Shifu, You'll Do Anything For A Laugh Part 1

s.h.i.+fu, You'll Do Anything for a Laugh.

Mo Yan.

Preface.

Hunger and Loneliness: My Muses.

EVERY PERSON HAS HIS OWN REASONS FOR BECOMING A WRITER, AND I am no exception. But why I became the sort of writer I am and not another Hemingway or Faulkner is, I believe, linked to my childhood experiences. They have been a boon to my writing career and are what will make it possible for me to keep at it down the road.

Looking back some forty years, to the early 1960s, I revisit one of modern China's most bizarre periods, an era of unprecedented fanaticism. On one hand, those years saw the country in the grips of economic stagnation and individual deprivation. The people struggled to keep death from their door, with little to eat and rags for clothes; on the other hand, it was a time of intense political pa.s.sions, when starving citizens tightened their belts and followed the Party in its Communist experiment. We may have been famished at the time, but we considered ourselves to be the luckiest people in the world. Two-thirds of the world's people, we believed, were living in dire misery, and it was our sacred duty to rescue them from the sea of suffering in which they were drowning. It wasn't until the 1980s, when China opened its door to the outside world, that we finally began to face reality, as if waking from a dream.

As a child, I knew nothing about photography, and even if I had I couldn't have afforded to have my picture taken. So I am able to piece together an image of my childhood based solely upon historical photographs and my own recollections, although I daresay that the image I conjure up is real to me. Back then, five- or six-year-olds like myself went virtually naked all through the spring, the summer, and the fall. We threw something over our backs only during the bitterly cold winters. Such tattered clothes are beyond the imagination of today's children in China. My grandmother once told me that while there is no suffering a person cannot endure, there is plenty of good fortune one can never hope to enjoy. I believe that. I also believe in Darwin's theory of the survival of the fittest. When someone is thrown into the most perilous circ.u.mstances, he may well display surprising vitality. Those who cannot adapt die off, while those who survive are of the best stock. So I guess I can say I come from superior stock. During those times, we had an amazing ability to withstand cold. With our bottoms exposed, we didn't feel that the cold was unbearable, even though feathered birds cried in the freezing weather. If you had come to our village back then, you'd have seen plenty of children with their bottoms exposed or wearing only a bit of thin clothing as they chased each other in the snow, having a wonderful, rowdy time. I have nothing but admiration for myself as a youngster; I was a force to be reckoned with then, a much finer specimen than I am now. As kids, we had little meat on our bones; we were sticklike figures with big rounded bellies, the skin stretched so taut it was nearly transparent - you could just about see our intestines twist and coil on the other side. Our necks were so long and thin it was a miracle they could support our heavy heads.

And what ran through those heads was simplicity itself: all we ever thought about was food and how to get it. We were like a pack of starving dogs, haunting the streets and lanes sniffing the air for something to put inside our bellies. Plenty of things no one would even consider putting into their mouths these days were treats for us then. We ate the leaves off trees, and once they were gone we turned our attention to the bark. After that, we gnawed on the trunks themselves. No trees in the world ever suffered as much as those in our village. But instead of wearing our teeth down, our peculiar diet made them as sharp and strong as knives. Nothing could stand up to them. One of my childhood friends became an electrician after he grew up. There were no pliers or knives in his tool kit; all he needed was his teeth to bite through wire as thick as a pencil - those were the tools of his trade. I had strong teeth too, but not as strong as my electrician friend's. Otherwise, I might have become a first-rate electrician rather than a writer.

In the spring of 1961, a load of glistening coal was delivered to our elementary school. We were so out of touch we didn't know what the stuff was. But one of the brighter kids picked up a piece, bit off a chunk, and started crunching away. The look of near rapture on his face meant it must have been delicious, so we rushed over, grabbed pieces of our own, and started crunching away. The more I ate, the better the stuff tasted, until it seemed absolutely delicious. Then some of the village adults who were looking on came up to see what we were eating with such gusto, and joined in. When the princ.i.p.al came out to put a stop to this feast, that only led to pus.h.i.+ng and shoving. Just what that coal felt like down in my belly is something I can no longer recall, but I'll never forget how it tasted. Don't for a minute think there was no pleasure in our lives back then. We had fun doing lots of things. Topping the list of fun things to do was gleefully eating something we'd never considered food before.

The famine lasted for a couple of years or more, until the mid-1960s, when life improved. We still didn't have enough to eat, but every person was allotted about 200 pounds of grain per year; that combined with the wild greens we foraged in the fields was enough to get by on, and fewer people starved to death.

Obviously, the experience of going hungry cannot, by itself, make a writer out of someone, but once I became a writer, I had a deeper understanding of life than most because of it. Prolonged hunger made me realize how very important food is to people. Glory, causes, careers, and love mean nothing on an empty stomach. Because of food, I lost my self-respect; because of food, I suffered the humiliation of a lowly cur; and because of food I took up creative writing, with a vengeance.

After becoming a writer, I began to think back to the loneliness of my childhood, much the same as I thought back to my experience of going hungry every time I sat at a table piled high with good food. The place where I was born, Northeast Gaomi Towns.h.i.+p, is situated at a spot where three counties converge. It's a vast, spa.r.s.ely populated area that lacks adequate transportation. As far as the eye can see, my village is surrounded by weed-covered, low-lying land topped by wild-flowers. I had been taken out of school at a very young age, so while other kids were sitting in cla.s.srooms, I was taking cattle out into the field to graze. Eventually, I got to know more about cattle than I did about people. I knew what made them happy, angry, sad, and content; I knew what their expressions meant; and I knew what they were thinking. On that vast stretch of uncultivated land it was just me and a few head of cattle. They grazed calmly, their eyes appearing as blue as the ocean. When I tried to talk to them, they ignored me, caring only about the tasty gra.s.s on the ground. So I'd lie on my back and watch puffy clouds drift slowly across the sky, pretending they were a bunch of big, lazy men. But when I tried to talk to them, they ignored me too. There were lots of birds up in the sky - meadowlarks, common larks, and other familiar types I couldn't name. Their calls moved me deeply, often to the point of tears. I tried talking to them too, but they were much too busy to pay any attention to me. So I lay there in the gra.s.s feeling sad, and began to let my imagination run wild. In my dreamy state of mind, all sorts of wonderful thoughts poured into my head, helping me gain an understanding of love and decency.

Pretty soon I learned how to talk to myself. I developed uncommon gifts of expression, able to talk on and on not only with eloquence but even in rhyme. My mother once overheard me talking to a tree. Alarmed, she said to my father, "Father of our son, do you think there's something wrong with him?" Later, when I was old enough, I entered adult society as a member of a labor brigade, and the habit of talking to myself that had begun when I was tending cattle caused nothing but trouble in my family. "Son," my mother pleaded with me, "don't you ever stop talking?" Moved to tears by the look on her face, I promised I'd stop. But the minute there were people around, out came all the words I'd stored up inside, like rats fleeing a nest. That would be followed by powerful feelings of remorse and an overwhelming sense that I had once again failed to take my mother's instructions to heart. That's why I chose Mo Yan - Don't Speak - as a pen name. But as my exasperated mother so often said, "A dog can't keep from eating excrement, and a wolf can't stop from eating meat." I simply couldn't stop talking. It's a habit that has caused me to offend many of my fellow writers, because what invariably comes out of my mouth is the unvarnished truth. Now that I'm well into my middle years, the words have begun to taper off, which must come as a comfort to my mother's spirit as it looks down on me.

My dream of becoming a writer was formed early on, back when one of my neighbors, a college student majoring in Chinese, was labeled a rightist, kicked out of school, and sent back to the countryside to work in the fields. We labored side by side. At first he couldn't forget he'd been a college student, as his elegant way of speaking and refined manners made clear. But the rigors of country living and the backbreaking labor quickly stripped away every vestige of his intellectual background, and he became a common peasant, just like me. During breaks out in the field, when our grumbling stomachs sent a sour taste up into our mouths, our greatest entertainment was talking among ourselves about food. We, along with some of the other field hands, would trade descriptions of delicious foods we had eaten or heard about. It was truly food for the soul. The speakers would invariably have us all drooling.

One old-timer talked about all the famous dishes he had seen as a waiter in a Qingdao restaurant: braised beef tourne-dos, pan-fried chicken, things like that. Wide-eyed, we stared at his mouth until we could smell the aroma of all that delicious food and see it materialize, as if it had dropped from the sky. The "rightist" student said he knew someone who had written a book that brought him thousands, maybe tens of thousands, in royalties. Each and every day the fellow ate jiaozi, those tasty little pork dumplings, at all three meals, the oil oozing from inside with each bite. When we said we didn't believe anyone could be so rich as to eat jiaozi three times a day, the former student said scornfully, "He's a writer, for goodness sake! You understand? A writer!" That's all I needed to know: become a writer and you can eat meaty jiaozi three times a day. Life doesn't get any better than that. Why, not even the G.o.ds could do better. That's when I made up my mind to become a writer someday.

