A
Millennial Tale of Souls Living, Deceased, and Eternal
Reviewed by Cynthia Ning, associate
director emerita, Center for Chinese Studies, University of Hawai¡®i at M¨¡noa
Xue
Mo. Curses of the Kingdom of Xixia. Translated by Fan Pen Li Chen, State
University of New York Press, 2023. 687 pp.
Original
work: Ñ©Ä®£¬¡¶Î÷ÏÄÖä¡·¡£Encyclopedia of China Publishing
House/Xuemo Library Research Center, 2017. 560 pp.
Xue
Mo is the pen-name of the acclaimed novelist and spiritual leader CHEN Kaihong,
a native of Liangzhou City, Gansu Province, in Northwestern China. The
translated version under review here is by Prof. Fan Pen Li Chen of the
University of Albany, State University of New York. It is a monumental
rendering of a "complex novel (that) embraces history, literature, religion
(Tantric Buddhist lore, local customs and beliefs), and is infused with local
colloquial expressions and (descriptions of) religious practices..." (from
the Translator's Introduction, p. ix)
Curses
of the Kingdom of Xixia(hereafter Curses), at 560 pages in the original Chinese
and almost 700 pages in translation, is a sprawling novel propelled by dense,
evocative, descriptive prose, featuring a panoply of characters whose stories
are interwoven into a fantastical, non-linear plot with a timeline spanning
over 1,000 years. The work is a deep historical, imagined, mythological and
spiritual exploration of a delimited space around Liangzhou (current day Wuwei)
in the Hexi Corridor, squeezed between the Tibetan and Mongolian Plateaus. In
this region the lost Kingdom of Xixia arose in the early 11th century and
crumbled in 1227 during the Mongol invasion of China. The Xixia population,
mostly Tangut in origin, was absorbed into the Mongol and Chinese empires that
followed. In Curses, the narrative about the fates of the denizens of the
region is tragedy recounted with a comic, irreverent spirit. The resulting
effect is reminiscent of a classical Chinese multi-scenic handscroll painting
unfurling at great length, revealing incrementally the drama of events and
tableaux that combine to form a multifaceted whole, with commentary that
derives from an understanding of China's past and recent history, and of world
events.
Again,
from the Translator's Introduction (p. x): "Curses...uses the discovery of
"lost" manuscripts as a framing technique for presenting historical
events and tales of the avatars of a local Tantric Buddhist goddess (Diamond
Maiden Dakini; Vajrayogini; Snow Feather), a tutelary deity (Ajia), and a monk
(Jasper), as well as people related to them, through different time(s) and
realms."
The
opening chapter sets the stage: Leave Chang'an, the capital city of China's
ancient dynasties including the Han and Tang, continue westward along the Silk
Road and you will find the city of Liangzhou in the Qilian Mountain Range. Just
outside the city is a mountain resembling a Sleeping Buddha, and within this
mountain is the Diamond Maiden Cave, a grotto dedicated to the leader of the
"millions and millions of Dakini goddesses" of Tantric Buddhism, deities
who are able to travel freely through the air (¿ÕÐÐĸ) (p.
2-3). Through many historic periods, ritual offerings were habitually made in
this cave. So much is real¡ªthe book offers photographs of Liangzhou (Wuwei) and
the entrance to the Diamond Maiden Cave, taken by the author.
As
the narrative begins, the fictional narrator, who, like the author, is a
published scholar of Tantric Buddhism and a native of Liangzhou, comes to the
cave to make an offering. In the
aftermath of a rockfall, he discovers a cache of eight manuscripts crudely
bound together, collectively titled Curses of XixiaÎ÷ÏÄÖä. The
texts are written on sheepskin parchment, largely in Chinese with a smattering
of Xixia terms, and labeled Annotated Collection of Nightmares, Crazy Ramblings
of Ajia, Tale of the Goddess, Family Instructions of Diamond Clan, True Records
of the Curses, Historical Mirror of Forgotten Events, and Affairs of the Black
Tatars. The narrator elucidates: "(They) recorded events in a village
named Diamond Clan, with emphasis on the spiritual journeys of a monk, or
madman, named Jasper and a woman named Snow Feather...I spent several years
interpreting, clarifying, researching and footnoting the seemingly confusing
and antiquated language in order to present them to my readers in a style akin
to a vernacular novel" (p. 5).
