Last Chance To See Part 9

'Expecting us? said Mark. 'What do you mean? They've never heard of us. You can't actually contact anyone in China. We'll be lucky to find them and even luckier if they agree to talk to us. In fact I'm only half certain they exist. We're going into completely unknown territory.'

We both peered out of the window. Darkness was falling over the largest nation on earth.

'There's just one last bottle left, sir,' said the cabin steward to me at that moment. 'Would you like it before we close up the duty-free? Then you'll have the complete range.'

It was quite late at night as a rickety minibus delivered us to our hotel on the outskirts of Beijing. At least, I think it was the outskirts. We had no point of reference by which to judge what kind of area it was. The streets were wide and tree-lined but eerily silent. Any motor vehicle made a single and particular growl instead of merging with a general traffic hum. The streetlights had no diffusing gla.s.s covers, so the light they shed was sharp, highlighting each leaf and branch and precisely delineating their shapes against the walls. Pa.s.sing cyclists cast multiple interweaving shadows on the road around them. The sense of moving in a geometric web was added to by the clack of billiard b.a.l.l.s as they cannoned across small tables set up under the occasional street lamp.

The hotel was set in a small network of narrow side streets, and its facade was wildly decorated with the carved red dragons and gilded paG.o.da shapes which are the familiar stereotypes of China. We hefted our bags full of camera equipment, recording gear, clothes and aftershave into the lobby past the long gla.s.s counter displays of carved chopsticks, ginseng and herbal aphrodisiacs, and waited to check in.

I noticed an odd thing. It was one of those tiny little disorienting details, like the telephone dials in New Zealand, that tell you you are in a very distant and foreign country. I knew that the Chinese traditionally hold their table tennis bats the way we hold cigarettes. What I did not know was that they also hold their cigarettes the way we hold table tennis bats.

Our rooms were small. I sat on the edge of my bed, which was made for someone of half my height, and laid out my bewildering collection of aftershave bottles in a neat line next to two large and ornately decorated red and gold thermos flasks that were already standing on the bedside table. I wondered how I was going to get rid of them. I decided to sleep on the problem. I hoped I would be able to. I read a note in the hotel's directory of guest services with foreboding. It said: 'No dancing, clamouring, quarrelling, fisticuffings or indulging in excessive drinking and creating disturbances in public places for the sake of keeping a peaceful and comfortable environment. Guests are not permitted to bring pets and poultry into the hotel.'

The morning presented me with a fresh problem. I wanted to clean my teeth, but was a little suspicious of the delicate brown colour of the water leaking from the washbasin taps. I investigated the large flamboyant thermos flasks, but they were full of very hot water, for making tea. I poured some water from a thermos into a gla.s.s and left it to cool while I went to meet Mark and Chris Muir, our sound engineer, for a late breakfast.

Mark had already been trying to get through to Nanjing on the phone in an attempt to contact Professor Zhou, the baiji dolphin expert, and had come to the conclusion that it simply couldn't be done. We had two days to kill before our flight to Shanghai, so we might just as well be tourists for a bit.

I returned to my room to clean my teeth at last, to discover that the room maid had washed the gla.s.s I'd left out to cool, and refilled the thermoses with freshly boiled water.

I felt rather cast down by this. I tried pouring some water from one gla.s.s to another to cool it down, but even after doing this for a while the water was still hot, and the toothbrush wilted in my mouth.

I realised that I was going to have to come up with some serious strategic thinking if I was going to get to clean my teeth. I refilled the gla.s.s, carefully stuck it out of sight in the back of a cupboard, and then tried to get rid of one of the bottles of aftershave by hiding it under the bed.

We put on our sungla.s.ses and cameras and went and spent the day looking at the Great Wall at Badaling, an hour or so outside Beijing. It looked to be remarkably freshly built for such an ancient monument, and probably the parts we saw had been.

I remembered once, in j.a.pan, having been to see the Gold Pavilion Temple in Kyoto and being mildly surprised at quite how well it had weathered the pa.s.sage of time since it was first built in the fourteenth century. I was told it hadn't weathered well at all, and had in fact been burnt to the ground twice in this century.

'So it isn't the original building? I had asked my j.a.panese guide.

'But yes, of course it is,' he insisted, rather surprised at my question.

'But it's been burnt down?

Yes.

'Twice.'

'Many times.'

'And rebuilt.'

'Of course. It is an important and historic building.'

'With completely new materials.'

'But of course. It was burnt down.'

'So how can it be the same building?'

'It is always the same building.'

I had to admit to myself that this was in fact a perfectly rational point of view, it merely started from an unexpected premise. The idea of the building, the intention of it, its design, are all immutable and are the essence of the building. The intention of the original builders is what survives. The wood of which the design is constructed decays and is replaced when necessary. To be overly concerned with the original materials, which are merely sentimental souvenirs of the past, is to fail to see the living building itself.

