث‬䦚

ୡ

zá

pound

јө྽жୡՖϦަ५䦚

Ⴙ

zh

prick

੣੣ѓዙધӳྉႹϢ䦚

ப੖

d ngxián

slack winter season

ப੖ϡЗԃсѦЬѮА఻ ҅Н҂䦚

࿟ল

lángh

like a wolf

࿷ລ

s odàng

wipe out

јਜ࡙Ϧ䩟ѷЏ࿟ল䩟Ъ ьϲ࿷ລϦఙϼϡ‫ۮ‬ ު䦚

Ӌᩰ

d g

issue a belch

ϧҌѬϪЋѮАϿӋᩰ Ӷ䩲

а޻

zháoluò

whereabouts

ҵૐϡ‫י‬жϩа޻Ϧ䩔

ᗧ

chu i

tuck (into)

ያ

t ng

tube; cylinder

јөѲᗧϨ഑ያѦԼ঄䦚

ഭ

g

after an interval of

‫ࡪޥ‬ϡϽ‫ވ‬ഭϣࡻ‫ވ‬ড়ϣ ҋ䦚

⊤ ቋ

(kàng)yán

brim; bank

ϧϤҌѬϨቯቋϼ։Ъ୉ ছӶ䩲

⁂֯

ch l

an onomatopoeia

รࠉ݄ࢻਝ۶ЗϿто 䦧⁂֯䦨‫ل‬䦚

ಃ֯֯

h l l

an onomatopoeia

ಃ֯֯Ԫ֔ӌՖϱЪЄ Ϫ䦚

₍

zh

press hard to make powder

ࣲϪ‫׶‬ѓ੘௒₍໥ܶ䦚

‫܋‬Ѳਢऑ

zh sh uhuàji o

gesticulate; nd fault with

ϧϤϦ‫ث‬єୂ䩟Ϥ؎цӾ ѨϪ‫܋‬Ѳਢऑ䦚

ᥳᕎլж

tuòmò x ngzi

spittle

јࢫ҃ЗЛвҦϱϿᥳᕎ լжࣣٟ䦚

ࣣኖኖ

luành ngh ng

in noisy disorder

ԆоЧ䩟অϼࣣኖኖϡ䦚

ࠟᄊ

y nzòu

play a musical instrument

ԧϨࠟᄊϣ۰‫ހ‬Ѥϡྜྷᅄ ॽ䦚

ኂ࢛

qi nxì

slim; ne

ኂ࢛ϡ᎕ἽϨըЅৼ⍈䦚

sadly moving

ۜϡзњϣ௷අᙙ҃Ϫ䦚

grind

Чѓ੘ᨠө໥жᨠюӌ䩔

අᙙ

iw n

ᨠ

ni n

ᠤᢅ

m nglóng

obscure

‫ە‬ЪϽ䩟ੳ֔ϣәᠤᢅ䦚

Ӛ҅

s huó

simply

јӚ҅ЁϤచ֙ࡨ䦚

ଘᇔᯑᄴ

y nw liáorào

smoke curling up

Ѵ‫ڊ‬٩ϡၶࠚϩࢻ‫ܟ‬ଘ Ҝ䩟ӐϤϿଘᇔᯑᄴ Ϧ䦚

ջӤ౴౴

r qìt ngt ng

steaming hot

ᓩжӅоસ䩟ջӤ౴ ౴䦚

AUNTIE

187

ᘠ

x n

su ocate by smoke

Ͻ‫ח‬д༔‫ۺ‬ϥӹЋӋϤэ ՟ੳҩଘᘠӚϡ䦚

᧾

mi o

throw a quick glance

ϢНй᧾ϣՒϧϡ၁ॣ Ӷ䩲ϲϣՒ䦚

ᤝᤝϡ

qi qi de

timid

Щಪਔᤝᤝϡ҈жЪўϪ Кࡕ䦚

ϣ५ϣՒ

yìb nyìy n

methodically

ј҂Ѩϣ५ϣՒЪϩֺ ԑ䦚

ಢಢӾӾ

w nw nd ngd ng safe and secure

јಢಢӾӾсӾ‫ש‬Ћభ ӗ䦚

ਧਗ਼

tòul

reveal

јϡՒ‫ظ‬ਧਗ਼аІҞ䦚

ϣрҏҰ

y ji zh zh

the head of a family ϢрѐԜϡϣрҏҰϥ֑ ֑䦚

ّ٘

l sh

courtesy; right behavior

֑֑‫׶‬Л‫ّ٘ګ‬ԝѺ‫ّڲ‬ ѸԳϴ䦚

ԡ಄

nánnài

intolerable

۪Ҥϡॼϳଡ଼ջԡ಄䦚

ᝂ

g

put down

јҥ‫ܩ‬Ўϱѧд‫ވ‬ϲө‫ڪ‬ ϣᝂ䩟ҍоЧ։Ϧ䦚

सस

c oc o

rush through carelessly

јससсЃϦϣՒϢϡҹ ‫א‬ϲЛϤҲ䦚

ࡒӳ

d otóu

lie down

ј։‫ڄ‬Ϧ䩟ࡒӳϲӒϦ䦚

࿤

ku

thanks to

࿤ϧ֭ԛϮϢЙҥЬࣿ բ䦚

Ьષ

m iji

no cure for; hopeless

јԵ߱ѿЄ䩟‫ܜ‬ϥЬષ Ϧ䦚

QUESTIONS FOR DISCUSSION 1. Why would Auntie drink brine? Was it an attempt to save face, to regain

2. 3. 4. 5.

power, or to defy her husband? What role do the details of everyday life play in the story? What is the relevance of the skibob episode to the rest of the story? What does the making of millet have in common with farming? What values does such an agrarian society possess? What identi es and de nes Auntie? a. What is making food for her? What is a household chore? b. Is Auntie in a position of power? Where does power lie in this story? c. What is she to her family, extended family, and the community?

188 ᖷ  আ

6. Could legal/equal rights for women be the solution to the problem Auntie encounters? How do you like Auntie’s method of reconciliation? 7. How does the story highlight shared humanity beyond categorizations of race, gender, class, ethnicity, age, and so on?

  ᖷআЋѮАϴ‫܅‬ឦһ䩲ԧϥఌ֘ቡҘ୵ӌӶ䩲ХϥЋϦᅙҘ੹Ҩ䩲‫ڈ‬ϥ ЋϦ‫࿆ז‬ਜ਼ܾ୺䩲   ҟяТ҅ϡ࢛‫ڝ‬ϨϸϬ‫ݞ‬ѨЅвϺϦѮАӑѓ䩲   Ч૯‫׷‬า઄Ӟϡъϣ‫ݱٰݫ‬Ϭ‫ݞ‬ѨϩѮАԮ࠾䩲   ҂Щܶ‫ۮ‬ф҇ນ⅒ϩѮАԚ֡ҏ‫؝‬䩲ϸ҈ϡ఻‫׭‬घϿϩаѮА҈ϡ٣ߚ Մ‫ڍ‬䩲   ᖷআϡࡣࡧ‫ئ‬෥ϥѮА䩲ѮАև՝Нйӡॶᖷআ䩲ՏЂϣЂ䩭 D цᖷআϱЛ䩟҂‫ۮ‬Һ‫ڏ‬аѮА䩲рࠖ҅Һ‫ڏ‬аѮА䩲 E ᖷআϩ੹Ҩϩс֧Ӷ䩲ϸϬ‫ݞ‬ѨЅ䩟੹Ҩϡ੅໩Ϩ‫ڃ‬ո䩲  F ᖷআцԧϡрϪҺ‫ڏ‬аѮА䩲ц֬ԴϮҎ֦䩲цԧӛ٧ϡळՄ֦䩲   ᔼ໹ѽԛ֚ಋ䩢‫כ‬ҳ੹ҨЌ‫ݸث‬ᖷআӛӌைϡ՜֣Ӷ䩲ϧц‫ݞ‬Ѩֲഅ‫؝‬ ᖷআԁјϪф‫ث‬ϡҤܴ՘АЃ䩲   ϸϬ‫ݞ‬ѨϥҒ‫߷ح‬оսք҇ఓ䦙ԛԆ䦙႒ٛ䦙ఓᶜфёූҳणԆ߇дϡ ࢕ϩϪԛϡ䩲

AUTHOR BIO Yu Shengli (1956–) is a native of Chengde, Hebei Province, and works at China Film and T Production Ltd, a joint venture with China Central Television (CCT ) and China International Television Corporation. Yu Shengli graduated from the Beijing Broadcasting Institute, now the Communication University of China, in 1978. He worked for China National Radio until he joined CCT in 1993 as a writer/director. Ten years later, in August 2003, he stepped into his current post as a producer/director at the Yu Shengli Studio. Yu Shengli is also a writer, media critic, and master’s (thesis) advisor. He published his rst story in 1988. He wrote “Auntie” in 1992, and People’s Literature (Ϫ‫ھ‬ҹѺ) published it. In 1997 his novella Lao Liu (ҡࡏ) was named among the best ve in China. He joined the China Writers

AUNTIE

189

Association in 2001. His collection of ction has been used for teaching at Beijing University, and his critical essays have been published in Wenyi Bao (ҹ਴‫ )ۏ‬and People’s Daily (Ϫ‫ھ‬я‫)ۏ‬. He started his academic service as an advisor of graduate studies for the Communication University of China in 2002. A celebrity himself, Yu Shengli is better known for his keen eye for talent and for identifying successful scripts. He has participated in producing three of China’s six most-watched T series of the last decade, the groundbreaking The Big Family (Ͻྎ՟) among them. Peers respect him for his gift and passion; we admire him for his reverence for the honest labor that sustains life and tradition and his appreciation for spiritual and ethical conduct rooted in everyday life in general and the agrarian tradition in particular. “Auntie” is considered one of the best short stories of Chinese literature from the 1990s.