When I started out, n.o.ble ambitions were the furthest thing from my mind. Unlike so many of my peers, who saw themselves as "engineers of the soul," I didn't give a d.a.m.n about improving society through fiction. As I've said, my motivation was quite primitive: I had a longing to eat good food. To be sure, after gaining a bit of a reputation, I learned the art of high-sounding utterances, but they were so hollow, even I didn't believe them. Owing to my lower-cla.s.s background, the stories I wrote were filled with the commonest of views, and anyone looking for traces of elegance or graceful beauty in them would likely come away disappointed. There's nothing I can do about that. A writer writes what he knows, in ways that are natural to him. I grew up hungry and lonely, a witness to human suffering and injustice; my mind is filled with sympathy for humanity in general and outrage over a society that bristles with inequality. That's what my stories are all about, that's all they could be about. Not surprisingly, as my stomach grew accustomed to being full when I wanted it to be, my literary output underwent a change. I have gradually come to realize that a life of eating jiaozi three times a day can still be accompanied by pain and suffering, and that this spiritual suffering is no less painful than physical hunger. The act of giving voice to this spiritual suffering is, in my view, the sacred duty of a writer. But for me, writing about the suffering of the soul in no way supplants my concern for the physical agony brought about by hunger. I can't say whether this is my strength as a writer, or my weakness, but I know it is what fate has decreed for me.

My earliest writing is probably better left unmentioned. But mention it I must, since it is part and parcel of my life story and of China's recent literary history. I still recall my very first story. In it I wrote about the digging of a ca.n.a.l. A junior militia officer begins the morning by standing before a portrait of our Chairman Mao and offering up a simple prayer: May You Live Ten Thousand Years, May You Live Ten Thousand Years, May You Live Ten Thousand Years! He then leaves to attend a meeting in the village, where it is decided that he will take his production team to a spot beyond the village and dig a gigantic ca.n.a.l. To show her support for this enterprise, his fiancee decides to postpone their marriage for three years. When a local landlord hears of the planned excavation, he sneaks into the production team's livestock area in the dead of night, picks up a shovel, and smashes the leg of a black mule scheduled to pull a cart at the ca.n.a.l work site. Cla.s.s struggle. Reacting as if the enemy were at hand, the people mobilize themselves for a violent struggle against the cla.s.s enemy. Eventually, the ca.n.a.l is dug and the landlord seized. No one these days would deign to read such a story, but that was just about all anyone wrote back then. It was the only way you could get published. So that's what I wrote. And still I wasn't able to see it into print - not revolutionary enough.

As the 1970s wound down, our Chairman Mao died, and the situation in China began to change, including its literary output. But the changes were both feeble and slow. Forbidden topics ran the gamut from love stories to tales of Party blunders; but the yearning for freedom was not to be denied. Writers racked their brains to find ways, however roundabout, to break the taboos. This period saw the rise of so-called scar literature, personal accounts of the horrors of the Cultural Revolution. My own career didn't really start until the early 1980s, when Chinese literature had already undergone significant changes. Few forbidden topics remained, and many Western writers were introduced into the country, creating a frenzy of Chinese imitations.

As a child who grew up in a gra.s.sy field, enjoying little formal education, I know virtually nothing about literary theories and have had to rely solely upon my own experiences and intuitive understanding of the world to write. Literary fads that all but monopolized literary circles, including recasting the works of foreign writers in Chinese, were not for me. I knew I had to write what was natural to me, something clearly different from what other writers, Western and Chinese, were writing. This does not mean that Western writing exerted no influence on me. Quite the contrary: I have been profoundly influenced by some Western writers, and am happy to openly acknowledge that influence. But what sets me apart from other Chinese writers is that I neither copy the narrative techniques of foreign writers nor imitate their story lines; what I am happy to do is closely explore what is embedded in their work in order to understand their observations of life and comprehend how they view the world we live in. In my mind, by reading the works of others, a writer is actually engaging in a dialogue, maybe even a romance in which, if there is a meeting of the minds, a lifelong friends.h.i.+p is born; if not, an amicable parting is fine, too.

Up to this point, three of my novels have been published in America: Red Sorghum, The Garlic Ballads, and The Republic of Wine. Red Sorghum exposes the reader to my understanding of history and of love. In The Garlic Ballads I reveal a critical view of politics and my sympathy for China's peasants. The Republic of Wine expresses my sorrow over the decline of humanity and my loathing of a corrupt bureaucracy. On the surface, each of these novels appears to be radically different from the others, but at their core they are very much alike; they all express a yearning for the good life by a lonely child afraid of going hungry.

