Becoming Madame Mao
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Authors: Anchee Min
Anchee Min
A Mariner Book
HOUGHTON MIFFLIN COMPANY
BOSTON
•
NEW YORK
To Lloyd with all my love
First Mariner Books edition 2001
Copyright © 2000 by Anchee Min
All rights reserved
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Library of Congress Cataloging-in-Publication Data
Min, Anchee, date.
Becoming Madame Mao / Anchee Min.
p. cm.
ISBN
0-618-00407-6
ISBN
0-618-12.700-3 (pbk.)
1. Chiang Ch'ing, 1910—Fiction. 2. Spouses of heads of
state—China—Fiction. 3. China—History—20th
century—Fiction. 4. Married women—China—Fiction.
5. Statesmen—China—Fiction. I. Title.
PS3563.14614 B43 2000
813'.54—dc21 99-058520
Printed in the United States of America
Book design by Robert Overholtzer
QUM
20 19 18 17 16 15 14 13 12
Madame MaoYou are what your deep, driving desire is.
As your desire is, so is your will.
As your will is, so is your deed.
As your deed is, so is your destiny.—Brihadaranyaka Upanishads
iv.4.5
as Yunhe (1919–1933)
as Lan Ping (1934–1937)
and as Jiang Ching (1938–1991)
ContentsAuthor's Note:
I have tried my best to mirror the facts of history. Every character in this book existed in real life. The letters, poems, and extended quotations have been translated from original documents.
Prologue
What does history recognize? A dish made of a hundred sparrows—a plate of mouths.
Fourteen years since her arrest. 1991. Madame Mao Jiang Ching is seventy-seven years old. She is on the death seat. The only reason the authorities keep postponing the execution is their hope of her repentance.
Well,
I
won't surrender. When
I
was a child my mother used to tell me that
I
should think of myself as grass—born to be stepped on. But
I
think of myself as a peacock among hens.
I
am not being judged fairly. Side by side
Mao
Tse-tung and
I
stood, yet he is considered a god while
I
am a demon. Mao Tse-tung and
I
were married for thirty-eight years. The number is thirty-eight.
I
speak to my daughter Nah.
I
ask her to be my biographer. She is allowed to visit me once a month. She wears a peasant woman's hairstyle—a wok-lid-cut around the ears—and she is in a man's suit. She looks unbearably silly. She does that to hurt my eyes. She was divorced and remarried and now lives in Beijing. She has a son to whom my identity has been a secret.
No, Mother. The tone is firm and stubborn.
I
can't describe my disappointment.
I
have expectations of Nah. Too many perhaps. Maybe that's what killed her spirit. Am
I
different from my mother who wanted the best for me by binding
my feet? Nah picks what I dislike and drops what I like. It's been that way since she saw how her father treated me. How can one not wet one's shoes when walking along the seashore all the time? Nah doesn't see the whole picture. She doesn't know how her father once worshiped me. She can't imagine that I was Mao's sunshine. I don't blame her. There was no trace of that passion left on Mao's face after he entered the Forbidden City and became a modern emperor. No trace that Mao and I were once lovers unto death.
The mother tells the daughter that both her father and she hate cowards. The words have no effect. Nah is too beaten. The mother thinks of her as a rotten piece of wood that can never be made into a beautiful piece of furniture. She is so afraid that her voice trembles when she speaks. The mother can't recognize any part of herself in the daughter.
The mother repeats the ancient story of Cima-Qinhua, the brave girl who saved her mother from a bloody riot. The model of piety. Nah listens but makes no response. Then she cries and says that she is not the mother. Can't do the things she does. And should not be requested to perform an impossible task.
Can't you lift a finger? the mother yells. It's my last wish, for heaven's sake!
Save me, Nah. Any day a bullet will be put into my head. Can you picture it? Don't you see that there has been a conspiracy against me? Do you remember the morning when Deng Xiao-ping came to your father's funeral and what he did? He just brushed fingers with me—didn't even bother to shake my hand. It was as if he questioned that I was Mao's widow. He was aware of the cameras—he purposely let the journalists catch the scene. And the other one, Marshal Ye Jian-ying. He walked past me wearing an expression as if I had murdered the Chairman myself!
Your father warned me about his comrades. But he didn't do
anything to protect me. He could he heartless. His face had a vindictive glow when he made that prediction. He was jealous that I got to go on living. He would have liked to see me buried with him, like the old emperors did with their concubines. One should never have delusions about your father. It took me thirty-eight years to figure out that sly fox. He could never keep his hands away from deception. He couldn't survive a day without trickery. I had seen ghosts in his eyes stretching out their claws. A living god. The omniscient Mao. Full-of-mice-shit.
You are a historian, Nah. You should document my role in the revolution. I want you to demonstrate my sacrifices and contributions. Yes, you can do it. Forget about what your father will think about you. He is dead. I wonder what's happened to his ghost. I wonder if it rests in its grave. Watch out for his shadow.
The hands to strangle me are creeping up fast. I can feel them at my throat. That's why I am telling you this. I am not afraid of death if I know my spirit will live through the tip of your fountain pen to the lips of the people, generations to come. Tell the world the story of a heroine. If you can't print your manuscript in China, take it outside. Don't let me down. Please.
You are not a heroine, Mother! I hear my daughter fire back. You are a miserable, mad and sick woman. You can't stop spreading your disease, hike Father said, you have dug so many graves that you don't have enough bodies to lay in them!
Their dinner has turned cold. Nah stands up and kicks away her chair. Her elbow accidentally hits the table. A dish falls. Breaks. Pieces of ceramics scatter on the floor. Grease splatters on the mother's shoe. You have killed me, Nah. Madame Mao suddenly feels short of breath. Her hand grips the edge of the table to prevent herself from falling.