2

಺੣ЙӗϽ ‫ر‬ᛌ

֐

ࢳࡂۗЗ䩟ϩϬ݉ӳՌຬϣ҈੡ൢаϢ䩟ъϲϥϢЙ಺੣‫ף‬ ϬԗϱӗϽϦૢफ़Ͽ‫ݾ‬ѮА䦚ӾЗ䩟‫ر‬ԏ䩟‫ر‬ѧ䩟‫ףر‬Х Ϩࢴ२Ѕ‫ڈ‬ЩѺ䩟ҟϬТ‫ܞ‬ЁϥϣϬຬ䩟ҳ‫ۉ‬ЗҽЧဌ਋䦚 З‫ׇ‬РЧѧ֐ё䩟ຬ݄ϽঊဌэϦ䦚 ܏Л‫ر‬ԏ䦚 ‫ر‬ԏෂЗথ҈‫ر‬Ԝ䩟‫ܪ‬тຜ஄䩟ἮἭվ‫ܬ‬䦚ՊѺࢴ‫ڪ‬䩟юၾЗϮЗव䩟 ޻ई࡙Ͻ䦚ҡӥЛ䩟јЪ๽Ҵ ϲϥӍӧфव‫י‬жᦍౢ䩟ի‫ؙ‬ড়䦚୊֬ϡц ೫ϥ䩟ҟӾјϡюၾར൷Ϻϣӡࡄ֏З䩟ϲѯј‫׆‬Ѻ䦚२Ϻϣ‫ޥ‬䩟ϪТс Ꭽ䩟Ѻ‫ܠ‬юၾᚄ‫ڢ‬䩟൬۠Х஍‫ڗ‬Ѻ‫ܠ‬ణ‫ڡڈ؃‬ӗੲࠖ䦚 Ϯ࢓Ϥӗ䩟Єज‫ٻ‬ё䩟վजҖ֊䩟ј۬ԁ‫ڡ‬ϼзईབྷϡѺТౢϨϣв䩟 зњܼϺ೙Іө‫ڛ٭ڡ‬Чԁӎ඗Ͻѷಮࣅ‫ރ‬ϡс‫܌‬䩟ӊϥӐ‫׆‬Ѻ䦚ϺϦ२ ѧ䩟‫ر‬ԏ০ҹѺે䩟ु‫ݳ‬ᇥ䩟‫ޚ‬࿟ࠂ䩟ଢມடఋ䩟ϣ޻Ϻ݄䦚੃ᄘᄅᯡ䩭䦨 ൰䩟‫ر‬ԏϥϣ࡮Ϯྜྷ䩟НਪӋϦࠂ஘ж䦚䦨 ϼ‫ځ‬ЎേЗ䩟јЧܶ໩໋๭ࠬ䦚ܶ໩໋‫ײ‬䩟ҟ֊НҘϣҖҋ䦚ӾЗԜ ԵҲՁҘҨࠉ䩟‫ףر‬ձϦϣ‫ה‬䩟؇Ғੵն䩟ଂ౦‫ر‬ԏुҵ䩟ҟၠјҘϱ䩟

2 BROTHERS Zhou Tao

W

hen I was about seventeen or eighteen years old, a thought obsessed me like a puzzle what would we four brothers end up doing when we grew up? Zhou Second, Zhou Third, and Zhou Fourth were still in middle school or elementary school; every life was a mystery waiting to unfold through time. Thirty years have now passed. The mystery is mostly revealed. First, let’s look at Zhou Second. When he was young, Zhou Second was a handsome, shy boy with dark eyes and black hair, and few words. When he started school, his grades were unpredictable and uctuated drastically. To put it bluntly, he was a very smart boy who loved to fool around with bad kids and who was too susceptible to their in uence. Father’s way of dealing with him was to get him transferred whenever his grades dropped below a certain level. When new to a school and a stranger to the place and people, Zhou Second’s grades would skyrocket. He could even make it to the position of head boy or class leader. But the good times never lasted. Whether it took as long as half a year or as short as two months, Zhou Second would get involved with the worst students in the class. When it eventually got so bad that he secretly used the class fund to treat his buddies to kebab, he would get transferred again. When he was a junior in middle school, he abandoned the pen for the sword, robbing people of their army caps, raising wolfhounds, and brandishing swords and spears. His grades hit the oor. veryone sighed, “What a pity, Zhou Second, a great piece of steel has been made into a dog’s chain.” When educated youth began being sent down to the countryside, Zhou Second went to live and work with a production team in Miquan County.

192  ಺ ੣ Й ӗ Ͻ

‫ۓ‬Ϥ‫ܕ‬䩟‫ؘ‬Кেᯙ䦚‫ر‬ԏҘр䩟ࠀ‫ט‬Ϥ՜ՁҘҨ䩟ЇϤ‫װ‬ଷ䩟ည౷ϤҀ ࣳঙ䦚‫ۉ‬ԷၖҘܶ໩䩟‫ףر‬ӵѺҘр䩟ЬՖ՟䩟܏՜䩭䦨‫ر‬ԏҵϦӶ䩲䦨আ ম䩭䦨ҵϦ䦚䦨‫ףر‬ઈϤЏӵ‫دڪ‬䩟ϣӳ໎Ֆ঱ྰ䩟ࢬ‫܏װ‬ӓেϡҘҨࠉ䦚 ֲҝ䩟ӳХϨ঱ྰѦ䩟ߥ‫ل‬ӔҮଡ଼ଡ଼с‫ت‬Ϧоϱ䦡䦡ࠉҩ‫ر‬ԏઋҵϦ䩔Ϥ ‫ڜ‬䩟‫ر‬ԏҘϱ䩟ૐЎϣ‫ה‬ෙࠉ෾ӗґЧ䦚 ‫ؘףر‬Кા‫ޤ‬䦙᧙‫ݾ‬䦙ϼࠨ䦙ে۠୊আ၁ॣഇḣࢭзѦ‫؝‬࿒ৢ䦚ֲҝ䩟 ‫ر‬ԏၖҘܶ໩䩟‫ףر‬ϡߥ‫ل‬ҍଡ଼ଡ଼сԪࢭ݄Ў‫ت‬оϱ䦚 ‫ر‬ԏ‫װݓ‬েᯙҏ‫ظ׉‬о૤Ь䩟Ϥѓևࢬ՝‫װ‬䩟ҟҟѲϺ᳽ϱ䦚њϱϺϦ ԍԥ঵䩟ј‫ݾ‬Р൨оӛ䩟ӾР੦ӗ䩟਋ЏӪխଈж䩟й‫׉⁋װݓ‬ЋЌѨ䦚 ՜ј䩟ԙম䩭䦨ϢЌ୨аवϪϡК‫ڽ‬䦡䦡фϢ֍ϱϡК‫ڽ‬ईϤЄ䦚䦨 ‫ر‬ѧЩ‫ر‬ԏҖۗ䩟ԪЩՒ஄‫ײ‬؇䩟ЩЩϡ຋жϼବаϣైࢳ‫֏ښ‬ϡՒ ஖䩟ӱж࢛੔䩟҃ӑ‫׶ࢹ׊‬Ϫь‫ޛٻ‬䩟ѷ‫ۮ‬Ғु䩟‫׶‬໑ਖᕷ䦚 ЩѺ‫ף‬ёٛйњ䩟‫ر‬ѧӍӧࢴ䦭‫֥۽ߎ܀‬䦮䩟ҟ‫ࢴۓۏ‬䩟ဋဋϩ‫ڏ‬䦚Щ ѺࡏёٛЗ䩟јцԒ֎‫ٿ‬мсԑ֧ঞ䦙۰௞ւࢅ‫ڈ‬ЗѨू੽ᄘϦҒ‫܋‬௢䦚 ؔ౒഍‫׭‬њ䩟‫ر‬ѧϨ᝭߇ϣӛੲ֞Ѻ‫ڪڌޥ‬䦚ಃϣя䩟јާՖ‫ڵ‬ϱ‫ݍ‬ऩ Ϣ䩟‫ۏ‬ϼࠪоЈቨӈ؇‫זݡ‬घϿԍэ੷ߎ൜প䦙֭‫ٷ‬䩟јЧ‫ۏ‬ϦӜ䦚

BROTHERS

193

Since the county was near us, he could come home a couple of times each month. White Warrior brand shoes were in style at the time, and Zhou Fourth got a pair. But he wouldn’t wear them when Zhou Second came home. He treasured them so much that he hid them carefully, fearful that Zhou Second would snatch them away. Zhou Second never said a word about the shoes, nor did he go look for them when he was home. He acted as if he had no interest in them at all. The day Zhou Second left, the rst thing Zhou Fourth asked after school, before he even entered the house, was, “Is he gone?” Mom answered, “Yes, he is.” Before he could put down his backpack, Zhou Fourth dove headlong into the chicken coop to search for the shoes he’d hidden there. His head still in the coop, we heard his mu ed crying Zhou Second had taken the shoes. Soon after, when Zhou Second came back again, he left the pair of shoes, now lthy, as he walked o to Miquan. Zhou Fourth painstakingly scrubbed, dried, and powdered the shoes before he hid them between the inner layers deep inside our parents’ spring bed. But when Zhou Second left for Miquan after his next visit, we heard Zhou Fourth’s mu ed crying again from under the bed. Zhou Second, talented at locating hidden things with great dexterity and preternatural swiftness, always found what he was looking for without really having to search for it. He ended up working for the Public Security Bureau. He served in local police stations and soon held the position of captain. He had cracked quite a few criminal cases and had proven himself particularly good at nding stolen goods. When asked how, he answered with a smile, “I know how a bad guy’s mind works not that di erent from mine a while back.” Zhou Third was two years younger than Zhou Second. Nearsighted since childhood, he had a thick pair of glasses that hung on his little nose. Skinny, he moved a half-beat faster than most people. He ate like there was no tomorrow, a behavior for which he was reprimanded frequently. Since fth grade, he had been in love with Reference News, and read the paper every day with great relish. By the time he was a sixth grader, he had learned the map of the world by heart and knew heads of state, capitals, and current a airs as well as the palms of his own hands. After graduating from a teachers college, he taught at a trade school in the suburbs. Suddenly one day, he came to town to tell me that Xingjiang T station was advertising in the newspaper for editors and journalists and that he had signed up for the quali cation exam.

194  ಺ ੣ Й ӗ Ͻ

ࣝЛӾЗ‫ٷߎۏ‬൬੃䩟ХϩӜनϽѺЈࢩ‫ڍ‬഍‫׭‬Т䩟ԡ֏ЪϽ䩟‫ر‬ѧІ Ң఍Ϫϣቻ䦚Ϥࢧֲҝϣԍ޿䩟‫ر‬ѧफ़Ӝ࠶ҷϣ䦚Ғѵ䩟јϨЈቨӈ؇‫ݡ‬ ‫ݾ‬൜প䦙֭‫ٷ‬䩟ӔϩЄё䦚 ‫ףر‬ЩՒ஄䩟Ͻ຋ж䩟ࢷѲ䦚ϩϪЛјӗЏՌ۪টࠁਜ਼ӈ‫ؙ‬䦭ඈ䦮Ѧϡ䦨 ࢌӳኋ䦨䩟ЇϩϪЛјՌ䦭ᐩ঒‫خئ‬ਛຩࠁջྰ䦮Ѧϡख़‫ݳ‬Ѕ⇒䩟ХϩϪЛ јϡՒ஄຋жறঐюऻ䩟ւҏϣైેਜ਼থ҈䦚 ‫ףر‬Ъվ‫ܕ‬Ј‫ژ‬ᬘ䩟ւϥϤआс໎ՖࢯࢯЙ‫ܕ‬ଓԸЩϡ‫עژ‬ѦЧ䩟਋‫ژ‬ ଓั䩟ᛴ೺ਗ਼॔䩟୷жԪЩϲஆஆсೖв䩟Ͻபϳ‫܅‬ऱһ䩟‫ٶ‬ϤϨল䦚 ӾЗϩϪࠃ৷‫ףر‬ӗϽњӾ৓Գ‫؃҃ؽ‬䩟Ϣ‫׊‬ҢЏјϥϬՊግԪ‫ݳ‬ϡ୰ ࢧ䩟ӹЋъЗјϲଛ֩аईϤЄϽϡ‫י‬ж䩟‫࠘ܪ‬Ր࠘䩟‫܊‬ϱዃḍ䩟ỀѼϣ Ϭոু֩഑䦚 ‫֐ףر‬ٚۗЗ䩟ӔҮฅӥϩҨ䦚ϣҋ䩟ϢॅѲЂϨјӳϼӋϣ࣬௢䩟Ϥ ࢧјϣࠍӳ䩟ϲۤϣϬޭ‫܌‬Ўጬ䩟ૼᏒᶧ֙ϢҖֺଆ䩟ϣ৿ӱ䩟өϢବϨ ‫׺ٻ‬䩟࿰а࠘ԙഘഘсЛ䩭䦨ࢯ䩟ХӋϤӋϦ䩲䦨 ϢҀիϺϦԜϨтड़ЅϡЈТ‫מܞ‬ϩҨϡ٤ࢎфख‫ږ‬䩟Ԫъйњ䩟‫ئ‬Ԇ Ϧ‫ث‬䦨њТНᐧ䦨ϸϬ୫䦚 ‫֐ףر‬ٚۗЗϲϨКԑϼ஍૎в‫ࣇخ‬Ϣϡੲૺ䦚ϩϣҋϨҜԮ٘இЃӈ ‫ؙ‬䩟Ϣ‫ܩ‬ӓٕ䩟ј‫ܩ‬ϨњӌЪ‫׾‬䦚ӹЋ༗ϣ֧ҡϪӋَϤ‫כ‬䩟Ϣԁњٕϡ ϣळԏԵжтТ৏௬䦚ҦЬЛӪ‫ط‬䩟Ћ۰ϡϣϬр඗Ԫӏ֧ϼϣቸґв䩟 ‫҃ިކ‬Ѳ䦚ϢХЬ‫׏ބ‬Рϱ䩟䦨Ꮃ䦨ϣ‫ل‬䩟ϣ֭ড়݊ϡଐ‫ׇ‬өър඗ҍӋҘ ӏሚѦ䦚ϢϣЃ䩟ϥ‫ףر‬䦚ј࣌ෑෑс‫܋‬аър඗Л䩭䦨ϧӐ҃҃䩟Ϣ቎Ӛ ϧϸϬೞັ䩔䦨