This
Diamond Clan is enigmatic; it could have already existed in Liangzhou during
the Xixia period or could have originated much later, maybe even during the
Republican Period post-1911. Since the provenance of the manuscripts cannot be
ascertained, the narrator points out that "(such) ambiguity enables this
book to represent massive chaos." (p. 8)
From
the chaos, chunks of narrative coalesce (like scenes in long handscroll). The
author helpfully provides labels for successive segments, which are further
grouped into a total of 39 chapters and a postface.
Some
striking stories include the following.
Ajia
is a guardian deity of Liangzhou, born perhaps during the time of the Xixia. He
may have been a Buddhist monk who broke his vows, but eventually cultivated
spiritual techniques well enough to ascend to the ranks of tutelary deity. Many
characters named Ajia appear in the manuscripts and seem to derive from
disparate time periods. Eventually someone named Ajia comes to the narrator and
becomes his primary teller of tales (p. 22).
The
times were hideous. Under the Xixia, heavily armored cavalry called "Iron
Hawks" by the local population slaughtered so many people with swords and
arrows that the "city moat overflowed with blood" (p. 25). Following
the Iron Hawks came the marauding troops of the Mongols (1279¨C1368), with the
bloodletting eventually blending into the horrors of the Cultural Revolution
(1966-76). War and strife are the "eternal curse of mankind" (p. 25)
with concomitant times of famine. "Hunger was one of the nightmares of
history" (p. 35).
Two
key characters in the story are Jasper, a monk of Liangzhou who was able to
communicate with spirits, and Snow Feather, also called the Diamond Maiden.
Their stories are told in parallel throughout the first portion of the novel
and intersect and intertwine in the middle.
The
Tale of the Goddess focuses on Snow Feather, an incarnation of the Wisdom
Dakini Goddess Niguma of India. The elders of Liangzhou tell many legends about
her. She was beautiful and had breathtaking martial arts skills. With these she
was able to steal provisions for her family in times of famine and gained the
reputation of a "flying thief"¡ªone who could perform incredible feats
of thievery, darting between rooftops as lightly as a feather, and get away
without being caught.
As
for Jasper, as he returns to Liangzhou from a journey of self-discovery, he
"walked toward Diamond Maiden Cave. His path was strewn with
corpses¡ªmostly with thin legs, bulging bellies and covered with green-headed
flies the size of jujubes. The flies hummed and buzzed, like the German planes
when they would later bomb London. They clamored frantically, licking the
fluids of the corpses with outstretched tongues and sowing their seeds into the
flowing, sticky juices. The sun also became crazed, pouring its flames onto the
corpses with abandon. Now and then, the bellow of one of the corpses exploded
with an earth-shaking loud bang. The sky was strewn with hungry ghosts. Those
who died such untimely deaths wailed throughout the nights" (pp. 36-37).
As he
enters Diamond Clan, Jasper encounters Barbarian Hag, a nightmarish old woman
who hangs about the entrance, longing for the return of her only son, who had
left decades earlier with a camel caravan. The village is imbued with the
stench of death, and Barbarian Hag lures Jasper into a cellar with the promise
of a drink of water. There she knocks him out with a blow to the head. When he
comes to, he sees Barbarian Hag advancing unsteadily toward him with a knife.
"Jasper grabbed her wrist, and Barbarian Hag let out an eerie screech. A
rotten stench emanated from her mouth. Her toothless gums bulged from swelling.
Jasper found out later that she must have accumulated too much heat from eating
too much human flesh" (p. 40).
Jasper
escapes, and Barbarian Hag eventually faces a horrific karma for how she has
chosen to survive.
As
for Snow Feather, she completes Buddhist practices and evolves from a flying
thief to a Dakini goddess. But the times are as harsh for her as for all around
her. "The incredible tribulations she endured, comparable to the ordeals
endured by Christ, later endowed her with an aura of holiness" (p. 48).
She works feverishly to protect her aging mother, but both are eventually
caught, beaten, and tortured. Snow Feather attempts to escape into the
mountains with her mother on her back. They survive for a period, but
eventually her mother is captured, and endures torture in one of the most
sadistic segments of the novel.
The
villagers of Diamond Clan punish women by having them "ride the wooden
donkey." "The wooden donkey was, in fact, a single-wheeled cart.