The same is true of my shorter works. In China, the short story has little standing. In the eyes of writers and critics alike, only novelists count as worthy creators of fiction, while writers of shorter fiction are pract.i.tioners of a petty craft. Forgive me when I say that this is wrong-headed. The stature of a writer can only be determined by the thought revealed in a work, not by its length. A writer's place in a nation's literary history cannot be judged by whether or not he is capable of writing a book as heavy as a brick. That must rest on his contributions to the development and enrichment of that nation's language.

I venture to say, immodest though it may seem, that my novels have created a unique style of writing in contemporary Chinese literature. Yet I take even greater pride in what I've been able to accomplish in the realm of short stories. Over the past fifteen years or so, I have published some eighty stories, eight of which are included in this collection, selected by my translator, with my wholehearted approval. They represent both the range of themes and variety of styles of my short story output over the years. Once you have finished this volume, you will have a good picture of what I've tried to do in my shorter fiction.

"s.h.i.+fu, You'll Do Anything for a Laugh" is my latest story (it has recently been filmed by China's preeminent director, Zhang Yimou, under the t.i.tle Happy Days). While at first it may appear to deal primarily with the "downsizing" problem facing today's Chinese workers, in line with the Chinese saying, "Alcoholism is not really about alcohol," there is more to the story than meets the eye. What I also want to show is how young couples in love are forced to sneak around to share their love. "Abandoned Child," written in the mid-1980s, concerns one of contemporary Chinese society's th.o.r.n.i.e.s.t problems - enforced family planning in a pervasive climate of valuing boys over girls. Decades of governmental efforts in implementing a one-child policy have produced impressive results in China's urban centers, where the long-held concept of "boys are better than girls" has undergone a change. But in the countryside, families with more than one child are still the norm, and the general disdain for baby girls is as prevalent as ever. Unchecked population growth remains China's most serious predicament, and a host of social problems emanating from the one-child policy are already beginning to appear.

"Man and Beast," also written in the 1980s, continues the family saga of Red Sorghum and describes how, under extraordinary circ.u.mstances, the last shreds of humanity can give rise to a blaze of glory. Toward the end of the 1980s I wrote "Love Story," a tale of puppy love. Set in the ten years of the disastrous Cultural Revolution, when hundreds of thousands of young men and women were sent from the cities up to the mountains and down to the countryside, the story tells of a young country boy who falls in love with a city girl much older than he, an uncommon turn of events. But it is precisely this feature that allows me to explore the concepts of sadness and beauty.

"The Cure," "Iron Child," and "Soaring" are all part of a series of short pieces I wrote during the early 1990s. "The Cure" is a tale of cannibalism and cruelty, and "Iron Child" and "Soaring" can be read as fables. Finally, there is "Shen Garden," one of my last stories of the twentieth century. What I want to show here is how a middle-aged man turns his back on the love of an earlier time and eventually compromises with reality. In today's society, many Chinese men who have achieved success, even fame, live hypocritical lives. Deep down, their existence is little more than a pile of ruins.

As I have said, I am a writer with no theoretical training; but I possess a fertile imagination, thanks in part to China's popular traditions, which I am intent on continuing. I may be ignorant of high-flown literary concepts, but I do know how to spin a bewitching tale, something I learned as a child from my grandfather, my grandmother, and a variety of village storytellers. Critics who base their views of literature on scientific theories of one sort or another don't think much of me. But let's see them write a story that captures a reader's imagination.

M.Y.

Beijing, 2001.

Translator's Note.

The term s.h.i.+fu is a generic and generally respectful term for skilled workers and the like; widely used, it has, in a sense, replaced other terms, such as "comrade."It is common in China to use kins.h.i.+p or professional forms of address in preference to given names.

The Shen Garden in the story of that t.i.tle, which was located in the southern city of Shaoxing over a millennium ago, is famous as a metaphor for encounters between once married couples. It is where the Southern Song poet Lu You is said to have met Tang Wan, whom his parents had forced him to divorce.

"The Cure" (literally, "effective medicine") is an updated version of the famous story "Medicine" by Lu Xun (1881- 1936), twentieth-century China's most renowned literary figure. In the earlier story, a child is treated for consumption with the blood of a beheaded revolutionary, but dies nonetheless; it too is a caustic satire on contemporary society and politics.