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They say that many people registered for the exam, among them journalist majors who had graduated from famous universities. In the face of such enormous obstacles, Zhou Third felt that he was at a disadvantage from the start. When the results were announced, who’d have thought, Zhou Third would place rst? He has worked as an editor and a journalist for Xingjiang T station to this very day. Zhou Fourth had small eyes, a big nose, and yellowish hands as a boy. Some people said that he looked like “The Owl” in the Yugoslavian lm The Bridge; others thought he resembled the German lieutenant in Walter Defends Sarajevo; still others believed that he had the eyes and the nose of Jackie Chan; anyway, he had the look of a man of prowess. Zhou Fourth seldom wore new clothes, and always had to squeeze into the hand-me-downs that were too small for his brothers. Worn and tattered, the clothes left him bare-chested. He had a bulging round tummy as a child and drank unboiled water in the cold of winter he didn’t give a damn. Someone suggested that Zhou Fourth should be a weightlifter when he grew up, but I thought he was made for the military, because he was already leading kids his age with tanned and dirty faces charging this way and that, as if he were their commander. At fteen Zhou Fourth was already strong and sturdy. Once I tried casually to tap him on the head. Unexpectedly, he ducked and, following the momentum, crouched in a horse-riding stance, his right arm looping around my legs. Suddenly he straightened up, lifting me halfway in the air. Smiling up at me, he asked, “Still want a ght, Bro?” I felt then a powerful warning, and the challenge a growing and youthful life can present, and learned rsthand what the old expression “the young are to be regarded with awe” really meant. At fteen Zhou Fourth had already taken it upon himself to protect me. One day, we were watching a movie in the assembly hall. I was in the front row and he was sitting far in the back. I got into a quarrel with a bunch of punks behind me while trying to defend an elderly person. After a few words, the leader of the group leaped out of his seat, ready to strike. Before I could react, smack, a loud slap on his face returned him to his seat. I looked, and saw Zhou Fourth. He pointed at the guy with rage: “You move again, and I’ll squish you like a gnat!”

196 ಺ ੣ Й ӗ Ͻ

‫ףر‬҂Ѩϲϥϸડ‫ݾ‬८۱޻䩟ϣЃϲϥϬ৳ᅶထಙϡ୰ࢧ䩟ՇҌзњ‫׊‬ ӾϦЅѺ‫ؔڌ‬䦚 ಺੣ЙӗϽϦ䩟֍ϱҒ‫ױ‬䦚 

BROTHERS

197

Zhou Fourth handled everything crisply like this. At rst glance, you could tell such a man was made to charge into enemy lines. Who would have thought he would end up becoming a middle school teacher? And this is how we brothers have turned out . . . (2011)

VOCABULARY AND USAGE ૢफ़

ji jìng

in the end; actually

ຬ݄

míd

answer to a riddle јٚূ‫ވ‬ϲ୨ЅϦຬ݄䦚

থ҈‫ر‬Ԝ

móyàng zh u zh ng

good-looking; having good features

јϡٚϬոж䩟ϲҡԏϡ থ҈Х‫رڲ‬Ԝ䦚

ဌэ

ji k i

uncover; reveal

՘҈ҥЌөຬ݄ဌэ䩲

ἮἭ

mi nti n

shy

ъЩಪਔἮἭЏНЕ䩔

޻ई

luòch

drop height

ϸѦ૯һϡ޻ईϥѧܶ䦚

ᦍౢ

sh n

fool around

Ԇфव‫י‬жᦍౢϨϣв䩔

ц೫

duìc

countermeasure

ϧϩ‫ݸث‬՜֣ϡц೫Ӷ䩲

ϪТсᎭ

r nsh ngdìsh

not familiar

ϸѦϪТсᎭ䩟ϧоЧ્ ‫܌‬Ԇҵѿ‫׾‬Ϧ䦚

ᚄ‫ ઁڢ‬

zhòu(sh ng/jiàng)

suddenly; swiftly (rise/fall)

ѵϳӤ‫ޟ‬ᚄઁѧ֐֏䦚

Ѻ‫ܠ‬ణ‫؃‬

xu xí w iyuán

a class committee member with study-related duties

Ϩ‫ڡ‬ѦӾѺ‫ܠ‬ణ‫؃‬ϡӎѺ Ѻ‫ܠ‬юၾϣӡϴϮ䦚

೙І

s zì

without permission

ϧϥ‫ݳ‬Ϫ䩟Ьϩ‫ܞ‬ਘϤН ೙ІҲ҃䩔

‫٭ڡ‬

b nf i

class fund

䦧‫٭ڡ‬䦨ϥϣϬ‫ڡ‬ٛϡ҅҃ Ү‫٭‬䦚

ӎ඗

tónghu

partner (in crime) јुૃҲϡӎ඗ҩ੥ൌ੪ ֙ϦҖϬ䦚

০

qì

give up

ј֐ࡂۗ০ѺԪ‫ݳ‬䩟юϦ ϣӜੲ‫ݳ׭‬Ϫ䦚

ଢມடఋ

w qi ngnòngd o

brandish swords and spears

ϧϥϬѽ‫י‬ж䩟՘АЇӍ ӧଢມடఋϡ䩲

੃

zhòng

many people

ࡇяϺ䩟੃ధӧ‫چ‬䦚

ϧૢफ़ϥЕԧХϥЕϢ䩲

198  ಺ ੣ Й ӗ Ͻ

ᄘ

ji

each; all

ЕѤҏК䩟Ϫᄘϩҏ䦚

ᄅ ᯡ

tàn

sigh

ԧᄅϦ‫ט‬ӤЛ䩟НਪϦ䦚

yu

say

䦧жᯡ䦨ϲϥ䦧႘жЛ䦨ϡ Һ‫ڽ‬䦚

Ӌ੏஘ж d (ti /liànzi)

forge (iron/chain) ՇϿѓзϮϡྜྷ੏ЧӋЩ ྽ж䩲

Ўേ ๭ࠬ

(xiàxi ng)ch duì

ҹཪ‫׈‬ҽ䩟ЪЄЅѺ഍‫׭‬ go live and work ТЁЎേ๭Рࠬ䦚 in a production team in the countryside

ଂ౦

w ik ng

fear

েᯙ

cángnì

conceal; hide

᧙‫ݾ‬

liàngg n

air-dry

ϸА଎೮ϡϳӤ䩟‫ޤ‬Ϯϡ ‫עژ‬ϣϳЁ᧙Ϥ‫ݾ‬䦚

ϼ

shàng

apply

јѓ‫ٿ‬աࠡધѯࡌϼա䦚

࿒ৢ

ji c ng

inner layer

ϸ҇઄ᏪϩಌࡽҨ࿒ৢ䩔

‫ظ‬о૤Ь

sh nch gu mò

come and go like a ъЩઋ‫ظ‬о૤Ь䩟Ъԡ shadow; elusive ੪Ϻ䦚

ևࢬ՝‫װ‬

d ngf nx zh o

search everywhere

јևࢬ՝‫װ‬ЇЬтѴ‫حڗ‬ ୍഻࢙ࣝ䦚

ҟҟ

m im i

often

ԧҟҟ‫ݼ‬Іୖ‫ܦ‬Ϻ‫ٹ‬ ١䦚

ѲϺ᳽ϱ

sh udàoqínlái

capture easily

ϢЧ੪јӡϿѲϺ᳽ϱ䦚

਋ଈ

pò’àn

solve a case

ϸ֧੥ൌϥ਋ଈҙѲ䦚

йЋЌ Ѩ

y . . . w in ngshì

be particularly good at something bad

јйထߛјϪЋЌѨ䦚

⁋‫׉‬

z ngw

stolen goods

јЌ୨ϺЩઋᯙে⁋‫׉‬ϡ сҤ䦚

໑

z o

meet with

ϸӪёј‫ۂ‬໑Ϥ؄䦚

ဋဋϩ‫ڏ‬

j nj ny uw i

be very fond of

ϸӆ‫ڪ‬јࢴЏဋဋϩ‫ڏ‬䦚

ϦҒ‫܋‬௢

li orúzh zh ng

know . . . like the palm of one’s own hand

֑֑цϢϡъѢոКѨϦ Ғ‫܋‬௢䦚

൬੃

sh n zhòng

quite a few

‫ބ‬цјϡϪϤվ䩟Н‫ࣇݥ‬ јϡϪЇ൬੃䦚

఍Ϫϣቻ

sh r n yì chóu

be a leg down on someone

ЬϼРӜ‫ޥ‬ϡϪ‫׶‬ϿϨს ৏ЗҢЏ఍Ϫϣቻ䦚

‫ݾ‬൜প

gàn (bi nji)

work (as an editor)