I couldn't feel entirely comfortable with this view, because it fought against my basic Western a.s.sumptions, but I had to see the point.

I don't know whether this principle lies beneath the rebuilding of the Great Wall, because I couldn't find anybody who understood the question. The rebuilt section was swarming with tourists and Coca-Cola booths and shops where you can buy Great Wall T-s.h.i.+rts and electric pandas, and this may also have had something to do with it.

We returned to our hotel.

The maid had found my hidden gla.s.s of water and washed it. She must have searched hard for it because she had also found the bottle of aftershave under the bed and had placed it neatly back on the table by the others.

'Why don't you just use the stuff? asked Mark.

'Because I've smelt them all and they're horrid.'

'You could give them to people for Christmas.'

'I don't want to carry them round the world till then.'

'Remind me again why you bought them.'

'I can't remember. Let's go to dinner.'

We went to a restaurant called Crispy Fried Duck for dinner, and walking back through the city centre afterwards we came to a square called Tiananmen.

I should explain that this was October 1988. I had never heard the name Tiananmen Square, and neither had most of the world The square is huge. Standing in it at night you have very little idea of where its boundaries are, they fade into the distance. At one end is the gateway to the Forbidden City, the Tiananmen Gate, from which the great iconic portrait of Chairman Mao gazes out across the vastness of the square, out towards its furthest point where there stands the mausoleum in which his body lies in state.

In between these two, beneath his gaze, the mood was festive. Huge topiary bushes had been imported into the square carved into the figures of cartoon animals to celebrate the Olympics.

The square was not full or crowded - it would take many tens or even hundreds of thousands of people to achieve that - but it was busy. Families were out with their children (or more usually, with their single child). They walked around, chatting with friends, milling about easily and freely as if the square were their own garden, letting their children wander off and play with others without an apparent second thought. It would be hard to imagine anything of the kind in any of the great squares of Europe, and inconceivable in America.

In fact I cannot remember any time that I have felt so easy and relaxed in a busy public place, particularly at night. The background static of wary paranoia that you take with you as a matter of unconscious habit when you step out into the streets of Western cities made itself suddenly apparent by falling silent. It was a quite magical silence.

I have to say, though, that this was probably the only time we felt so easy in China, or indeed easy at all. For most of the time we found China baffling and exasperating and perpetually opaque; but that evening, in Tiananmen Square, was easy. So the greatest bewilderment of all came a few months later when Tiananmen Square underwent that brutal transformation that occurs in the public mind to the sites of all catastrophes: they become reference points in time instead of actual places. 'Before Tiananmen Square' was when we were there. 'After Tiananmen Square' was after the tanks rolled in.

We returned to the square early the following morning, while the air was still damp and misty, and joined the queues that line up round the square each day to file into the mausoleum and past the body of Chairman Mao, lying in state in a perspex box.

The length of the queue beggared belief. It zigzagged backwards and forwards across the square, each new fold of it looming up at you from out of the mist and disappearing into it again, rank after rank, line after line. People stood in line about three or four abreast, shuffled briskly forward across the square, made a turn and shuffled briskly back, again and again, all under the orders of officials who paraded up and down in flared trousers and yellow anoraks, barking through megaphones. The easy atmosphere of the previous evening had vanished in the dreary morning mist, and the square was degraded into a giant marshalling yard.

We joined the line after some hesitation, half-expecting that we might be there all day, but we were kept constantly on the move by the barking marshals, and even found that we were accelerating as we got closer to the front. Less than three hours after we had tagged on to the end of the line we were hurried into the red-pile-carpeted inner sanctum and ran past the tiny, plump, waxy body as respectfully as we could.

The queue which had been so tightly and rigorously controlled as it was lined up to be fed into the mausoleum, disintegrated amongst the souvenir stalls as it emerged from the other side. I imagined that from the air the building must resemble a giant mincing machine.

The whole square and all the surrounding streets were served by a network of public address speakers, out of which music was pumped all day long. It was hard to make out what it was most of the time because the system was pretty ropey, and the sound just thumped and blared and echoed indecipherably around us, but as we climbed to the top of the Tiananmen Gate a few minutes later, we began to hear much more clearly what it was we were listening to.

The Tiananmen Gate, I should first explain, is a tall, flat-fronted structure with arches at the bottom through which you pa.s.s into the Forbidden City, and a large balcony across the top, behind which is a series of meeting rooms.

The Gate was built during the Ming Dynasty and used by the Emperors for making public appearances and proclamations. The Gate, like Tiananmen Square, has always been a major point of focus in the political history of China. If you climb up to the balcony you can stand on the spot from which, on 1 October 1949, Chairman Mao proclaimed the founding of the People's Republic of China. The spot is clearly marked, and there is an exhibition of photographs of the event cl.u.s.tered around it.

