Soul Mountain

Gao Xingjian was almost unknown in this country when he won this year's Nobel prize. Gao, who lives in exile in Paris, was embroiled in controversy in China in the 1980s because of his plays. This novel is his largest and perhaps most personal work. Around the time Gao's plays were arousing controversy, he was diagnosed with lung cancerDfalsely, as it turned out. The ""detestable omniscient self"" of the Gao-like narrator sharing these circumstances goes partly underground by getting out of Beijing and going to various underdeveloped regions of China. Officially, Gao is gathering folk songs and tales, but underneath that task we discern a desire to reconnect with the fate of his family, which, like so many others, was fragmented by the revolution. The book itself is narrated in two voices: a rational first person ""I"" and an emotional second person ""you."" Gao stays with park rangers, old friends and Daoist monks. The ""you"" wanders a more fantastic, otherworldly Chinese landscape, looking for LingshanDthe ""soul mountain"" of the title. To the second person is allotted a series of frenzied sexual encounters with a series of rebellious women. Within this baggy structure, there are repeated memories of the horrors of the Cultural Revolution, episodes concerning ""wild men"" (the Chinese equivalent of yeti), reflections on China's environmental degradation and comments on old ruins. Seeking out old singers and shamans like a connoisseur of extinct cultures, Gao has created a sui generis work, one that, in combining story, reminiscence, meditation and journalism, warily comes to terms with the shocks of both Maoism and capitalism. Agent, Georges Borchardt. (Dec)