јϣрѧ‫ڊ‬Ёϥ‫ݾ‬ԍԥ ϡ䦚

Ѕ⇒

zh ngw i

lieutenant

ϼ⇒ϥЅ⇒ϡϼٛӶ䩲

јଂ౦Іѝϡেᯙ‫؝‬ҩ੥ ൌтѴ䦚

BROTHERS

199

றঐ

k sì

be exactly like

јӗЏறঐјϡআ֬䦚

ϣైথ ҈

yí f . . . móyàng

wear an air of

ϧЃъ‫י‬ж䩟ϣైϳѐН Еϡথ҈䦚

ᛴ೺ਗ਼॔

ch ngxi ngl huái

bare-chested

ϸАߤϡϳ䩟ϧᛴ೺ਗ਼॔ ϡ䩟ϴТ࠴ϡ䩔

‫ٶ‬ϤϨল

m nbúzàihu

do not care at all

јЪ‫ܕૢ܇‬䩟цѷ‫ٶ׊‬Ϥ Ϩল䦚

ՊግԪ‫ݳ‬

r w cóngj n

join the military

ј֐ࡂۗъёՊግԪ‫ݳ‬䩟 ϣ੫жЬ‫ڒ‬э‫ࠬח‬䦚

ଛ֩

shuàil ng

lead; command

јଛ֩ϣϬЩдࠬЧൺњ ଷ‫װ‬๥൛䦚

ዃḍ

chích ng

gallop

ϨϪТϡ߫ಬϼІ‫ۥ‬ዃḍ ϥЪЄϪϡٓЂ䦚

ỀѼ

y nrán

just like

ϧ‫ܕ‬ϼϸӱ՝‫ע‬䩟ỀѼϥ ϬϽϪϦ䦚

ޭ‫܌‬Ўጬ

m b (xiàd n)

straddle (squat) as 䦧ޭ‫܌‬䦨ϲϥՌೌаϣጃޭ though riding a ъ҈ϡ‫֚܌‬䦚 horse

ᶧ

g

hoop; bind

јѓ‫ה‬Ꮢࠤࠤᶧ֙Ϣ䩟 ўϢ҃ഇϤЏ䦚

њТНᐧ

hòush ngk w i

the young are to be respected

ӗ࢖њ‫ع‬Ԑӓ‫ع‬䩟њТН ᐧљ䩔

஍૎

d nf

shoulder

ϢϥϽࢯ䩟Џ஍૎Ԯؕ ੣䦙ࠒϡૺ‫ڗ‬䦚

ӋَϤ‫כ‬

d bàob píng

defend someone against an injustice

ࢯࢯЋϪԜ‫ׯ‬䩟ւЕӋَ Ϥ‫כ‬䦚

loafer; rascal

ԏԵжϮѷଫ҂䦚

৏௬

zh ngzhí

argue

јЙ‫׶‬৏௬НԪϤ҃Ѳ䦚

Ћ۰ϡ

w ish ude

headed by; the head

ϨϸϬ֍‫״‬ϡ‫޻ח‬䩟Ћ۰ ϡϥϣ֧ҡ೤Ϫ䦚

ϣቸґв

yí yu

jump up

јԱϺມ‫ل‬ϣቸґв䦚

ϣ֭ଐ‫ׇ‬

yí jì rgu ng

ԏԵж

࣌ෑෑ

rli zi

rq

h nh n

a slap in the face ferociously

੣੣࣌ෑෑсѯϦъЩж ϣ֭ড়݊ϡଐ‫ׇ‬䦚

቎

ni

nip; squeeze

ԧѓѲ቎ӚϦϣђᛀᚰ䦚

ೞັ

chòuchóng

bugs

Ϣҩೞັ๋ЏӒϤа䦚

‫ݾ‬८۱޻

g njìnglìluò

neat; neatly

ԧ҂Ѩ‫ݾ‬८۱޻䩟ԪϤആ တհһ䦚

৳ᅶထಙ

ch ngf ngxiànzh n charge and shatter enemy positions

ӋተЗј৳ᅶထಙϤ‫ܜ‬ Ӛ䩟ϥϬϮ‫ࡲږ‬䩔

200 ಺ ੣ Й ӗ Ͻ

QUESTIONS FOR DISCUSSION 1. How would you describe Zhou Second? What point does the story make

2. 3. 4. 5. 6. 7.

with this criminal-minded public security o cer? How would you characterize the life trajectory of Zhou Third? Do you think Zhou Fourth is in the wrong profession? Why? What do the brothers’ life trajectories say about identity? What is the danger of making generalizations about a person or a people? Why has this story also been a favorite of students from other cultures? Does identity liberate as well as con ne the individual?

  ϧ՘АЃ‫ر‬ԏϸϬϪ‫׉‬䩲‫ݞ‬Ѩ֡РϸϬК‫ٰڽ‬഻୍ईϤЄϡԍԥϪ‫؃‬ԣ ܼϦѮА䩲   ‫ر‬ѧϡТ҅ፊ඿ϩѮА‫ئ‬ա䩲   ϧҢЏ‫ףر‬ϥϤϥ‫ש‬ӮϦੲ‫׭‬䩲ЋѮА䩲   ‫ݞ‬ѨЅӪϬ಺੣ϡТ҅Ѭբᶻ౥ϦцІϢ䩛LGHQWLW\䩜ϸϣ՜֣ѮА҈ϡ Ѓ֚䩲   ѯϣϬϪ‫ڈ‬ϥϣण䩢ఓ䩢мϪ҂ᆨ਎䦙Ўֲ‫ڹ‬ϿϩѮА҈ϡ୉ছ䩲   ϱІϤӎҹ٩ϡѺТЁЪӍӧϸϬ‫ݞ‬Ѩ䩟ЋѮА֦䩲   ІϢ䩛LGHQWLW\䩜ϡม݉ϿϤϿ૽‫ث‬ӵϬϪҍࡳ‫ء‬ϬϪ䩲

AUTHOR BIO Zhou Tao (1946–) de es any label of identi cation. A Han Chinese by birth, he spent the rst few years of his life oundering in wartime China between Shanxi and Hebei. He settled down in Xinjiang at the age of nine with his parents. Now 70, Zhou Tao refers to himself as a “northwestern barbarian” (՝‫ܚ‬ഐո [ҸE̋LK~HU), that is, a man of complex cultural existence who owes his very being to the interactions of his culture of origin with that of Uighurs, Kazakhs, Hui, Uzbeks, and Tajiks in Xinjiang for six decades. Zhou Tao also perceives himself as a Han Chinese whose ancesters, to use his own words, “have been a barbarian, a nomad, an assassin, and a savage beauty.” He entered Xinjiang University in 1965 and majored in Uighur. An active Red Guard during the Cultural Revolution and a

BROTHERS

201

sent-down youth in 1971 to 1972, Zhou Tao had a chance to see China and learn the hardship of earning his own living by farming. When working for the City of Kashi in 1979, he made a name for himself with the publication of the long poem August Orchard (ࡂ֊ϡҝࡪ). As a result, he was specially recruited by the military and became a salaried professional writer at the rank of company commander in the Culture Department of Urumqi Military Area Command. Now a poet and essayist of national fame at the rank of a major general, Zhou Tao has become a literary phenomenon. In place of a long list of awards, we recall here some of the e orts made to describe him: “the representative of the New Frontier Poetry,” “a Xinjiang literary giant,” “one of the Three Musketeers of Military Literature,” “the soul of the city,” and “the reincarnation of a Himalaya eagle.” People often present Zhou Tao’s works, especially Rare Bird (็Ԓҏధ) and Grazing Along the Great Wall (ղᖥӗ‫)ڵ‬, to departing friends as a “precious Xinjiang local specialty.” Zhou Tao credits his success to the advantages that “cultural hybridization” has brought him the combined strength of Islamic civilization, the cultures of Central Asia, the unrestrained life on the prairie, and their enrichment of and impact on the culture of the Central Plains.

3

ߩϪ ੗੏Т

ࡂ

֐ۗ䩟ҡྴ֙ՖϦࣨࡨϡ࠴୉ॣ䦚䦨ϣ‫ࠪ܌‬ϳ䦨ϡъҽЩ൙ Ѧ䩟ϣѬ๔ըഭэҖ‫ࢭ࠴צ‬䩟Շࢧъ‫ࢭ׷‬ϼ఑ϡҡѿѿफ़ ϥјϡЩѺӎఙ䦚՘АҌѬϡ䩲ࣇࡲ‫چ‬ϺҡྴЗ䩟ϲԱъ ‫׷‬ϩϪϣ‫ܒ‬ϣᒌс՜Ѭ䩭䦨ϸҡ૿ж䩟ЩЗԃНϥϼϡ؄‫׫‬ѦѧЩӶ䩲䦨ҡ ྴ՜䩟䦨ӭ‫֧ڃ‬䩲䦨䦧Ϣϥ޿ӧոߠ䩟Ϥ֭ЏϦ䩲䦨઎ۘϸӜ‫ئܒ‬Ԇ䩟ՇХϿ֭ Џ䩲 䦧ٚёٛЗϲԱЛϧ࿴рϺ֔сЧϦ䩟Ϻ݄ϥ‫ڃ‬ոߠ䩲䦨 䦧ЬϩϡѨո䦚䦨ҡྴЛ䩟䦨ϢЙрϣ‫ׯ‬ЁϨ‫ߟܚ‬䦚䦨 ๔ըъ‫׷‬ਭఘ‫Ⅎٻ‬䩟ґњϣ‫ل‬ӗᄅ䦚 ޿ӧոђϱЏߵٰҡྴЛϦѧխѨ䦚ϣϥԧԪ॰ۗϲЕϼҡྴϦ䦚ԏϥ ԧ‫ܞ‬ϤϮ䩟ϣ੫ж‫ڄۂ‬ЏϮЄϪЁٰаԧࡒႷ䦚޿ӧոҀᄅЛ䩟ЬЂϺை ϦைϦ䩟ХЌ֬ІөϸԈѨ‫ݍ‬ऩҡྴ䦚

3 THE LOVE OF HER LIFE Shi Tiesheng

A

t eighty, Lao Wu entered the room at the hospital for the critically ill. One step away from heaven, a screen separated the two beds in that small room. Who would have guessed that the old lady in the other bed would happen to be Lao Wu’s elementary school desk-mate? How did he discover this? When a nurse called for Lao Wu, the woman on the other bed asked fastidiously, “May I ask, Mister, whether you attended the Third lementary School at Happiness Lane when you were a kid?” Lao Wu became curious, “May I ask who you are?” “This is Buhuaner! Don’t you remember me?” ,I LW KDGQ·W EHHQ IRU WKH SHFXOLDULW\ RI WKH QDPH ZKR ZRXOG KDYH" Lao Wu wondered. “I heard that your family moved to another city in fth grade. Which city was it?” “Nonsense,” Lao Wu said, “My family has never left Beijing all these years.” There was an extended period of silence on the other side of the screen, and then a long sigh. Buhuaner lived only long enough to tell Lao Wu three things. The rst was that she fell in love with him when she was nine years old; the second that bad luck had feasted on her all her life, which got many people near her into trouble. Buhuaner cried out in astonishment at this unexpected opportunity before the end of her time to tell Lao Wu all these things in person. All what things?