The view across the immensity of Tiananmen Square from here is extraordinary. It is like looking across a plain from the side of a mountain. In political terms the view is more astounding yet, encompa.s.sing as it does a nation that comprises almost one quarter of the population of this planet. All of the history of China is symbolically focused here, at this very point, and it is hard, as you stand there, not be transfixed by the power of it. It is hard, also, not to be profoundly moved by the vision of the peasant from Shao-Shan who seized that power in the name of the people and whom the people still revere, in spite of the atrocities of the Cultural Revolution, as the father of their nation.

And while we were standing on this spot, the spot where Mao stood when he proclaimed the founding of the People's Republic of China, the music we were having played at us by the public address system was first 'Viva Espana' and then the 'Theme from Hawaii Five-O'.

It was hard to avoid the feeling that somebody, somewhere, was missing the .point. I couldn't even be sure that it wasn't me.

We flew to Shanghai the next day, and began to think about the dolphins which we were slowly edging our way across China towards. We went to think about them in the bar of the Peace Hotel. This turned out not to be a good place to think because you couldn't hear yourself doing it, but we wanted to see the place anyway.

The Peace Hotel is a spectacular remnant of the days when Shanghai was one of the most glamorous and cosmopolitan ports in the world. In the thirties the hotel was known as the Cathay, and was the most sumptuous place in town. This was where people came to glitter at each other. In one of its suites Noel Coward wrote a draft of Private Lives.

Now the paint is peeling, the lobby is dark and draughty, the posters advertising the 'World Famous Peace Hotel Jazz Band' are written in felt tip and sellotaped on to the panelling, but the ghost of the Cathay's former grandeur still lurks high up among the dusty chandeliers, wondering what's been going on for the last forty years.

The bar was a dark, low-ceilinged room just off the lobby. The World Famous Peace Hotel Jazz Band was out for the evening, but a deputy band was playing in their place. The promise is that this is one of the only places in the world where you will still hear the music of the thirties played as it was played, where it was played. Maybe the World Famous combo keeps the promise but their deputies did not. They banged their way through endless repet.i.tions of 'Edelweiss', 'Greensleeves' and 'Auld Lang Syne' interspersed with the occasional bash at 'New York, New York', 'Chicago' and 'I Left My Heart in San Francisco'.

There were two odd things about this. First of all, this wasn't just for the tourists. This was the music we heard everywhere in China, particularly the first three t.i.tles: on the radio, in shops, in taxis, in trains, on the great ferries that steam continually up and down the Yangtze. Usually it was played by Richard Clayderman. For anyone who has ever wondered who in the world buys Richard Clayderman records, it's the Chinese, and there are a billion of them.

The other odd thing was that the music was clearly completely foreign to them. Well, obviously it was foreign music, so that's not altogether surprising, but it was as if they were playing from a phrase book. Every extempore flourish the trumpeter added, every extra fill on the drums, were all cras.h.i.+ngly and horribly wrong. I suppose that Indians must have felt this hearing George Harrison playing the sitar in the sixties, but then, after a brief indulgence, so did everybody else; clumsy replications of Indian music never supplanted the popular music of the West. When the Chinese listened avidly to mangled renditions of 'Auld Lang Syne' and 'Little Brown Jug', they were obviously hearing something very different to what I was hearing and I couldn't work out what it was.

Travelling in China I began to find that it was the sounds I was hearing that confused and disoriented me most.

It occurred to me, as we tried to find a table in one of the more m.u.f.fled corners of the bar, that the dolphins we had come to look for must be suffering from the same kind of problem. Their senses must be completely overwhelmed and confused.

To begin with, the baiji dolphin is half-blind.

The reason for this is that there is nothing to see in the Yangtze. The water is so muddy now that visibility is not much more than a few centimetres, and as a result the baiji's eyes have atrophied through disuse.

Curiously enough, it is often possible to tell something about the changes that have occurred during an animal's evolution from the way in which its foetus develops. It's a sort of action replay.

The baiji's eyes, feeble as they are, are placed quite high up on its head to make the most of the only light that ever reaches them, i.e. from directly above.

Most other dolphins have their eyes much lower down the sides of their heads, from where they can see all around them, and below; and this is exactly where you will find the eyes on a young baiji foetus.

As the foetus grows, however, its eyes gradually migrate up the sides of its head, and the muscles which would normally pull the eyeball downwards don't even bother to develop. You can't see anything downwards.

It may be, therefore, that the entire history of soil erosion into the Yangtze can be charted in the movement of a single baiji foetus's eyes. (It may also be that the baiji arrived into an already turbid Yangtze from somewhere else and just adapted to its new environment; we don't know. Either way, the Yangtze has become very much more muddy during the history of the baiji species, mostly because of human activity.) As a consequence, the baiji had to use a different sense to find its way around. It relies on sound. It has incredibly acute hearing, and 'sees' by echolocation, emitting sequences of tiny clicks and listening for the echoes. It also communicates with other baijis by making whistling noises.

