Szilágyi András (szerk.): Ars Decorativa 23. (Budapest, 2004)

Kornélia MAJOR: The Park of Loyalty and Filial Piety. Chen Yingzhen's Latest Short Stories

tured now can walk free in the streets and voice their opinion without any consequence? Why do the leaders make such a mistake? Comparing to Chen's earlier works, it is a novelty that there are more distinctively dislikeable figures among these protagonists. He created fallible, ridiculous characters earlier as well (for instance, in the Washington House series), but they were not barbarous people, were not unfeeling, cruel, cold-blooded murderers and traitors. One could relate to them with pity mingled with consideration; yet it is not the case with these new characters. Chen can show us the basest features of their characters yet we feel no hatred but disgust and contempt for them. Another type of the characters is the average man who is s'wept to and from by the successive events of history. In this series, they are embodied by Taiwanese privates who served during World War 2. No matter who had them enlisted or whom they served, they share the same fate. Invariably, they joined the army in the hope that they would become equal with those in power; instead, their leaders made use of their services in the war, and then they were not thanked but accused of treachery. If we considered solely the past, we could call them the "dupes" of history. However, now it turns out that, in this way or other, they wanted to face up to fate. Yang Bin, learning from history, accepts that his home is not in his country but where he was finally given shelter; as a consequence, his mental peace is re-established after all. Lin Biao, on the other hand, deceives himself, declares a fake identity and blindly seeks justification for it. He is to pay with his family's disintegration and his peace of mind. Li Qinghao, the protagonist of Yewu represents a transitory character between villains and average people. His figure and fate stand for the destiny of an average man who enters the service of an idea lacking proper criticism and perspective. In this short story, the motifs of Chen's early short stories re-appear in an accentuated form; the unbalanced protagonist, unable to get away from his misapprehensions, withdraws into himself, becomes insane and sees suicide as the only way out (e.g. Xiangcun de jiaoshi). This message is conveyed in the form of a diary; the narrative is in first person singular. The diary, which records the protagonist's fixed ideas and misconceptions, is read out after his suicide by a person close to him (e.g. Wo de didi Kangxiong earlier), in this case the superior of Li. The person reading out the diary does not seek solutions of his own problems while reading; he merely "make records" and looks for possible evidence against himself. Reflected in this cold and cynical way, Li's naivety is even more striking. We cannot forgive Li, since he was not compelled tojóin the secret police; yet we do pity him as he paid dear for his "crime". With the exception of one character, the figures of the Zhongxiao trilogy are not likeable. Firstly, in the Zhongxiao trilogy the only figures described with sympathy (with the exception of Yang Bin and some minor female characters) are tortured and executed patriots, revolutionarists as reflected in the protagonist's memories. Secondly - and more significantly -, Yang Bin is the only character to find a new home, and this new home is in mainland China. As if in Chen's opinion, continental China - in spite of the Maoist abuses and the excessive concessions made to market economy -, still was the best place to live, a place where humanity and care for one another still survives. This suggests that family is the last remaining refuge and frame of life; "redemption" can be brought about only by family love. In the Zhongxiao trilogy, such "redemption" is given to Yang Bin alone. The characters of the three short stories, similarly to those of the earlier ones, are lonely and uprooted. Even so, they have a free will and an opportunity to keep their humanity. They are rootless in the sense defined in earlier short stories, since in a modified political situation their existence has shaken to its very foundations. The fact that their real homeland may be somewhere else is but one reason. In Guixiang, Yang Bin's real name has been changed by force, on top of this, he is declared officially dead at the request of his own family so that they can acquire his legacy. In short, he has been deprived of the very roots that mean exis-