204  ߩ Ϫ

‫ڃ‬ԈѨո֦䩲ЩѺ഍‫׭‬䩟޿ӧոӐЬԋϺҡྴ䩟ԔԧԚҞϱяҤӗ䦚Ѕ Ѻ഍‫׭‬Ϧ䩟ХϥЬϩҡྴϡ‫֥۽‬䩟ϤѼϡҦ䩟޿ӧոϥЂٰҡྴ‫ߎۏ‬ӎϣ ӛϽѺϡ䦚‫ׯ‬ϺϽѺ഍‫׭‬䩟ϺϦঠࠝ‫ڹ‬ผϡёઓ䩟ҡྴകҒတܵՊ֋䩟޿ ӧո‫׊‬ϥစК‫ۨ۔‬䩟цҡྴϣ‫܊‬є‫ٹ‬䦚ϣёёРЧ䩟ϣҋҋсӮРࠝ࿧䩟 ޿ӧոϺϦѧ֐ۗ䦚ണϩϬЩ඗ٰԧϣ҈စє䩟޿ӧոҳҡྴϣё䩟јϲ ҳ޿ӧոϣё䦚Շࢧ䩟ѧ֐ࢳۗЗ޿ӧո‫׊‬ผѯϦࡔϣϬϪ䩟ђӹъϪӗ Ԛறঐҡྴ䦡ԪվёЗϡؕәϼЃ䦚 䦧ϸϪ䩟ХϮщ䩲䦨 䦧јϲϤ‫ڲ‬ϬϪ䩔䦨 Ћ੨Ϥ‫ڲ‬ϬϪ޿ӧոЇЬЛ䩟ђϥЛ䩟ਦजআ֬ЇϤϿҩӤӚ䦚 ъҋࠝ࿧ў޿ᓑոКීҺߤ䩟ЪьϲٰҷϣЗҽ‫ז‬ԧؒࠝϡϪࠪϦ֭䦚 ࠝњҥтѴ䩟ϸϪХϥӗЏЪՌҡྴ䦡ԪվёҡྴϡтࣁࠌۤЃ䦚 䦧՘А҈䩟ϧЙРЏ䩲䦨 䦧РϥРϦӪё䩟НњϱҥҌѬ䩟൫ϥԏ‫ލ‬䩔䦨 䦧ϸ՘АЛϡ䩔䦨 ՘АЛ䩲޿ӧոϣ↤ऑ䩟‫ࠝڒ‬䩟ом䩟ผϬଥϪ䩟Ӑөѽո‫ב‬оЧϼ Ѻϣᎄϲϥԏ֐ё䦚ϩϣϳ‫ב‬ϺϬӈҦ䩟ϥӾёϣ‫ׯ‬ҳаԧϡъϬ Щ඗жӋϱϡ䦚 䦧РϡХϮӶ䩟ϧ䩲䦨 䦧ХϥϣϬϪ䩟Ϣ䦚䦨 䦧ေϤֲ֦ࠝ䩟ϧ䩲䦨 䦧ҷϣҘϢҩત᜙䦚ҷԏҘϢԉϦϣ‫܌‬䦚ҷѧҘৰ䩟ϸϤ䩟ӅӋԱϺϧ֙ ‫ڃ‬ո䦚䦨 䦧൰䩟ϧϸϬϪ‫ڃ‬䩔䦨 䦧ϢϸϬϪԛжߝ䦚ϧ֦䩟ҍѿା䦚䦨

THE LOVE OF HER LIFE

205

Buhuaner never saw Lao Wu again after graduating elementary school, but she put her faith in the fact that they had many years ahead of them. There was still no news of Lao Wu when she nished high school, otherwise she would have applied, together with Lao Wu, to the same university. Buhuaner’s love for Lao Wu remained unaltered and as profound as ever all the way to her college graduation, when she reached the age of marriage. But Lao Wu was like clay oxen entering the sea never to be heard from again. Year after year, time and again, Buhuaner missed opportunities to marry, and then she turned thirty. It just so happened that a young man was infatuated with her as much as she was with Lao Wu. Just as Buhuaner waited for Lao Wu year after year, this man waited for Buhuaner. To everybody’s surprise, at the age of thirty-seven, Buhuaner married a di erent man, her only reason was that the guy looked much like Lao Wu at least in his childhood photos. “This man, was he okay?” “He was not worthy of being called a man!” Buhuaner didn’t say why, just that her mother wouldn’t have died because of the antipathy between them had he been a real man. The experience depressed Buhuaner, so as soon as she could, she registered again to marry the rst person that asked for her hand. She didn’t realize until after the wedding that her new husband also looked much like Lao Wu especially when she allowed for how each of them must have aged. “How was your life with him?” “We did have a life for a few years. But later I found out I was just his mistress!” “How could he do that?” How could he! Buhuaner stamped her foot, got divorced, left China, and married a foreigner. She then brought her daughter out to go to school abroad . . . In the blink of a eye, twenty years passed. One day, she got a call. It was from the man who had waited for her years ago. “Is all well with you?” “Still by myself am I.” “Why not get married, you?” “ liminated the rst round; too late for the second; and the third, you see, I just found out where you live.” “Ai, what can I say!” “I’m slow tempered, and you, too fast.”

206 ߩ Ϫ

ऎϮϦϱрԋӌ䩟޿ӧոІҞӔϩࣘдϡКԑ‫ިކ‬䩟Нϣэ՟ԧХϥइ ࡒϨ૶тѦ䩭ՖϱϣϬԟҪϤ‫ࡧڶ‬ϡЩҡӳո ҡྴҘ૦֡࠴ࠚҏӓ䩟⇳аᘣᖙոϺ๔ըъ‫׷‬ЧЃϦЃјϡӎఙ䦚 ‫ף‬۵Ԛц䩟޿ӧոइ‫چ‬Ѭ䩭䦨ҡϳ䩟јҥѐϥՌϧߠ䩔䦨 䦧ϧϥЛ‫ڃ‬ϣϬ䩲䦨 䦧ҳϦϢϣ੫жϡъϬߠ䦨 ϸϥ޿ӧո‫ݍ‬ऩҡྴϡҷѧխѨո䦚 䩛䩜

THE LOVE OF HER LIFE

207

They set a time to meet at Buhuaner’s home. She was con dent she was psychologically prepared for the meeting; yet she was still knocked back down into her seat when the door opened and in walked a total stranger a small old man . . . Before he returned to the general ward, Lao Wu, leaning on his cane, walked to the other side of the screen to visit his desk-mate. When they were face-to-face, Buhuaner yelled out in surprise, “Good heavens! He looks exactly like you!” “Who are you talking about?” “The one who waited for me his entire life . . .” This was the third thing Buhuaner told Lao Wu. (2012)

VOCABULARY AND USAGE ࠴୉

bìngw i

critically ill

ЏҌ୊֬࠴୉䩟јޭϼՏ޳ ‫܊‬р٬䦚

ϣ‫ࠪ܌‬ϳ

yíb d ngti n

one step to heaven

֙Ֆ䦧ϣ‫ࠪ܌‬ϳ䦨ϸϬ࠴ࠚϡ ϪЁϥ࠴୉ьӚϦϡϪ䦚

๔ը

píngf ng

screen

๔ըϲϥϮЃ䩟ჲჲՒ䩟‫ڃ‬ ѦЌഭ‫֦ٸ‬䩲

ӎఙ

tóngzhu

desk-mate

ϧХ֭ЏϢ䩟ϧЩѺϡӎఙ Ӷ䩲

ਭఘ

ch njì

silence; stillness ԧѓ‫لܮ‬Ӌ਋Ϧਭఘ䦚

‫Ⅎٻ‬

bànsh ng

a long while

јЂϦ‫Ⅎٻ‬ЇЬЂвϢϥ Շ䦚

‫ڄۂ‬

liánl i

involve; implicate

ϢϮఉ҂ѨϮఉӾ䩟ࠀϤ‫ۂ‬ ‫ڄ‬ԆϪ䦚

ࡒႷ

d om i

have bad luck

ԧҢЏІѝϥ‫ܞ‬Ѕ‫ڀ‬ӡϣ੫ жϴࡒႷ䦚

ைϦ

línli o

at the end of one’s life

јϣ੫ж૸ѷ᭚ѓ䩟ைϦХ ϥ๲Ϧϣฯ੦Ꮧ䦚

ϱяҤӗ

láirìf ngcháng

many a day is yet to come

ॎЛϱяҤӗ䩟ϢЙЇϤЌ ӵग़ҟяҟЗϡझҨ䦚

ঠࠝ‫ڹ‬ผ

tánh nl njià

plan to get married

ϧЙൟϺϦঠࠝ‫ڹ‬ผъϣ‫܌‬ ϦӶ䩲

တܵՊ֋

níniúr h i

disappear

јϸϣҵҒတܵՊ֋䩟ӐѪ ‫ٸ‬ల䦚

208 ߩ Ϫ

စК

ch x n

infatuation

ϣ‫܊‬є‫ٹ‬

yìw ngqíngsh n

deeply in love

ӮР

cuòguò

miss; let slip

ԆЋӮРϡҜϿњനϦ䩟ϱ яҤӗ䩟ӐझҨщ䦚

ണണ

pi n(pi n)

contrary to expectation

ј‫ټ‬ӊϱϦ䩟НϢണണҍϤ Ϩр䩔

КීҺߤ

x nhu yìl ng

disheartened

߭‫ߎܬ‬ՆϤߵ۴ўјцЧѤ мϼѺϡѨոКීҺߤ䦚

register (for marriage)

ϢЙѵϳ֭ࠪϦ䩟ЎϬ֊৓ Ҳࠝ٘䦚

tendency

ϧϩт੧ϡࠌۤ䩟ϴЩКୖ ‫ې‬Є‫֯҃ؽ‬䦚

ֲ֭ࠪࠝ d ngjì(ji h n)

јစК‫ۨ۔‬䩟цІѝϡ२ߩ ࣊ଓϣ‫܊‬є‫ٹ‬䦚

ࠌۤ

q shì

ϣ ᎄ

(yí) huàng

ત᜙

táotài

eliminate

ϸϬҤ֚ѿ޻њϦ䩟Չϲ؎ ત᜙Ϧ䦚

ԛж

xìngzi

temper

ϧԛжା䩟‫װ؎׏‬Ϭߝԛж ϡ࿆ਜ਼䦚

ᘣᖙ

gu ig n

walking stick

ϤҌϤҢ䩟ϢЙϲϺϦҵբ ϴ⇳ᘣᖙϡёઓ䦚

ash past

ϽѺ‫ף‬ёϣᎄϲРЧϦ䦚

QUESTIONS FOR DISCUSSION 1. What was Lao Wu to Buhuaner all her life? And Buhuaner to Lao Wu? 2. Was there a nal revelation for Buhuaner? Would she die smiling? Why? 3. “L o” in Chinese, besides “old,” can also mean “always” and the pronunciation of “wú” can imply “nonexistent.” Could this reading of “Lao Wu” add some allegorical signi cance to the story? 4. Breaking down “Buhuaner” into its separate syllables, we get “b hu n r,” which sounds exactly like “not happy child” in Chinese. Why is this signi cant? 5. How does the story play with/converge such concepts as “stranger” and “loved one”? 6. Discuss the tone of this story. As readers, with whom do your sympathies lie? 7. How does the story testify to the truth of Han Shaogong’s eulogy of Shi Tiesheng (see “Author Bio” following this section)?