Since man invented the engine, the baiji's river world must have become a complete nightmare.

China has a pretty poor road system. It has railways, but they don't go everywhere, so the Yangtze (which in China is called the Chang Jiang, or 'Long River') is the country's main highway. It's crammed .with boats the whole time, and always has been - but they used to be sailing boats. Now the river is constantly churned up by the engines of rusty old tramp steamers, container s.h.i.+ps, giant ferries, pa.s.senger liners and barges.

I said to Mark, 'It must be continuous bedlam under the water.'

'What?'

'I said, it's hard enough for us to talk in here with this band going on, but it must be continuous bedlam under the water.'

'Is that what you've been sitting here thinking all this time?

'Yes.'

'I thought you'd been quiet.'

'I was trying to imagine what it would be like to be a blind man trying to live in a discotheque. Or several competing discotheques.'

'Well, it's worse than that, isn't it? Mark said. 'Dolphins rely on sound to see with.'

'All right, so it would be like a deaf man living in a discotheque.'

'Why?'

'All the stroboscopic lights and flares and mirrors and lasers and things. Constantly confusing information. After a day or two you'd become completely bewildered and disoriented and start to fall over the furniture.'

'Well, that's exactly what's happening, in fact. The dolphins are continually being hit by boats or mangled in their propellers or tangled in fishermen's nets. A dolphin's echolocation is usually good enough for it to find a small ring on the sea bed, so things must be pretty serious if it can't tell that it's about to be brained by a boat.

'Then, of course, there's all the sewage, the chemical and industrial waste and artificial fertiliser that's being washed into the Yangtze, poisoning the water and poisoning the fish.'

'So,' I said, 'what do you do if you are either half-blind, or half-deaf, living in a discotheque with a stroboscopic light show, where the sewers are overflowing, the ceiling and the fans keep cras.h.i.+ng on your head and the food is bad?'

'I think I'd complain to the management.'

'They can't.'

'No. They have to wait for the management to notice.'

A little later I suggested that, as representatives of the management so to speak, perhaps we ought to try to hear what the Yangtze actually sounded like under the surface - to record it in fact. Unfortunately, since we'd only just thought of it, we didn't have an underwater microphone with us.

'Well, there's one thing we can do,' said Chris. 'There's a standard technique in the BBC for waterproofing a microphone in an emergency. What you do is you get the microphone and you stuff it inside a condom. Either of you got any condoms with you?'

'Er, no.'

'Nothing lurking in your sponge bags??

'No.

'Well, we'd better go shopping, then.'

By now I was beginning to think in sound pictures. There are two very distinctive sounds in China, three if you count Richard Clayderman.

The first is spitting. Everybody spits. Wherever you are you continually hear the sound: the long-drawn-out, sucking, hawking noise of mucus being gathered up into the mouth, followed by the hissing launch of the stuff through the air and, if you're lucky, the ping of it hitting a spittoon, of which there are many. Every room has at least one. In one hotel lobby I counted a dozen strategically placed in corners and alcoves. In the streets of Shanghai there is a plastic spittoon sunk into the pavement on every street corner, filled with cigarette ends, litter and thick, curling, bubbly mucus. You will also see many signs saying 'No spitting', but since these are in English rather than Chinese, I suspect that they are of cosmetic value only. I was told that spitting in the street was actually an offence now, with a fine attached to it. If it were ever enforced I think the entire economy of China would tilt on its axis.

The other sound is the Chinese bicycle bell. There is only one type of bell, and it's made by the Seagull company, which also makes Chinese cameras. The cameras, I think, are not the world's best, but the bicycle bells may well be, as they are built for heavy use. They are big, solid, spinning chrome drums and have a great resounding chime to them which you hear ringing out through the streets continuously.

Everyone in China rides bicycles. Private cars are virtually unheard of, so the traffic in Shanghai consists of trolley-buses, taxis, vans, trucks and tidal waves of bicycles.

The first time you stand at a major intersection and watch, you are convinced that you are about to witness major carnage. Crowds of bicycles are converging on the intersection from all directions. Trucks and trolley-buses are already barrelling across it. Everyone is ringing a bell or sounding a horn and no one is showing any signs of stopping. At the moment of inevitable impact you close your eyes and wait for the horrendous crunch of mangled metal but, oddly, it never comes.

It seems impossible. You open your eyes. Several dozen bicycles and trucks have all pa.s.sed straight through each other as if they were merely beams of light.

Next time you keep your eyes open and try to see how the trick's done; but however closely you watch you can't untangle the dancing, weaving patterns the bikes make as they seem to pa.s.s insubstantially through each other, all ringing their bells.