Pretend that you never had me, Mother.
You can't disown your mother!
***
Well, all my hope is gone. I am exhausted and ready to exit the stage for good. The last curtain time will be tomorrow morning at five-thirty when the guards change shift. They are usually dull at that time. The old guard will be yawning his way out while the new guard yawns his way in.
It's dark outside. A beautiful black night without stars. The prison officials have put me on a suicide watch. But they cannot beat my will. I have saved enough handkerchiefs and socks to make a rope.
The rubber walls emit a terrible smell. But all is fine with me now. Tomorrow you will read about me in the news: Madame Mao Jiang Ching committed suicide by hanging. The day to mark is May 14, 1991. Am I sad? Not really. I have lived an extraordinary life. The great moments ... Now as I think about them for the last time, they still make my heart hammer with excitement ...
S
HE LEARNS PAIN EARLY
. When she is four, her mother comes to bind her feet. The mother tells the child that she cannot afford to wait any longer. She promises that afterwards, after the pain, the girl will be beautiful. She will get to marry into a rich family where she doesn't have to walk but will be carried around in a sedan chair. The three-inch lotus feet are a symbol of prestige and class.
The girl is curious. She sits on a stool barefoot. She plays with the pile of cloth with her toes, picks up a strip, then drops it. Mother is stirring a jar of sticky rice porridge. The girl learns that the porridge will be used as glue. Good glue, strong, won't tear, Mother says. It seals out the air. The ancient mummies were preserved in the same way. The mother is in her late twenties. She is a pretty woman, long slanting almond-shaped eyes, which the girl inherited. The mother hardly smiles. She describes herself as a radish pickled in the sauce of misery. The girl is used to her mother's sadness, to her silence during family meals. And she is used to her own position—the last concubine's daughter, the most distant relative the family considers. Her father was sixty years old when she was born. He has been a stranger to her.
The mother's hair is lacquer black, wrapped in a bun and fixed with a bamboo pin. She asks the girl to sit still as she begins. She looks solemn as if she is in front of an altar. She takes the girl's right foot, washes it and wipes it dry with her blouse. She doesn't tell the girl that this is the last time she will see her feet as she knows them. The mother doesn't tell her that by the time her feet are released they will look like triangle-shaped rice cakes with toenails curled under the sole. The mother tries to concentrate on the girl's future. A future that will be better than her own.
The mother begins wrapping. The girl watches with interest. The mother applies the paste in between each layer of cloth. It is a summer noon. Outside the window are climbing little bell flowers, small and red like dripping blood. The girl sees herself, her feet being bound, in her mother's dressing mirror. Also in the frame, a delicately carved ancient vase on the table with a bunch of fresh jasmine in it. The scent is strong. The pendulum of an old clock on the wall swings with a rustic sound. The house is quiet. The other concubines are napping and the servants are sitting in the kitchen quietly peeling beans.
Sweat gathers on her mother's forehead and begins to drip like broken beads down her cheeks. The girl asks if her mother should take a break. The woman shakes her head and says that she is finishing the task. The girl looks at her feet. They are as thick as elephant legs. The girl finds it amusing. She moves her toes inside the cocoon. Is that it? she asks. When her mother moves away the jar, the girl jumps on the floor and plays.
Stay in bed from now on, her mother says, the pain will take a while.
The girl has no trouble until the third week. She is already tired with her elephant legs and now comes the pain. Her toes scream for space. Her mother is near her. She is there to prevent the girl from tearing off the strips. She guards the elephant legs as if guarding the girl's future. She keeps explaining to the crying girl why she has to endure the pain. Then it becomes too much. The girl's feet are infected. The mother's tears pour. No, no, no, don't touch them. She insists, cries, curses. Herself. Men. She asks why she didn't have a son. Again and again she tells the girl that females are like grass, born to be stepped on.
The year is 1919. Shan-dong Province, China. The town is the birthplace of Confucius. It is called Zhu. The ancient walls and gates stand high. From the girl's window the hills are like giant turtles crawling along the edge of the earth. The Yellow River runs through the town and its murky waters make their way lazily to the sea. The coast cities and provinces have been occupied by foreign forces—first the Germans and now the Japanese—since China lost the Opium War in 1858. China is collapsing and no one pays attention to the girl's cries.
The girl is never able to forget the pain, even when she becomes Madame Mao, the most powerful woman in China during the late 1960s and '70s. She recalls the pain as "evidence of the crimes of feudalism" and she expresses her outrage in a series of operas and ballets,
The Women of the Red Detachment
and
The White-Haired Girl,
among many others. She makes the billion population share her pain.
To understand the pain is to understand what the proletariat went through during the old society, she cries at a public rally. It is to understand the necessity of Communism! She believes the pain she suffered gives her the right to lead the nation. It's the kind of pain that shoots through your core, she tells the actress who plays the lead in her opera. You can't land on your toes and you can't fly either. You are trapped, chained down. There is an invisible saw. You are toeless. Your breath dies out. The whole house hears you but there is no rescue.
She remembers her fight with the pain vividly. A heroine of the real-life stage. Ripping the foot-binding cloths is her debut.
If there is no rebellion, there is no survival! she shouts at rallies during the Cultural Revolution.
My mother is shocked the moment I throw the smelly binding strips in front of her and show her my feet. They are blue and yellow, swelling and dripping with pus. A couple of flies land on the strips. The pile looks like a dead hundred-footed-octopus monster. I say to my mother, If you try to put my feet back in the wrap I shall kill myself. I mean it. I have already found a place for myself to lie. It will be in Confucius's temple. I like the couplet on its gate: