Chinese novelist and playwright (1940- )
Gao Xingjian (pronounced [káu ɕĭŋ tɕiɛ̂n]; Chinese: 高行健; pinyin: Gāo Xíngjiàn; Wade-Giles: Kao Hsing-chien; born January 4, 1940) is a Chinese-born novelist, playwright, and critic. An émigré to France, Gao was granted the French citizenship in 1997. The recipient of the 2000 Nobel Prize in Literature, he is also a noted translator (particularly of Samuel Beckett and Eugène Ionesco), screenwriter, stage director, and a celebrated painter.
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It takes a full sixty years for the Cold Arrow Bamboo to go through the cycle of flowering, seeding, dying and for the seeds to sprout, grow, and flower. According to Buddhist teachings on transmigration this would be exactly one kalpa. "Man follows earth, earth follows sky, sky follows the way, the way follows nature, don’t commit actions which go against the basic character of nature, don’t commit acts which should not be committed." "Then what scientific value is there in saving the giant panda?" I ask. "It’s symbolic, it’s a sort of reassurance―people need to deceive themselves. We are preoccupied with saving a species which no longer has the capacity for survival and yet on the other hand we’re changing ahead and destroying the very environment for the survival of the human species itself."
I came to the riverbank. The sand underfoot crunches and sounds like my grandmother sighing. She is fond of chattering endlessly, although no-one understands her. If you ask, Grandmother, what did you say? She will look up absentmindedly and, after a while, say, oh, you’re back from school? Are you hungry? There are sweet potatoes in the bamboo steamer. When she chatters it is best not to interrupt; she is talking about when she was a young woman. But if you eavesdrop from behind her chair, she seems to be saying. It’s hidden, it’s hidden, everything is hidden, everything… All these memories are making noises in the sand under your feet.
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Not knowing what one is looking for is pure agony. Too much analytical thinking, too much logic, too many meanings! Life has no logic, so why does there have to be logic to explain what it means? Also, what is logic? I think I may need to break away from analytical thinking; this is the cause of all my anxieties.
The writer is an ordinary man, not a spokesman for the people, and that literature can only be the voice of one individual. Writing that becomes an ode to a country, the standard of a nation, the voice of a party... loses its nature—it is no longer literature. Writers do not set out to be published, but to know themselves. Although Kafka or Pessoa resorted to language, it was not in order to change the world. I, myself, believe in what I call cold literature: a literature of flight for one's life, a literature that is not utilitarian, but a spiritual self-preservation in order to avoid being stifled by society. I believe in a literature of the moment, for the living. You have to know how to use freedom. If you use it in exchange for something else, it vanishes.