THE LOVE OF HER LIFE

209

  Ϩ޿ӧոϡϣТЅ䩟ҡྴҺ‫ڏ‬аѮА䩲ґϨҡྴϡϣТЅ䩟޿ӧոҍҺ ‫ڏ‬аѮА䩲   ޿ӧոை‫ټ‬ӓஂ༧ϦӶ䩲ԧϿϤϿհаіԙ‫ڒ‬э֦䩲ЋѮА䩲   䦧ҡ䦨ϨЅҹѦ䩟ङϦ䦧ёઓϽϦ䦨䩟Їϩ䦧ւϥ䦨ϡҺ‫ڽ‬䩟ґ䦧ྴ䦨ٰ䦧Ѫ䦨ҍ ϥጒ‫ٸ‬䦚Ғҝө䦧ҡྴ䦨ϸϬӜ‫ܒ‬ԑ‫ث‬Ћ䦧Ϥ߲ࡖϨ䩟䦨ϸ҈ϡ‫ࢴث‬Ќਦѯ ‫ݞ‬ѨྔӸԈ‫ܙ‬ሏҺ䩲   䦧޿ӧո䦨 Աвϱٰ 䦧Ϥӧո䦨ϣ҈䦚ЋѮАцϸϬӜ‫ܒ‬҂ϸ҈ϡԑ‫ث‬ϩҺ ॶ䩲   ϸϬ‫ݞ‬Ѩϥ՘҈Գᓆө։ϦՌ䦧൘ТϡϪ䦨ф䦧ӛЕϡϪ䦨ϸ҈ϡม݉ϡ䩲   Տॗ‫ڹ‬ϣЎ‫ݞ‬Ѩϡ‫݆ܬ‬䩢‫ܬ‬Ӥ䦚ӑЋࢴ‫ٷ‬䩟ϧѸӎє‫ݞ‬ѨЅϡ‫ڃ‬ϣ֧Ϫ ‫׉‬䩲   Ўӌϡӑ‫ߣٷ‬ೀЅ৉ѓϦϣԈटվ‫ۋ‬ц੗੏Тϡ൐ኟ䦚ϸϬ‫ݞ‬ѨԪ‫ڃ‬Ԉ Ҥӌ୅࢙Ϧटվ‫ۋ‬ӛߞ䩲

AUTHOR BIO Shi Tiesheng (1951–2010) was a bright star in Chinese literature. Life was not easy for him. He graduated from the middle school attached to Tsinghua University in 1967. An educated youth who went down to the countryside in 1969, Shi Tiesheng farmed and raised cattle in a village in Yan’an in Shaanxi Province for three years until paralysis brought him back to Beijing in 1972. He found a job in a neighborhood factory and worked there, despite being con ned to a wheelchair, from 1972 to 1974. In 1998 he was diagnosed with uremia and endured dialysis every other day for the last thirteen years of his life. He died of a sudden stroke four days before his sixtieth birthday on December 31, 2010. Shi Tiesheng published his rst short story “The Law Professor and His Wife” (“֚Ѻ‫ڌ‬ဨߵԷਜ਼Ϫ”) in 1979. Despite his illness, Shi Tiesheng produced a large quantity of quality work. His widely known short stories “My Distant Qingpingwan illage” (“Ϣϡ༁‫׾‬ϡ֜‫כ‬ළ”) and “Grandma’s Stars” (“‫ލލ‬ϡլլ”), his novella The Stories of Educated Youth in the Countryside (๭ࠬϡ‫ݞ‬Ѩ), his prose piece “The Temple of arth and I” (“Ϣԁ сႊ”), his prose collection Notes in Sickness (࠴ំଦધ), and his unique

210  ߩ Ϫ

full-length novel Wo de Dingyizhilü (“Ϣϡ౨ϣҏ߫”) are but a few of his better-known works. He also adapted his short story “Life as a String” (“‫ܞ‬઎ᅄ᛭”) into a successful screenplay. He won many awards and has been translated into di erent languages. In his essay “Believe in God by Day and Believe in Buddha at Night” (“᜿Ҟऴᒾ١Ҟ౷”), published posthumously in the December issue of Harvest (ּԅ) in 2012, Shi Tiesheng unveiled a discovery: “Death is impossible” (ӚϥϤНЌϡ). The reason is that “death is but a state of living being” (ӚЇϲϥТϡϣ࣏҇‫ )ݮ‬a state that is beyond the vision of the observer “I.” Shi Tiesheng’s treatment of an individual as a limited being in “The Love of Her Life,” published in the same issue of Harvest, brings us close to his re ections on love, the future, life, and death. Shi Tiesheng’s special challenges in life obliged him to contemplate these issues; yet he emerged from su ering, celebrating love, wisdom, understanding, and the eternal journey of becoming a Buddha. He placed his hope in the continuous e ort on the eternal journey: “I believe, the meaning of tomorrow lies precisely in the possibility of further perfecting one’s own action” (ϢђԚ Ҟ䩟ҴϳϡҺॶ䩟ᡜϨՖϣ‫܌‬ԟѤҲ҃ϡНЌ). His fellow writer Han Shaogong remembered him with these words: “a miracle of a life” (Т‫ܞ‬ϡ࡞඿), “a peak of literature” (ҹѺϡҙ๢), “most powerful and digni ed” (۠‫۠מ‬ಀ), and one who had reached “the spiritual heights of his time” (Ӿ‫ظؘڊ‬ϡҙ֏). Our experience with this story has shown that Shi Tiesheng’s work allows readers “to touch eternity in the twinkling of an eye” (Ϩಲ֥Ѕක෋‫ݖ‬ၼ), “to enter endless expanses of life from a particle” (ϨіཇЅՖՊܲ‫)׾‬, and “to smile generously from the heart” (ӋКՒѦஞധсіԙ).5

  3OHDVHJRWRKWWSEDLNHEDLGXFRPYLHZKWPDFFHVVHG$SULO WRUHDG+DQ 6KDRJRQJ䦦VRULJLQDOZRUGV

4

ቯϤІҌһЄվ ҙ॔ቾ

Ͻ

ѺТభ‫ܥ‬ᩋІ‫ھ‬ϥ໶ஔນϡభҰ‫ࡾڗ‬ԑ䦚ࡾԑৰ䩟ЛϥϬభ ‫ܥ‬ϥϬభ‫ܥ‬䩟ЛϤϥϬభ‫ܥ‬ЇϤϥϬభ‫ܥ‬䩟ԔЗЎцణ൨ ϺభѦϡϽѺТϲϥϸАϬी॥䩟ᩋІ‫ھ‬ЇϲϤϨলϦ䦚ј Ϩলϡϥ䩟јӛϨϡϸ໶ஔນ䩟ϨേѦᑏ໋۠Ѧ䩟ЁϥЅҳ‫ۻ‬ϼϡభ䩟఻ ‫׭‬һ‫כ‬䦙Ү௸૮ୂ䦙భ‫ب‬భ൯䦙భ‫ھ‬Т҅ҳҤӌ䩟୐٧ԝϼϤ߿䦙ԝЎϩ ൑䩟ӹґ䩟భ‫ھ‬Й࿀‫ז‬ԝ่‫ז‬Ѓ䩟Кԑԝࢹ‫כ‬႗䦚Кԑϣ‫כ‬႗ϲᆉᅌվ䦙 ՜֣վ䦙Ѩєվ䩟֞ӑϲϮэࣁ䩟భ‫ھ‬ϲϮԚ‫؝‬䩟юၾϲϮԼЏ䦚 Нϥ䩟ϲϨᩋІ‫ݾھ‬Џॅըॅһ䦙ЩϩюϲϡЗԃ䩟ϼٛ߷Ѽ‫ݸ‬ӡ䩟ϴ өјԪѴϨϡభۨ൨Ϻ૶ᶅభ䦚 ૶ᶅభϥϬϽభඬభ޻њభ䩟ϪЄсվభըई䩟गсઌ‫د‬ϸАЄё䩟Ԇ ϡభЁࣥϦ䩟ۨԸথ҈Ϧ䩟૶ᶅభ‫࣊׊‬ଓᆢඬ޻њ䩟тࣁ฽ߝ දԷϥభѦ оϦϣвԪ‫۔‬оРϡᒏ৹ଈ䩟ٍ؎భѸϥထՊϣәౢࣣ䦚Ћ‫ױ‬䩟㹊Ѧ֠՟ ࢻоϣӜ‫חݾ‬஍‫؎ڗ‬భམ‫֭ڪחݒ‬䩟‫׍‬ϴؒߊь݆‫ݱ‬భҖణ‫ڡ‬ж䩟ಢӡభ ‫ڽھ‬Ђ䩟ᇹ‫׆‬ౢࣣ঵ӌ䩟ۨԸ૶ᶅభϡ޻њӌ൯䦚

4 WATER IN THE WELL Gao Huaichang

T

he college graduate and village o cial, Geng Zimin, was an assistant to the director of Poplar illage. As to the status of such an assistant, if you say he is a village o cial, then he is, and if you say he is not, then he is not. Geng Zimin didn’t really care about the title, since this was what college graduates sent down to work in villages were called nowadays. What he did care about was Poplar illage. It was an above-average village in the township, and even in the county. In areas such as agricultural output, economic development, village appearance, and standards of living, Poplar illage might not have been at the top, but it was better o than most. So the villagers developed a con dent sense of themselves when they checked up and down and looked around. This state of mind resulted in fewer con icts and problems and reduced workloads; it also facilitated work conditions, interactions among villagers, and the achievement of common goals. However, just as Geng Zimin was sailing with the wind downstream and developing the sense of an achiever, higher authorities suddenly decided to transfer him from his current Poplar illage to Sand Kiln illage. Sand Kiln illage was big, poor, and backward. It had more people per area of land and lax morals. The land contract system had been in place for many years. While other villages turned around and become rich, Sand Kiln illage had been slow to develop and remained as poor and as backward as before. The village was also in turmoil because of an unprecedented murder case. Because of this, the municipal authorities selected an o cial to be the secretary of the village branch of the Communist Party of China and requested expedited restructuring of the village Party branch and the village administrative committee. The goal was to reassure the villagers, turn the situation around, and start transforming Sand Kiln illage.

214 ቯ Ϥ І Ҍ һ Є վ

ᩋІ‫ھ‬ϲϥϸϬЗԃҩۨ൨Ϻ૶ᶅభϡ䩟ӊϥϲϤ݁Һ䩟ϲᏮӤ䩟ϲှ ी୊֬࠴Գ䩟ҘϦҡр䦚 ৌа‫ڮ‬ਮ‫ڮ‬䤠ϡϽѿ‫ݵ‬ϨсѦᘖсϡҡᩋ䩟ԋոжߥ᎒а࠘ҘϱϦ䩟۬ Ҍ‫ۓ‬ϥКѦϩϦ᠜ᠠ䩟߁ϼԡ֣Ϧ䩟ӊϥ‫׷‬ᘖс‫׷‬෬ԱոжϡКѨ䦚‫ۉ‬ҡ ᩋட֜ϦոжТӤϡ֍ӹ䩟۬цոжЛ䩟భѦϡѨ䩟৿ϤϮܹϡ䦚ϧ֙భ ϣёЄϦ䩟ϢЂа䩟Ϥ‫ډب‬䦚૽ѼҘϱϦ䩟ϲٰϢϮϮᘖᘖс䩟өКѦϡ Ѩ‫ݔ‬ϣ‫ݔ‬䦚 భѦϡѨ䩟ϥϬ୙К‫ڄ‬ϪϡѨ䦚Ѓϧ௉ЏٰϢϣϬ୵ա䩟Ϣϲ Ђа䩟৿ܿϡ䦚 ոжЛ䩟ѷܿի‫ڄ‬ϢϤ‫ܜ‬䩟Нϥ䩟ՒЃϲϴоюၾϦ䩟ϲϴϩ‫ש‬ጁϡҜ ϿϦ䩟‫׊‬ѯϢ޼ϦъАϣϬಊభж䦚ХϤϥ‫ݞ‬ҺवϢҜϿ䦙ѯϢԡჺӶ䩲 ҡᩋЛ䩟ಊభж䩟ҥЌࣸӆѨ䩟ЛϤӡϥ‫ڃ‬Ϭ֩ࣔЃϼϦϧϡ੨ӆѨ ᗔ䦚 ոжЛ䩟Ϣϩ੨ӆѨӶ䩲ϨъϬ໶ஔນ䩟ХϥЎܿབྷٰԆϪѺа‫ݾ‬ϡ ֦䩟ϩ੨ӆѨ䩲 ҡᩋЛ䩟ъъϧϥϤϥϨъϬϮభ‫ڜۉ‬Ϧ䩟‫ۉ‬Џ‫ڄܜܿܜ‬Ϧ䩲 ոжЛ䩟ԪЩϺϽ䩟Ϣ੨Зԃ‫ڄܜܿܜ‬Р䩲Ϣϥ‫ܜ‬ЬъϬӆѨ䩟Ϻъո йњ‫ݾ‬ϤϮ䩟‫ݾ‬ୡϦ䩟ѯъϬӆϱϲࣣϡభж䩟ࣣϼӸࣣ䦚 ҡᩋЛ䩟݀䩟ϥϬԑո䦚ъϧϲٰϢᘖс䩟൫‫׷‬ᘖс‫׷‬ϮϮᛈጥᛈጥ䦚 ҡᩋЛ䩟ϢፍϧਔϡЗԃ䩟ϧ૿૿‫ލލ‬Ёϩ࠴䩟ϲϤ‫ٲ‬ፍ䩟‫ܜ‬ЄϬ૎ ஍䩟ЄԈԡ‫؝‬䩟Нϥ䩟ϧਔϱϦ䩟ЪЌ‫ݾ‬䩟‫ࡾݨ‬Ϣө੨ѨЁᕶРϱϦ䦚ϧ

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Geng Zimin was reassigned to Sand Kiln illage at this time, and he felt wronged. Out of spite, he lied, saying that his father was terribly sick, and so was allowed to return to his home village for a visit. Lao Geng was watering elds under the scorching sun when he saw his son come back wearing a mournful face. He knew immediately that he had a knot in his heart that he must have encountered some kind of trouble. While watering the elds, he asked his son some questions. Once he had learned the reason for his son’s anger, he said to him, “ illage a airs are hard to handle. The way I see it, it must be tough to have lived there for over a year. Now you are back, come enjoy watering the elds with me and let your mind calm down. illage work is grueling. Seeing that you are as tanned as I am, I said to myself, ‘It must have been tough there.’” His son responded, “I don’t mind the job being tough, but transferring me to a lousy village like that when success is within reach and the chances for promotion are close at hand . . . Isn’t this a deliberate e ort to ruin my opportunities, to embarrass me?” Lao Geng said, “A lousy village is your chance to show your abilities. Possibly a superior of yours saw something in you.” “What abilities do I have?” his son said. “ ven at Poplar illage, all I did was learn, painstakingly, from others. What abilities do I have?” “Could . . .” Lao Geng said, “could it be just that you’ve stayed in an easy village for too long and become fearful of hardships?” “From boy to man,” his son asked, “have I ever cringed from hardships? What I’m afraid of is that I don’t have what it takes and can’t make things work once I’m there. When I screw up, I will be adding to the misfortunes the village is already going through.” “Yes, what you said makes sense,” Lao Geng responded. “How about joining me, so that we can talk things out while watering the elds?” Lao Geng said to his son, “When I married your mom, your grandparents were both sick. For a while, I dared not go through with the wedding because I was afraid that she would be one more burden to bear and we would have more di culties. But when your mom came, a very capable woman, she improved things by helping me lift all our burdens. And when you were in high school, our family went through a tough time. I worried about you being too good a student, about my not being able to pay for your education once you got into college. I had wanted you to start

216  ቯ Ϥ І Ҍ һ Є վ

ϼϺЅѺЗ䩟рѦԡ䩟Ϣђ‫ܜ‬ϧѺ‫ܠ‬ϮϦ䩟ߎϼϽѺపϤв䩟ЂўϧՉѢ ‫ݨ‬Ϣ‫҅ݾ‬ո䩟ՇҌϧണണϲߎϼϦ ҡᩋЛ䩟рѦϡѨ䩟ϧϥҌѬϡ䩟ࠚжࢬ౐Ϧ䩟ϧ૿૿ϡњѨࢧԑϦ䩟 ആࠁҜ䩟ּኘҜձϦ䩟ϧ‫ލލ‬ϡӱՄЇϮԈϦ䩟ϧЇϽѺ഍‫׭‬Ϧϸ АЄё䩟ϸАЄӑԡѨ䩟ϣᅓϣᅓЁ৿РЧϦ䦚 ҡᩋЛ䩟ϸϪϡК೺љ䩟ϥҩϣᅓϣᅓϡԡѨනϽϡ䩮ϸϪϡӆѨߠ䩟 ЇϥҩϣᅓϣᅓϡԡѨԡϽϡ䦚Ϣ҅ϺѴϨҴՁϦ䩟ϸϪ‫ڃ‬䩟ՇЇϤҌІ ѝϡЌҨϩЄϽ䦚ϢϴϥҌѬЌөϸАЄϡ੡ԡЁᕶϮ䩟ϧ૿૿ХЌҵъ АՉӶ䩲ጎᨧ⋗๲ཫЇЏ֙ࡨ‫ڃ‬䩔 ҡᩋЛ䩟ϧЃϸ‫ט‬ቯ䩟ϥगсઌ‫د‬ҷԏёӋϡ䩟‫ر‬໑ѧ‫ښ‬Єᣆс䩟ҟё Ӫৄһ䩟Ёϥ‫ؚ‬ᘖϡ䦚ѧ֐ёоӳϦ䩟ࢻоЄվһߠ䦚ϸቯљ䩟ϤҌІѝ ϡһϩЄվ䩮ϴϥҌѬϦߠ䩟ϣЎж੼оϱ䩟ԆЛϸѧ‫ښ‬Єᣆс䩟ϲϥ൫ ЙҪభ䩟ЇҪЁҩ‫ؚ‬ᖰԟϦ䦚 ԱϦುϡҦ䩟ᩋІ‫ٰھ‬ುᘖԟс䩟ࠧϼҲ዆䩟Ϻ૶ᶅభ‫ۏ‬ϺЧϦ䦚 

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working for me as soon as possible. But as chance would have it, you did get into college . . . “You know how things have turned out with our family,” Lao Geng reminded his son. “The house is renovated; we’ve paid our last duties to grandpa; we’ve purchased the tractor and the harvester; your grandma’s health is improving; and you’ve graduated college . . . We have encountered many troubles over the years, now they have passed by, one by one.” Lao Geng continued, “The mind of a person is stretched broader by the di culties he faces. The same is true of the abilities of a man. They increase with each di culty overcome. At my age, I’ve come to see that nobody knows exactly how capable he is. Had I known I could survive all these troubles, your grandpa wouldn’t have left so early! However big a hole of debt I dug, I should have paid for him to be hospitalized!” “Look at this well,” Lao Geng said. “ We dug this well the year after we contracted the land. More than three hundred mu of land surrounds it. It waters the land several times a year. How much water must we have drawn from it over the past thirty-odd years! This well doesn’t know how much water it has. If it did, and chose to gush out, our entire village, not just these three hundred mu of land, would have been submerged by it.” After he heard these words, Geng Zimin nished watering the elds with his father. Then he picked up his luggage and headed for Sand Kiln illage. (2012)

VOCABULARY AND USAGE భ‫ܥ‬

c n gu n

village o cial

ϧЙϸոϡϽѺТభ‫ܥ‬ϥ Ԝܴԍࠖ‫؃‬Ӷ䩲

ణ൨

w ipài

delegate

ԍ‫ࣔ֩ޅ‬ణ൨ԧЧҲ‫׭‬ё Ͽϼтߞ䦚

ी॥

ch ngh

address; appellation

Տ՜՘Аी॥ӭ䩲

ᑏ۠

n izhì

and even

‫ॣڌ‬Ѧᑏ۠ҵᚮϼЁ໚‫ٶ‬ ϦԱјࠟ‫܇‬ϡϪ䦚

‫ب‬൯

róngmào

appearance

Ϩјϡ֩ࣔЎ䩟ϸϬЩ‫ځ‬ భϡ‫ب‬൯ᢷѼϣЈ䦚

୐

j n

without exception

ϧ‫ڊے‬ϡ֞ӑϢ୐ӔੜЗ ԟю䦚

218  ቯ Ϥ І Ҍ һ Є վ

ԝϼϤ߿䩟 b shàngb zú, ԝЎϩ b xiày uyú ൑

better o than some, ϢЙѴϨԝϼϤ߿ԝЎϩ ൑䩟НϥҒҝϤߓ۟ worse o than झҨ䩟ϢЙЪьϲϿ others; reasonably ޻њϡ䦚 good

࿀่‫ז‬

zòng/h ngxiàng vertical/horizontal

ߟܲ੏բϤϥ่‫ז‬ϡ䩟 ‫ܚ۪בۂؚ‬䩟ϥ࿀‫ז‬ ϡ䦚

‫כ‬႗

píngh ng

balance

ԧӞೌЏѿь䩟ାᏸӞ З‫׹‬ЧϦ‫כ‬႗䩟࿉Ϧ Ўϱ䦚

Ԛ‫؝‬

xi ngch

get along with

ԧിӤ‫ޟ‬ф䩟ЪϮԚ‫؝‬䦚

భը

c nf ng

village culture

ҡϪЙ‫׶‬ЛϸѦϡభըӔ ϽϤҒԪӓϦ䦚

ઌ‫د‬

ch ngb o

contract

ϢϴՖ‫ڵ‬Ӌ֞䩟ϲөІѝ ϡсઌ‫د‬ѯር࢒Ϧ䦚

฽ߝ

hu nmàn

slow; slowly

ϸ࣮֞ࡄՖࣁ฽ߝ䩟ੜ Зԟ֞ӔҮϥϤНЌ ϡϦ䦚

ᒏ৹ଈ

xi ngsh àn

homicide case

ϸѦЪԥҪ䩟Ԫ‫۔‬тТР ᒏ৹ଈ䦚

ထՊ

xiànr

fall into

֠рЙ߷Ѽ‫ڒ‬э䩟࣮۵ထ Պ੡॒䦚

ࢻ

ch u

pick out; select

ՏࢻѧϬзϮϡѺТЧ࣬ ሑ‫܀‬Ӹԝॳ䦚

؎

g i

that Ϣз‫܊ז‬ϡѺ‫ޥ‬ϥ‫ܚ‬Ͻ䩟 (above-mentioned) Ԕ݁ЌՉяюЋ؎‫ޥ‬ ϡѺТ䦚

݆‫ݱ‬

tiáozh ng

adjust; arrange

Җణ‫ڡ‬ж

li ng w i b nzi

“Җణ” refers to the village Party branch (భམ‫ݒ‬ ‫ )ח‬and the village administrative committee (భణϿ); “‫ڡ‬ж” means “organizational body.”

