Once on a Moonless Night - Couverture rigide

1

Let's call it the mutilated relic, this scrap of sacred text, written in a long-dead language, on a roll of silk which fell victim to a violent fit of anger and was torn in two, not by a pair of hands or a knife or scissors but quite genuinely by the teeth of an enraged emperor.

My chance meeting with Professor Tang Li sometime in mid-July 1978 in a conference room of the Peking Hotel, and what he revealed to me about that treasure, both shine out to this day like a little square of light in the hazy and confused labyrinth that my memories of China have become.

For the first time in my life I was being paid in my capacity as interpreter in a meeting set up by a Hollywood production company to discuss the screenplay of The Last Emperor, which went on to be the major film that everyone knows, garlanded with nine or ten Oscars and generating astronomical box office takings. With permission from the University of Peking, where I was enrolled in the Chinese literature department as a foreign student, and armed with a notebook bought the day before specially for the occasion, I made my way to the Peking Hotel in the middle of a summer afternoon so hot it vaporised everything, turning the city into a cauldron steadily stewing its population. Creaking their last, my bicycle wheels sank into the cloying asphalt, softened by the heat and giving off little spirals of blue smoke. The foyer of the eight-storey hotel (the city's only skyscraper at the time) was overflowing with excited activity, the revolving glass door besieged by a noisy succession of fifty, a hundred, two hundred people, I couldn't tell. Judging by their accents they had come from every corner of China. Parents laden with provisions and children carrying violin cases on their backs and, despite the heat, wearing Western-style blazers with white shirts buttoned up to the neck and ties or bow ties, even though some of them were barely six or seven years old. As soon as each child appeared in the foyer, a riot broke out; the others would swarm over and huddle round, peering anxiously and bombarding the newcomer with impatient questions. It looked just like a crowd of worried refugees jostling at the doors of an embassy. After a while I gathered that they were each waiting for a private audience with Yehudi Menuhin, who came to China once a year on a mission that was as charitable as it was artistic (and in which there was a certain element of personal publicity): to find one or two child prodigies, a new Chinese Mozart. This was a golden opportunity for these young violinists, an unhoped-for chance to set off for the United States and attend a music school directed by the master himself.

The lift wasn't working and the climb to the eighth floor, where my meeting was being held, required considerable effort, especially as there were violinists everywhere in the stairwell too, milling about like ants, sitting or even lying on the stairs, along corridors and in the corners of window ledges. Eventually, almost rigid with exhaustion, I reached the meeting room and found that it was, quite by coincidence, right next to the budding violinists' audition room, which had its door closed.

I was invited to join a group comprising a representative for the Italian-American director, a production assistant, another translator and a dozen eminent Chinese historians. We were seated around a rectangular table covered in a white cloth dotted with tins of Coca-Cola, cups of tea, ashtrays and vases of plastic and paper roses, and in the middle, in pride of place, stood an imposing and majestic professional tape recorder. On the wall hung an enlargement of a black-and-white photograph of Puyi, the last emperor, taken in the Forbidden City on a particularly raw winter day in 1920. He was wearing a Western-style jacket and glasses with rimless round lenses, his features tense, his expression dark.

The introductions and handshakes were accompanied by my halting translation from Chinese into English laced with a strong French accent, while the other translator, who was barely more at ease than I was, translated from English into Chinese; protocol was strictly respected. I noticed a Chinese man of about sixty, not like the others who all wore short-sleeved shirts; he was draped in traditional Chinese dress (a tunic in dark blue satin, buttoned at the side and falling to the floor) which, bearing in mind the season, made him look slightly absurd if also touching. He alone bowed to greet the organisers of the meeting, but with no hint of sycophancy, and occasionally he raised an elegant hand, in a gesture so slow it seemed to date from a different age, to stroke his long white beard, which wafted gently in the draught from the fan hanging from the ceiling. It seemed time had stopped over him, he alone was the incarnation of an entire era, a separate universe. When he spoke his name, in just two characters, I was struck by their simplicity and familiarity, which I mentally associated with . . . I searched and searched as I looked at his face, but in vain. The memory stayed buried in some recess of my mind, paralysed by the nerves of this first professional experience.

When I translated the nickname that his Chinese colleagues gave him--the Living Dictionary of the Forbidden City--the director's representative burst out laughing and promised, rather condescendingly, to hire this "gentleman" for a walk-on part or even a minor role. The other Chinese people present fell about laughing, but not the old man. I heard the hum of mosquitoes dancing in the artificial draft from the fan, flitting across beams of light that striped the room. The sound of a violin through the wall acted as background music to the meeting, a Mendelssohn sonata or concerto, gentle, slightly mawkish.

Two or three hours elapsed before I turned to look at the man in traditional dress again. The meeting, during which he had remained silent, was drawing to a close and the participants were glancing impatiently at their watches when he suddenly began to speak in a cracked, reedy, almost strangled voice.

"If we have a few more minutes I would like, very humbly, as humbly as my background dictates, to plead the case for re-establishing the truth."

In a fraction of a second, as I translated what he had said, I thought I knew what his name reminded me of. It was . . . Just then a large mosquito which was stuck to the forehead of the director's representative caught my eye; I saw it take off, hover, veer back and land very precisely on the end of his nose, probably a less oily site. A verse from a Russian poet whom I had just read in translation came to mind: "the mosquito beatifically raised its ruby belly." That was exactly it. As for knowing who the old Chinese man was, my vague recollections were extinguished almost before they were lit.

"I would beg the director and his writers," went on the old man, "either by your intermediary or through the tape recorder on which my eminent colleagues cannot help focusing, to throw this screenplay--or at least this version--in one of the hotel's bins, where, despite the establishment's reputation, there's quite a substantial population of hidden little scrabbling creatures who, I can only hope, will nibble it page by page, word by word. So very far is it from the true character of Puyi, who, contrary to the untruthful biography on which your screenplay is based, was a pathologically complex person, and I'm not referring here to his homosexuality, for many an emperor before him had similar tendencies. That is not the question, but his sadistic cruelty and frequent fits of delirium--as unpredictable as they were uncontrollable--were due to schizophrenia, in the purely medical sense of the term."

In our collective silence we could make out through the wall the individual notes in the opening melody of the allegro from a Beethoven concerto, then a slap rang out, one the director's representative administered to himself. The mosquito, which I could no longer see, must have avoided the blow and escaped.

"Piece of shit!"

With this vengeful cry, the man leapt from his chair, crushed the insect between his hands and threw its oozing, bleeding corpse into an ashtray, where he burned it with the tip of his cigarette.

"What the hell was that mosquito doing here?" he said. "Did he want to get into movies too?"

He roared with laughter and declared that, on that note, the meeting was closed. Before leaving he turned to me.

"Tell the old man I'm sure he knows the truth, but it's too dark, too negative, it won't work with a Western audience, it has nothing to offer a movie, no one's interested in that, least of all a world-famous director whose ambitions can be summed up in one word: Oscar."

He left. While I translated, struggling to find attenuating words and turns of phrase, the Living Dictionary of the Forbidden City stared at me with eyes bulging from their sockets, his smooth beard and white hair stiff with rage.

It was only after his blue-robed figure had vanished, still reeling, through the doorway and I had closed my scribbled notebook in relief that--without even searching my memory--the thing I could not remember earlier came to me. Tang Li, well, of course! The author of The Secret Biography of Cixi. I stood up, reached the door, launched myself into the corridor, bumped into someone and thundered down the stairs, which were still heaving with future Mozarts so I had to zig-zag my way through them on every floor. As if finally seeing the Bearer of Good News, the highly strung crowd, tortured by their long anxious wait, sprang to life again. The fact that I was obviously in a hurry, my little translator's notebook, my Western appearance . . . all insignificant details, granted, but enough to whip up their emotions and create ripples of excitement that escorted me all the way down to street level, along with waves of questions, supplications and fears concerning the choices made by the king of ...

ACCLAIM FOR DAI SIJIE’S ONCE ON A MOONLESS NIGHT:

“[a] strange and beautiful novel....[Dai] has an outrageously fertile imagination and a fine instinct for absurdist tragicomedy....The euphonious sounds of the prose (gracefully translated from the French by Adriana Hunter), together with the sensory impressions they unleash, reinforce the book’s message that language can offer mesmerizing pleasures.”
 - New York Times Book Review
 
“Dai Sijie...assembles an intricate and affecting legend of love, loss, and intellectual obsession....the sensual descriptive ornamentation...most enchants, as the author’s imagination ranges for Beijing’s teeming market stalls to a remote prison camp and from an austere Burmese monastery to the luxurious decadence of an emperor’s bath.”
- Amanda Heller, The Boston Globe

“If you see a book with the name Dai Sijie on it, read the book.... His best – and most dense – novel.... Attempting to decipher the many narrative threads in the story is no small feat, but well worth the challenge.... Dai’s multilayered masterpieces, however, is far more complex – and rewarding – than a simple love story. With deft mastery, Dai seamlessly combines unexpected representations of the written word....to create an intricate treatise on the power of language.”
- Terry Hong, San Francisco Chronicle
 
“At its heart the novel crafts an ode to the power of language.”
- National Geographic Traveler

“filled with twists and turn of fate, back stories, symbolism and intersections of politics and religion worthy of a Dan Brown novel.... Dai adds layer upon layer of meaning.... [Once Upon a Moonless Night] pulls the reader along, as does the language, which is pungent and immediate. And as for the scroll itself: this is one mystery, one message, that really makes it worth reading until the last lines of a novel to discover.”
- Peter Gordon, UPI Asia
  
“Complex and well written historical novel...grips the audience thoroughly with its poetic look back in time.”
- Harriet Klausner, Mainstream Fiction