The translator thanks the editor of the Hong Kong magazine Renditions for her editorial suggestions on the story "Soaring" and for permission to reprint. "The Cure" appeared in slightly modified form in my anthology Chairman Mao Would Not Be Amused (Grove Press, 1995). As always, my thanks to Li-chun for checking the ma.n.u.script and to Mo Yan for his generosity and cooperation. Both have made the translator's job especially rewarding and enjoyable.

s.h.i.+fu, You'll Do Anything for a Laugh.

1.

DING s.h.i.+KOU, OR TEN MOUTH DING, HAD WORKED AT THE Munic.i.p.al Farm Equipment Factory for forty-three years and was a month away from mandatory retirement age when he was abruptly laid off. Now if you put s.h.i.+ (+), the word for ten, inside a kou , the word for mouth, you get the word tian (), for field. The family name Ding can mean a strapping young man. As long as a strapping young man has a field to tend, he'll never have to worry about having food on the table and clothes on his back. That was his farmer father's cherished wish for his son when he named him. But Ding s.h.i.+kou was not destined to own land; instead he found work in a factory, which led to a far better life than he'd have had as a farmer. He was enormously grateful to the society that had brought him so much happiness, and was determined to pay it back through hard work. Decades of exhausting labor had bent him over, and even though he wasn't yet sixty, he had the look of a man in his seventies.

One morning, like all other workday mornings, he rode to the factory on his 1960s black and obstinate, clunky Grand Defense bicycle, which presented quite a sight among all the sleek lightweight bikes on the street. Young cyclists, male and female, first gave him curious stares, then steered clear of him, the way a fancy sedan gets out of the way of a lumbering tank. As soon as he pedaled through the factory gate, he saw a group of people cl.u.s.tered around the bulletin board. The voices of a couple of women rose above the general buzz, like hens about to lay eggs. His heart fluttered as he realized that what the workers feared most had finally happened.

He parked his bike and took a look around, exchanging a meaningful glance with old Qin Tou, the gateman. Then, with a heavy sigh, he slowly walked over to join the crowd. His heart was heavy, but not too heavy. After word of imminent layoffs at the factory had gotten out, he went to see the factory manager, a refined middle-aged man, who graciously invited him to sit on the light-green lambskin sofa. Then he asked his secretary to bring them tea. As Ding held the gla.s.s of scalding liquid and smelled its jasmine fragrance, he was engulfed in grat.i.tude, and suddenly found himself tongue-tied. After smoothing out his high-quality suit and sitting up straight on the opposite sofa, the factory manager said with a little laugh: "Ding s.h.i.+fu, I know why you're here. After several years of financial setbacks here at the factory, layoffs have become unavoidable. But you're a veteran worker, a provincial model worker, a s.h.i.+fu - master worker - and even if we're down to the last man, that man will be you."

People were crowding up to the bulletin board, and from his vantage point behind them, Ding s.h.i.+kou caught a glimpse of three large sheets of paper filled with writing. Over the past few decades, his name had appeared on that bulletin board several times a year, and always on red paper; those were the times he had been honored as an advanced or model worker. He tried to elbow his way up front, but was jostled so badly by the youngsters that he wound up moving backward. Amid all the curses and grumbling, a woman burst out crying. He knew at once it was w.a.n.g Dalan, the warehouse storekeeper. She'd started out as a punch-press operator, but had mangled one of her hands in an accident, and when gangrene set in they'd had to amputate it to save her life. Since it was a job-related injury, the factory kept her on as a storekeeper.

Just then a white Jeep Cherokee drove in the gate honking its horn, seizing the attention of the people fighting to read the layoff list; they all turned to stare at the Jeep, which looked as if it had just come back from a long, muddy trip. The clamor died down as dazed expressions showed on the people's faces. The Jeep looked a little dazed too, its horn suddenly silent, the engine sputtering, the tailpipe spitting out puffs of exhaust. It was like a wild beast that sensed danger. Its gray eyes stared as they fearfully sized up the situation. At roughly the same time it decided to back out through the gate a chorus of shouts erupted from the workers, whose legs got the message, and in no time the Jeep was surrounded. It tried to break free, lurching forward and backward a time or two, but it was too late. A tall, muscular young man with a purple face - Ding s.h.i.+kou saw that it was his apprentice, Lu Xiaohu - bent down, opened the car door, and jerked the a.s.sistant manager in charge of supply and marketing right out of his seat. Curses rained down on the man's head, translucent gobs of spittle splattered on his face, which by then was a ghostly white. His greasy hair fell down over his eyes as he clasped his hands in front of his chest, bent low at the waist, and bowed, first to Lu Xiaohu, then to the rest of the crowd. His lips were moving, but whatever he was trying to say was drowned out by the threatening noises around him. Ding couldn't make out a single word, but there was no mistaking the wretched look on the man's face, like a thief who'd been caught in the act. The next thing he saw was Lu Xiaohu reach out to grab the a.s.sistant manager's colorful necktie, which looked like a newly-weds' quilt, and jerk it straight down; the a.s.sistant manager disappeared from view, as if he'd fallen down a well.