ಢӡ

w ndìng

stable; stabilize; stability

܏ѯјӋϣఱ䩟өєోಢ ӡЎϱӐЛ䦚

ᇹ‫׆‬

ni zhu n

turn aound

঵ӌ

júmiàn

situation

ࠬ‫؃‬ЙҌѬђϩ‫ۻ‬Іѝϡ झҨҥЌᇹ‫׆‬Ւӓ ϡҩ҃঵ӌ䦚

ӌ൯

miànmào

look; feature

ᔇѨϿ݆‫ݱ‬Ϧԍ‫ޅ‬ϡ֩ ࣔ‫ڡ‬жфЅৢ‫܉‬ԑϪ ‫؃‬䦚

Т҅ϮϦ䩟‫ځ‬ѦϪϡ‫ظؘ‬ ӌ൯ЇٰРЧϽϤϣ ҈Ϧ䦚

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219

ှी

hu ngch ng

lie; claim

јှीҘрЧ‫܀‬Ӹ‫ލލ‬ ϡ᛿٘ϣլ‫׈‬Ьϱϼ ࠅ䦚

‫ڮ‬ਮ‫ڮ‬Ἐ

hu sh o hu li o

feel terribly hot

Ϩ۹њϡϽѿ‫ݵ‬Ў‫҅ݾ‬䩟 јϡ෰ᅊфњࠧЁ‫ڮ‬ ਮ‫ڮ‬Ἐс‫ڔ‬䦚

ߥ᎒а࠘

k shàng zhe li n

pull a long face

᠜ᠠ

g da

knot

෬Ա

tànt ng

try to nd out

୊֬ЛҦӓѓКс෬ԱϦ ‫ث‬Ϧոжϡєୂ䦚

‫ڄ‬Ϫ

l ir n

tiring

ؕઈҡϪфЩ‫י‬ոЁϥ ૽ϴ୙КҍЪ‫ڄ‬Ϫϡ ҅ո䦚

ѷܿի‫ڄ‬

ch k shòul i

have a rough time

ЩЗᢡЄѷܿի‫ڄ‬ӗϽҥ ЌҮЏ֙ը‫ە‬䦚

ՒЃ

y nkàn

very soon

૯һХϨඞ䩟ՒЃаϲϴ ࢿϼ᭸࿝Ϧ䦚

‫ש‬ጁ

xu nbá

select

ҮРৢৢ‫ש‬ဣ䩟ԧ‫ټ‬ӊҵ ϼϦւҮԑϡ֧ж䦚

ಊ

làn

messy; awful

ър྄֞ϥϬಊ፹ж䩟 ϧН࡛‫ݚ‬ϤϴЧъѦ ֞ӑ䦚

व

huài

ruin

੥ൌ߷ѼоѴ䩟वϦϢ ޭϼϲϴ҂юϡϮձ ࢁ䦚

ԡჺ

nánk n

embarrassed

ϧѐϤ‫ޢ‬ԴҎ䩟ўϢϨѽ ԴҎӌӓԡჺ䦚

Ўܿབྷ

xià(k jìn)

put in (great e ort)

ϴѺϮЅҹ‫ۓ‬છЎܿ‫ۋ‬ਜ਼ Єࢴ‫ڪ‬䦚

ࣣϼӸࣣ

luàn shàng ji luàn

add to the chaos

֑ӔҮ֙ࡨϦ䩟ϧϴϥӐ ࠴Ϧ䩟ъѐϥࣣϼӸ ࣣϦ䦚

ࢬ౐

f ngài

renovate; replace

ҟёॼϳ䩟‫رף‬Ёϩር࢒ ࢬ౐ࠚৌ䦚

ᅓ

z ng

a measure word

‫ױ‬сϤԥҪ䩟ϣёֵтТ РЄᅓᒏ৹ଈխ䦚

න

ch ng

expand

ϧ‫ؤ‬ϦѿЄϡև՝䩟‫ט‬ೂ Ёьන਋Ϧ䦚

ጎ

t

collapse; cave in

Ӟᆟϡ൙ৌҩϽઞय़ጎ Ϧ䦚

јКѦϩϬ‫ث‬Ϥэϡ᠜ ᠠ䩟ӛйϣϳϺԉЁ ߥ᎒а࠘䦚

220 ቯ Ϥ І Ҍ һ Є վ

ᨧ⋗

k long

hole; loophole; debt

ϧӐ‫ފ‬Єվ‫צ‬Ҟѓ१ЇЬ ѓ䩟౗ᏗХᏗϥ෕Ϥ ϼϧϡᨧ⋗ϡ䦚

ጎᨧ⋗

t k long

owe a debt

јЋѯոжፍ፟೤ጎЎϦ ֐‫ׄݚ‬ϡᨧ⋗䦚

‫ر‬໑

zh uz o

surrounding area; about

ϸϬϽѺ‫ڵ‬ϡ‫ر‬໑Ёϥർ ܶс䦚

ࢻһ

ch u(shu )

obtain by drawing from (as from a well)

ҟё‫੻׶‬ϡӱՄഠ‫ݓ‬Ёϥ ϴࢻ߱ϡ䦚

Ҳ዆

xíngnáng

luggage

䦧዆䦨ϥ䦧ೂж䦨ϡҺ‫ڽ‬䩟 ‫ؤ‬ҲଽϡೂжϲϥҲ ዆Ϧ䦚

QUESTIONS FOR DISCUSSION 1. Is this a story about realizing your potential?

2. 3. 4. 5. 6.

Is this a story about confronting one’s preconceptions? How is the well metaphor used di erently in this story? What is Lao Geng’s view of self and identity? What properties of a well does the story use to reference identity? Why is the son named “Zimin” (І‫] ھ‬uPtQ), which could mean “from the people” in Chinese? 7. What is the role of the father in the story?

  ϸϥϣϬԮӊӥѴІϢЌҨф٣ߚϡ‫ݞ‬ѨӶ䩲   ϸϥϣϬٰϬϪണԋ҂૓৏ϡ‫ݞ‬ѨӶ䩲   ϸϬ‫ݞ‬Ѩцቯҏԝ᠅ϡ‫ؽ‬ѓϩѮАЈҺ䩲   ҡᩋ՘АЃІѝфІϢ䩛LGHQWLW\䩜䩲   ϸϬ‫ݞ‬ѨѓϦቯϡ‫ڃ‬Ԉ٧ԛϱ‫ؕ܀‬ІϢ䩛LGHQWLW\䩜䩲   ЋѮА‫ݞ‬ѨЅոжϡӜ‫ چܒ‬䦧І‫ھ‬䦨䩲ҏӛй՜ϸϬ՜֣ϥӹЋϸҖϬ‫ܒ‬ ϨЅҹѦНйҩԑ‫ث‬Ћ䦧ϱІϪ‫ھ‬䦚䦨   ୊֬Ϩ‫ݞ‬ѨЅвϦѮА҈ϡӑѓ䩲

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221

AUTHOR BIO Gao Huaichang (1955–) often publishes under his pen name of Jin Chang (‫ؖ‬ቾ). Born of illiterate parents in a village in Jiaohu Township, Hua County, Henan Province, Gao Huaichang spent the rst twenty years of his life in his hometown and became a farmer after graduating high school in 1974. He enlisted in 1976 and fought in the the War of Defensive Counterattack (Іਛ‫ )ږܑބ‬in ietnam in 1979. He returned to a civilian life in his hometown in 1988 and worked for a district government in the City of Xinxiang until his retirement. He enrolled in the conomic Management program at Zhengzhou University and was awarded a college degree in 1990 after he successfully completed his two-year study. The hardship his parents had been through, partly due to the lack of education, motivated him in school, and he fell in love with literature and reading. He tried his hand at writing and published two pieces in 1980. He did not return to writing until the end of 1999. As he was replacing his old desk calendar with a new one, it suddenly occurred to him that it would soon be too late if he did not pick up his pen right away. He has made good on his New Year’s resolution for 2000. Gao Huaichang appreciates these words from a fellow veteran: “If my job is to clean, give me a few years and I will be the best janitor in the profession,” yet Gao Huaichang writes more from a passion beyond his control than from the desire to become the best. He nevertheless has participated in many general and themed competitions at the local and national levels. His short-short “The Driver and the Professor” (“‫ޅ‬Ҝԁ‫ڌ‬ဨ”) won a major award in 2004, and his novella Looking for the Thief (ଷሽ) won a themed competition in Quanzhou in Fujian Province in 2015. Gao Huaichang feels most comfortable writing prose and has won many prizes in competitions in Hunan, Hubei, Guangdong, Tianjin, Henan, and Ningxia. Gao Huaichang has published, to date, more than seventy short-shorts and a dozen short stories and novellas and has written [not published] two full-length novels. His education in Chinese tradition and the imprints of his military and government service are distinctly visible in “Water in the Well.” Writing this story at the age of fty-six, he aspired to deeper understanding of “our culture” and hoped to share his understanding with the young.

ҷࡏ‫א‬

࠘ӌ

Շ

ϤЃԳ࠘ӌ䩲ЕӌжϥϪҏϳԛ 䦚ӛ஼ЃԳ䦨࠘ӌ䦨֡‫׶‬ϥ ‫܋‬цϬϪಀ଴‫ิڈ‬ኟϡԮ‫ڀ‬䦚՝ҤϩԮ䦨࠘ӌ䦨ϡЛ֚‫܊܊‬ᄬ Գԍ࢕‫ڈ‬ІϢ࣏ࢣ䦡䦡Ϩ‫ݸث‬ᆉᅌ৳߷‫ڈ‬ϥ৪ؒТҺю‫ۋ‬ ҳӥѓ۵ࡣЗϥૐӌжϦХϥЏӌжϦ䩲ϨЅм䩟䦨࠘ӌ䦨Ϻ݄ϥѮА䩲ϸ Ϭ՜֣ўЅмϪф՝ҤϪЁ֐д੡༜䦚РЧ‫ײ‬ϣ‫ښ‬ٚ֐ёϡ୳ૢђϥӅӅ කߵϺϦϸϣԳϴҹ٩޴݉ϡߒ૜ԛ䦚ӆ‫א‬ϡ‫ݞ‬Ѩ٤ՏϽр‫ڀ‬Һ࠘ӌ՜֣ ‫׶‬ҩಃଯϡӪϬҤӌ䩭䦨࠘䦨ф䦨ӌ䦨ϡϤӎ䩟䦨ѯӌж䦨ϡԳϴԛ䩟йߵц࠘ӌ ශѪ‫ۋ‬۱ҏКϡԮ‫ڀ‬䦚 ՉϨࢳ֐Єёӓ+X +VLHQFKLQϲҴ৭‫܋‬о䦨࠘ӌ䦨ϩ‫ה‬Գଭॶ䦚‫૽ؚ‬ϥ䦨 ࠘䦨䩟‫س‬ϱІஇԜԘख़ϡ࠘䩮ҍϥ䦨ӌ䦨䩟‫س‬ယ࣠ӊю‫ۋ‬фс֧ϡӌж䦚ϣϬ ϪϴЏϺјϪϡ䦨ಀԳф‫ڈ‬෧ᐧ䦨䩟‫ۓ‬છҖ‫ٷ‬ᄦґϩҏ䦚‫ݞ‬Ѩ䦭࠘ӌ䦮䩟Ԝ ҒԷࡣ֣ӛܾ䩟૽Л䦨࠘䦨Ї‫܇‬䦨ӌ䦨䩟ХԮКҖ‫ٷ‬ҏҽϡԮ‫ڍ‬䦚ଽҡԏцࣼЩ ࡏӛԣܼϡҳٛؑؒ޴Ϥᙽϣઈ䩟өࣼЩࡏၜоϡ᚞ᚕብӾӑ੟ϽӤ๬ϡ ࣸ௭䩮ґࣼЩࡏЂϴߋҘ‫׹‬Чϡև՝䩟Ҙ೬ІѝРЧцघϿѬख़‫ކ‬जϡࠧ ໃϥϤНЌϡ䦚ଽ䦙ࣼ‫ה‬Ҥ՘҈҂ҥЌҪӌؕઈϺ՜֣ϡҤҤӌӌ䩲ࣼЩ ࡏ՘҈ҥЌԳЈߋЏрേϪϡҞ‫ڗ‬䩲'DYLG+Rϡϸ‫ط‬Ҧ‫ܙڈ‬ЋϢЙ‫܋‬ѢϦ ࣿဋ䩭䦨ϪӆϲϤ؎৏࠘䩟ӹЋѪ‫ڹ‬घϿс֧Ғ‫ح‬䩟≎ௗҹ٩੻౒ϥϣϬϪ

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