“Sijie’s breathtaking story shows the beauty and horrors that make up China’s history while the poetry of Sijie’s words is revealed in Hunter’s magnificent translation. It’s fitting that a story of a love affair with language should be written so beautifully.”
- Publisher’s Weekly (starred review)

“[B]ewitching....As impressionistically historical as it is imaginative, Dai’s dreamlike tale of epic quests and love put to the test is exquisitely structured to illuminate ‘Hell, the earthly world, and Paradise’ within the Forbidden City, a Chinese prison camp, Paris, Mali, and Burma. Dai’s dazzling and magical saga intimates that language is transcendent; books are precious; translation is a noble art; stories are the key to freedom; and truth prevails.”
- Donna Seaman, Booklist  (starred review)

“magisterial....structurally more complex than his international hit, Balzac and the Little Chinese Seamstress....just as rich and evocative and powerfully delivers the idea that lnaguage (even more than literature, as in Balzac) truly defines us. This should be almost as big as Balzac. Highly recommended.”
- Barbara Hoffert, Library Journal (starred review)
From the first British reviews:
“beautifully written (and translated)”
- Aamer Hussein, The Independent

“rich and ambitious....Sijie makes virtuosic use of the stories-within-stories technique which is so attractive to contemporary sensibilities and paints a vivid portrait of both imperial excesses and communist absurdities.”
- Michael Arditti, Daily Mail

“cunning literary confection, blending history, romance, a long-lost manuscript and the magic of the Orient....[an] elegant web.”
- Max Davidson, The Mail on Sunday

“a potent and evocative modern-day fable.”
- Alastair Mabbott, The Herald (Glasgow)

“Sijie's ambitious work spans a thousand years of Chinese history....[with] a rich repository of tales, traditions and sensibilities [the book's] theme of indeterminacy of meaning is braided into the clash between East and West....Sijie has a gift for the spectacular.”
- Chitralekhua Basu, Times Literary Supplement

“an unlikely love affair twists and turns through Dai’s story....but it is the stops along the way, in which we visit the lost and unforgiven of Chinese history, that give the novel its real meaning....the knotty truths of China’ s past are habitually ironed out by ‘official’ historiography, whether it is compiled by the communists or shot in Technicolor by western filmmakers. The result is a collective memory shot through with holes, and Dai’s pantheon of anti-heroes and forgotten souls is an attempt to patch the gaps....Once on a Moonless Night evokes the past with all the eerie clarity of a dream, its outlines blurred, but every tiny, telling detail extraordinarily alive. Anyone in search of a brief history of China would do well to begin right here.”
- Margaret Hillenbrand, Financial Times

“Once on a Moonless Night takes the reader deeper, into stories within stories and myths within myths about China’s real and imaginary past....Startling undercurrents sway this mysterious narrative: Dai Sijie’s inventiveness enfolds it in some extreme stories....show how language, which we (and many modern Chinese) think of as free, may be treacherous and incomplete....this shy, complex novel, which speaks its concerns so quietly, remains a forceful lament, infused with incident and dramatic storytelling.”
- Julian Evans, The Daily Telegraph

“Dai Sijie is a wonderful storyteller....Once on a Moonless Night is full of tales within tales and worlds within worlds, ranging from ancient Chinese empires through communist China to modern Beijing....Everything in all these interwoven tales is extreme, from intellectual obsession to the cruelty of empresses, from the mountain landscapes to cabbages....Sijie writes wonderful descriptions....There is always a sense of the pressure of numbers of people and things, which seems to provoke in the characters a ferocious determination to be individuals, to make their own fates, single-mindedly. Places and events are shocking....the reader feels a readerly excitement, even pleasure, as he or she is swept along from disaster to disaster.”
- As Byatt, The Guardian

“remarkable....the detail of the novel is so enthralling, the descriptions of old Peking so vivid, the picture of the labour camp and the lives of the wretched prisoners so compelling — worthy to set beside Solzhenitsyn’s portrayal of the Gulag....an evocation of lost civilizations, of the artistic inheritance of China, and of Buddhist philosophy. For the Western reader this is as magical as it is strange....Its evocation of the distant world of devoted Chinese scholarship and dying artistry is lovingly and enchantingly done, while the contrast with the brutal politics of Communist China and its contempt for decency and human life is as memorable as it is disturbing. It’s a novel which demands effort from the reader, but the effort is richly rewarded.”
- Allan Massie, The Scotsman
Praise from France:
“Erudite, complex, ambitious, the best novel by the celebrated Dai Sijie....a sophisticated and urgent book.”
- Livres Hebdo

“an homage to language...an erudite novel filled with poetry...and wit”
- Le Figaro

“Throughout the book, Dai Sijie mixes the splendor, culture and scholarship of...ancient China with the horror of contemporary China.”
- Le Quotidien

“A beautiful meditation on language and man.”
- La vie