A pair of police cars stormed up to the compound, sirens blaring. This threw such a scare into Ding s.h.i.+kou, whose heart was racing, that all he could think of was getting the h.e.l.l out of there; too bad he couldn't get his legs to follow orders. Finding it impossible to drive through the gate, the police parked their cars outside the compound and poured out of the cars; there were seven of them in all - four fat ones and three skinny ones. Armed with batons, handcuffs, walkie-talkies, pistols, bullets, tear gas, and a battery-powered bullhorn, the seven cops took a few unhurried steps, then stopped just outside the gate to form a cordon, as if to seal off the factory gate as an escape route. A closer look showed that they probably weren't going to seal off the factory, after all. One of the cops, who was getting along in years, raised the bullhorn to his mouth and ordered the workers to disperse, which they did. Like a wolf exposed in the field when sorghum stalks are cut down, the a.s.sistant manager for supply and marketing popped into view. He was sprawled on the ground, facedown, protecting his head with his hands, his rear end sticking up in the air, looking like a frightened ostrich. The cop handed his bullhorn to the man beside him and walked up to the cowering a.s.sistant manager; he reached down and took hold of the man's collar with his thumb and two fingers, as if to lift him to his feet, but the a.s.sistant manager looked as though he was trying to dig a hole for himself. His suit coat separated itself from him, forming a little tent. Now Ding could hear what he was shouting: "Don't blame me, good people. I've just returned from Hainan Island, and I don't know a thing. You can't blame me for this... ."

Without letting go of the man's coat, the policeman nudged his leg with the tip of his shoe. "Get up," he said, "right now!"

The a.s.sistant manager got to his feet, and when he saw that the person he'd gotten up for was a policeman, his phlegm-splattered face suddenly became the color of a dirt roadway. His legs buckled, and the only reason he didn't crumple to the ground again was that the policeman was still holding him by the collar.

Before long, the factory manager drove up in his red VW Santana, followed by the vice mayor for industry in a black Audi. The factory manager was sweating, his eyes tear-filled; after bowing deeply three times to the workers, he confessed to them that he was powerless in an unfeeling market that was taking a factory with a glorious history down the road to financial disaster, and that if they kept losing money, they'd have to close up shop. He wrapped up his tale of woe by calling attention to old Ding. After recapping old Ding's glorious career, he told them he had no choice but to lay him off, even though old Ding was scheduled to retire in a month.

Like a man who has been awakened from a dream, old Ding turned to look at the red sheets of paper tacked up on the bulletin board. There, right at the top of the lay-off list, in alphabetical order, he spotted his own name. He circled his fellow workers, with the look of a child searching for his mother; but all he saw was a sea of identical dull gray faces. Suddenly light-headed, he squatted down on his haunches; when that proved too tiring, he sat down on the ground. He hadn't been sitting there long before he burst into tears. His loud wails were far more infectious than those of the females in the crowd, and as his fellow workers' faces darkened, they too began to cry. Through tear-clouded eyes he watched Vice Mayor Ma, that agreeable, friendly man, walk toward him in the company of the factory manager. Fl.u.s.tered by the sight, he stopped crying, propped himself up by his hands, and got shakily to his feet. The vice mayor reached out and shook his grimy hand. Old Ding marveled over the softness of the man's hand, like dough, not a bone anywhere. When he thrust out his other hand, the vice mayor reached out with his free hand to take it. Four hands were tightly clasped as he heard the vice mayor say: "Comrade Ding, I thank you on behalf of the munic.i.p.al government and Party Committee."

Ding's nose began to ache and the tears gushed again.

"Come see me anytime," the vice mayor said.

2.