Instead of a seat, there's a round trunk resembling the back of a donkey. Upon
the back of the "donkey" was affixed an upright wooden rod about five
centimeters long that resembled a phallus. Whenever a lascivious or adulterous
woman was discovered in the village, she would be stripped naked, trussed up
tightly, and placed on the back of the "donkey" with the rod in her
vagina. Someone would be ordered to push the cart and have it toss about on a
particularly bumpy road" (p. 410). [Here the translator errs in rendering Îå´ç(five
Chinese inches) as "five centimeters"¡ªa Chinese inch is slightly
longer than a U.S. customary inch, so the length of the phallus is
approximately 6.5 inches.] Subsequent scenes of suffering include descriptions
of the blood that covered the sides of the "donkey", but the author's
satirical irreverence is demonstrated in the following: The craftsman who
crafted the upright rods "collected wood from fruit trees and fashioned
many strangely shaped rods, which he polished with leather-working implements.
He then doused them with oil and buffed them with soft sheepskin until they
were glossy black...He thought surely this would lessen the suffering of the
women...He was castigated by (the people) instead. They said, "What were
you trying to do? Do you call what you made punishment? You made them so well
that all the women would want to use them!"... Many years later, (the
craftsman) fashioned many lifelike dildos of different shapes and polished them
until they were a hundred times smoother than the real thing, using his skills
as an expert leather craftsman. His products were so popular that they were
exported to Europe, America, and Southeast Asia, and created many
millionaires" (p. 415).
Back
to mimesis: the description of Snow Feather's old mother placed on the back of
the wooden donkey is one of the most stomach-churning of the novel.
A
subsequent description of the process of making ritual implements out of human
skin, skull and leg bones, and the victims from whom these items are obtained
named collectively as "leather", is equally challenging.
The
narrative moves between despair and resignation to human depravity and
suffering, and veneration for religious faith and striving, in particular
through the character and purity of Snow Feather and Jasper. Perhaps the
"curses" in the title of the novel might also rendered "ritual
incantations." The narrative makes frequent mention of various spells,
incantations and ritual offerings the main characters discover, memorize and
make use of to try to overcome obstacles in their chaotic environment.
Eventually
they escape together into the mountains and finally into the Diamond Maiden
Cave. Their passage reflects the quest for the Buddhist paradise of the
soul¡ªfor non-attachment and permanence through enlightenment. They are aided by
bears and a python and a bull, among others. The natural world around them is
alive and anthropomorphic: Grandpa Sun rises and sets, and two mountains
outside the village "were a husband and wife couple, and used to be of the
same height. But the wife mountain had an affair with a person later, and had
her legs broken by her husband; so she ended up shorter" (p. 453).
Throughout
the story, the narrator seems to be expressing deep sympathy for the wronged
souls of history, those who starved or were tortured, eaten, or killed, or even
those driven to eating others through hunger, who appear and disappear through
thousands of years. "You saw many men slicing your flesh. In fact, there
was very little meat. You felt sorry that you had so little meat that they
couldn't eat their fill...You heard the sound of smacking. You wished you could
have video-recorded the scene for future readers lest they accuse Xue Mo of
concocting a cock-and-bull tale" (p. 479). Evidently, comedic remove helps
to alleviate the grimness of the narrative.
The
author Xue Mo expresses sympathy for his readers¡ªthose whopersevere in slogging
through his fantastical, monumental story. He calls them "readers with
karmic affinity (for the subject)" (p. 598). In return, they will likely
find him a lively, thoughtful, creative, shocking and profoundly moving
conversationalist.
Xue
Mo "spent ten years "shut-in" ([undergoing] voluntary
confinement with a rigorous regime of meditation), (as a result of which) the
spiritual enlightenment he...attained purportedly enabled him to enter and
engage with different realms of reality. Indeed, both (the) fantastic and
mimetic realms (of the novel) are depicted with such graphic minutiae that it
is as if he actually visited these places" (translator's introduction; pp.
ix-x).
As
for the translator Prof. Fan Pen Li Chen, she traveled first to Dongguan,
Guangdong, to meet with Xue Mo at his then residence to discuss her
understanding of Curses with him in person, and then to Liangzhou (present-day
Wuwei) in Gansu, where Xue Mo's son and spiritual followers showed her some of
the sites mentioned in the novel.
The
resultant work is inspirational for those "with karmic affinity."
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