Originally, the Munic.i.p.al Farm Equipment Factory had been a capitalist operation called Prosperity Metalworks, which produced mainly kitchen cleavers and scythes. After it became a semipublic company, its name was changed to the Red Star Met-alworks. It produced the Red Star two-wheeled, double-shared plow, which had been so popular in the 1950s; then in the 1960s it specialized in the Red Star cotton seeder. In the 1970s its name was changed to the Farm Equipment Manufacturing and Repair Company, producing millet and corn threshers. In the 1980s, it manufactured sprinklers and small reapers. In the 1990s, using new equipment imported from Germany, it produced pull-tab beverage cans; its name was changed once again, this time to Silesia Farm Machinery Group, but people habitually referred to it as Farm Equipment Manufacturing and Repair.

After shaking hands so warmly with Vice Mayor Ma, Ding was caught up in a mood of empty joy, the sort of feeling he'd had as a young man after climbing off his wife. His restless, seething fellow workers began to calm down in the presence of the police, the vice mayor, and the factory manager. Without intending to, old Ding set a fine example for all the workers. He heard the factory manager say to the a.s.sembled workers: "Who among you can boast of old Ding's seniority? Or match his contributions? Just look at how quietly he's taking the news. So why are the rest of you kicking up such a row?" Then it was the vice mayor's turn: "Comrades, you can learn a lesson from Ding s.h.i.+fu by looking at the big picture and not making things hard on the government. We will do everything in our power to create new job opportunities, so you won't be out of work for long. But between now and then, you'll have to come up with something on your own and not just rely on the government." With mounting excitement, he added, "Comrades, if members of the working cla.s.s can reverse the course of events with their own two hands, it shouldn't be hard to find a way to make a living, should it?"

The vice mayor drove off in his black Audi, followed by the factory manager in his red Santana. Even the now disheveled a.s.sistant factory manager drove off in his white Cherokee. The crowd of workers grumbled a while longer before breaking up and heading home. Lu Xiaohu walked up and took a leak on the bulletin board, then turned and said to old Ding, who was propped up against a tree: "Let's go, s.h.i.+fu. You'll go hungry hanging around here. The old man's dead and the old lady's remarried, so it's every man for himself."

Old Ding nodded to Qin Tou, the gateman, and walked his Grand Defense bicycle through the factory gate. Qin Tou called out to him, "Wait up, Ding s.h.i.+fu!"

He stopped just beyond the gate and watched the former high school teacher come running up to him. Everyone knew that old Qin was well connected, which was how he was able to take on the light duties of a gateman and newspaper delivery-man after retiring as a schoolteacher. When he caught up to old Ding, he reached into his pocket and took out a business card.

"Ding s.h.i.+fu," he said somberly, "my second son-in-law is a reporter for the provincial newspaper. This is his card. Go ask him to plead your case in the court of public opinion."

Old Ding hesitated a moment before taking the card. Then he swung his unwilling leg over his Grand Defense and started off. But he hadn't ridden more than a couple of feet before his legs began to ache badly; he lurched sideways and fell off, the heavy bicycle cras.h.i.+ng down and pinning him to the ground. Old Qin ran up, lifted the bicycle off, and helped him to his feet.

"Are you okay, Ding s.h.i.+fu?" old Qin asked with genuine concern.

Once again he thanked old Qin and headed home slowly, walking his bike this time. Warm April breezes brus.h.i.+ng against his face infused feelings of emptiness, sort of saccharine sweet. He felt dizzy, borderline drunk. Cl.u.s.ters of snowy poplar blossoms on the road by the curbs waved back and forth. A flock of homing pigeons circled in the sky above him, their trainers' whistles falling on his ears. He was a long way from crus.h.i.+ng torment, yet he couldn't stop the river of tears running down his cheeks. As he pa.s.sed a neighborhood park near his house, a little boy chasing a ball ran smack into him, sending shooting pains up his leg that forced him to sit down beside the road. The little boy looked up at him.

"Gramps," he said, "how come you're crying?"

He wiped his eyes with his sleeve and said, "You're a nice little boy. I'm not crying. Got some sand in my eyes. ..."

3.

His leg ached terribly when he got home, so he asked his wife to go out and buy a couple of medicinal patches. But these actually made the pain worse, and now he had no choice but to go see a doctor. Since they were childless, his wife asked Lu Xiaohu to take him to the hospital on his three-wheel cart. An X ray showed he had a fracture.

Two months later, he hobbled out of the hospital with the help of a cane. The two-month hospital stay and all the medication had nearly wiped out the old couple's savings. Armed with his cane and a pipe dream, he went to the factory with a fistful of receipts and a head full of illusions. But the gate was closed and locked and the compound was still as death. For the first time, he felt truly wronged. Banging his cane on the metal gate, he shouted at the top of his lungs. The gate emitted a hollow sound, like the late-night barks of a dog. Finally, old Qin stuck his head out of the gatehouse and asked through the gate, "Is that you, Ding s.h.i.+fu?"

"Where's the factory manager? I need to see him."

Old Qin shook his head and smiled wryly, not saying a word.

Lu Xiaohu, who had come along with him, had an idea: "Here's what I think, s.h.i.+fu. Go over and sit in front of the government offices. Either that or set yourself on fire."

"What did you say?"

"I'm not saying you should set yourself on fire," Lu Xiaohu said with a smile. "Just give them a scare. They care about face more than anything."

"What kind of idea is that?" Ding said. "Are you asking me to go put on an act?"

"What else can you do? s.h.i.+fu, a man your age can't keep up with the rest of us. We've got our youth and our strength, so we can still make a living. But the government's all you've got left."

Ding neither sat in nor burned himself up, but he did hobble up to the government office gate, where he was stopped by a gateman in a blue tunic.

"I'm here to see Vice Mayor Ma," he said, "Vice Mayor Ma..."

The gateman gave him a cold, hard look, without saying a word. But the minute he tried to walk through the gate, the gateman grabbed him and jerked him back. "I said I'm here to see Vice Mayor Ma," he shouted as he struggled to break free. "He told me to come see him."

His patience quickly exhausted, the gateman shoved him backward; Ding stumbled a few steps before plopping down on the ground. He could have gotten back up, but he just sat there, feeling miserable and wanting to cry. So he did. At first it was just some silent sobs, but before long, he was really bawling. Rubberneckers began drifting over to see what was wrong. No one said a word. Embarra.s.sed by the gathering crowd, he knew he should get up and leave, but just walking away would be even more embarra.s.sing. So he shut his eyes and really cut loose. Then he heard Lu Xiaohu's shrill voice rise from the crowd. After relating Ding's glorious past to the crowd, Lu started to complain about his treatment, trying to stir up the crowd. Ding felt something hard hit him on the leg. When he opened his eyes, he saw a one-yuan coin flopping around in the mud next to his leg. Then more coins and bills fell all around him.

A squad of policemen came running up out of nowhere, their rhythmic footsteps sounding like the jackhammers made by the Farm Equipment Manufacturing and Repair Factory. Waving their batons, the police tried to disperse the crowd, but the people wouldn't budge. That led to pus.h.i.+ng and shoving, and as Ding watched legs fly around him and heard the shouts and shrieks, he was overcome with guilt feelings. No matter what, he couldn't keep sitting there.

As he was getting to his feet, three well-dressed men rushed out of the government office building, two refined-looking young men in front, a fair-skinned, fleshy, middle-aged man bringing up the rear. They seemed almost buoyant, as if carried along by the wind. When they reached the gate, the two young men stepped aside to let their middle-aged companion walk ahead. Their movements were practiced and orderly; they were well trained. With a wave of the man's hand and a crisp order, the police backed off; the scene was reminiscent of a father breaking up a fight between his son and a neighbor boy by pulling a long face and telling his son to get the h.e.l.l out of there. That done, he a.s.sumed a gentler tone in asking the crowd to disperse. Lu Xiaohu elbowed his way up front and spoke to the middle-aged man, who bent toward old Ding and said: "Good uncle, Vice Mayor Ma is at a meeting in the provincial capital. My name is Wu, I'm a.s.sistant Director of the General Office. Tell me what it is you want."

Ding choked up as he gazed into the kindly face of a.s.sistant Director Wu.

"Good uncle," a.s.sistant Director Wu said, "come into my office. We can talk there."

With a sign from a.s.sistant Director Wu, the two young men walked up and took old Ding by the arms to walk him into the building, followed by a.s.sistant Director Wu, who was carrying his cane.

As he sat in the air-conditioned office sipping hot water that a.s.sistant Director Wu had personally poured for him, the blockage in his throat went away, and he talked about his suffering and his troubles. Once he'd stated his case, he took out the bundle of expenditure receipts. a.s.sistant Director Wu responded with an explanation of how things stood, then took a hundred-yuan bill out of his pocket and said: "Ding s.h.i.+fu, you hold on to those receipts. When Vice Mayor Ma returns, I'll give him a complete report on your situation. But for now, I'd like you to have this hundred yuan."

Old Ding stood up with the help of his cane and said: "You're a good man, a.s.sistant Director Wu, and I thank you." He bowed to the man. "But I can't accept your money."

4.