Soul Mountain. Gao Xingjian

       13

      A village lies up ahead. At the bottom of the terraced fields and the mountain, the same black bricks and tiles dot the riverside. A stream flowing right in front of the village is spanned by a long flat slab of rock. Once again you see a black cobblestone street with a deep single-wheel rut leading into the village. And again you hear the patter of bare feet on the stones, as wet footprints guide you into the village. Again, just like the one in your childhood, it’s a small lane with mud-splashed cobblestones. You discover through gaps in the cobblestones that the lapping stream flows under the street. At the gate of each house a flagstone has been lifted so that the water can be used for washing and scrubbing, and bits of green vegetable float along the glistening ripples. Behind the front gates you make out the noisy pecking and flapping of chickens squabbling over food in the courtyards. There is no-one in the lane, there are no children, nor are there any dogs about. It is strangely quiet.

      The sun over the tops of the houses shines onto a whitewashed heat-retaining wall and produces a lot of glare, but it’s quite cool in the lane. A mirror flashes from a lintel, the Eight Trigrams are etched around the border. When you go up and stand under the eave by the door you notice that this Eight Trigram mirror is directed at the curled roof of the heat-retaining wall opposite to deflect the evil forces emanating from it. However if you position yourself here to take a photograph, the visual contrast of colours — the golden glow of the wall in the intense sunlight, the grey-blue shadows of the lane and the black cobblestones on the road — is pleasing and gives a sense of tranquillity, while the broken tiles on the curled roof and the cracks in the brick wall evoke a feeling of nostalgia. If you reposition yourself you can photograph the door, the Eight Trigram mirror and the stone threshold, worn and shiny from the bottoms of the little children who have sat upon it, all with great authenticity yet showing no trace of the animosity existing for generations between the families living in the two houses.

      You tell barbaric and terrifying tales and I don’t want to hear them, she says.

      Then what would you like to hear about?

      Talk about nice people and nice happenings.

      Shall I talk about the zhuhuapo?

      I don’t want to hear about shamans.

      A zhuhuapo isn’t the same as a shaman, shamans are wicked old women. A zhuhuapo is a beautiful young woman.

      Like Second Master’s bandit wife. I don’t want to hear cruel stories like that.

      A zhuhuapo is charming and kind hearted.

      She’s walking in leather shoes on moss-covered rocks and you say she doesn’t have a hope of getting very far, so she lets you hold her hand. You’ve warned her but she slips. You grab her and draw her into your arms, saying you didn’t do this on purpose. She says you’re bad and frowns but there’s the hint of a smile at the corners of her tightly pursed lips. You can’t restrain yourself and you kiss her, her lips relax and surprise you with their tenderness. You enjoy her warmth and fragrance and say that this often happens in the mountains. She entices you and you succumb and she nestles in your arms, closes her eyes.

      All right, tell me then.

      Tell you what?

      Tell me about the zhuhuapo.

      They specialize in enticing men where the road suddenly bends on the dark side of mountains, often in pavilions on mountain tops …

      Have you ever seen one?

      Of course. She was sitting sedately on the stone bench of a pavilion built on a mountain road so that the road ran between the two stone benches of the pavilion. To go through you had to pass her. She was a young mountain woman wearing a pale blue fine-weave cotton jacket with knot-buttons running down the ribs to the waist and white binding on the collar and sleeves. A wax-dyed cloth was wound intricately into a turban on her head. You involuntarily slowed down and sat yourself on the stone bench opposite. Without turning, she casually looked you over. Her black eyebrows had been drawn with a charred willow twig and her thin lips pouted. She knew quite well that she was alluring and didn’t try to hide it. When eyes flash so provocatively it is inevitably the man who feels awkward. Anyway it was you who felt uncomfortable first and you got up to leave. But on this mountain road on the dark side of the mountain with no-one is sight, she immediately cast a spell over you. Of course you know that you must show more respect than love to this seductive and beautiful zhuhuapo and that while you can want her you mustn’t dare be rash. You say that you heard this from stone masons who were on the mountain gathering rocks. You spent a whole night drinking and talking about women with them in their work shed. You say that you couldn’t take her to such a place to stay overnight, if a woman went it would be certain disaster, only a zhuhuapo could keep those stone masons in check. They said that zhuhuapo know the meridian points of the body, an art handed down over many generations and that their delicate hands can cure complicated illnesses which men can’t, from infantile convulsions to paralysis. People also rely on their clever tongues to arrange and explain matters about marriage, death, birth and sex. When these wild flowers are encountered in the mountains they may be admired but not plucked. They said once there were three blood brothers who scoffed at this. They came upon a zhuhuapo on a mountain road and had a wicked idea. Couldn’t we three brothers deal with one woman? They talked it over, then with a shout rushed up and dragged the zhuhuapo off to a cave. She was a woman after all and couldn’t get away from these three big fellows. After the two older ones had finished, it came to the youngest brother’s turn. The zhuhuapo pleaded with him — good and evil bring good and evil retribution, you’re young, don’t copy their wicked behaviour. If you listen to me and let me escape I’ll tell you a secret recipe which you will find useful later on. When you’ve made enough money you will be able to marry a young woman and enjoy a happy life. The lad wasn’t sure if he believed her or not but he was young and, distressed at seeing the woman in such a wretched state, he let her go.

      Did you rape her or did you also let her go? she asks.

      You say you got up and started to walk away but couldn’t resist taking another look and saw the other side of her face. She had a red camellia in her hair. Light flashed from the tips of her eyebrows and the corners of her lips, and suddenly it was as if a bolt of lightning had lit up the dark mountain and valley. Your heart was on fire and started to pound, and you immediately realized you had run into a zhuhuapo. She was sitting adroitly there right in front of you, her firm breasts protruding under her light blue fine-weave cotton jacket. She had in the crook of her arm a bamboo basket covered with a new floral hand towel and the paper flowers pasted on her new blue cotton shoes stood out as clearly as papercut silhouettes on a window.

      Come here! She beckons.

      She is sitting on a rock holding her high-heel shoes in her hands and carefully testing the round pebbles with a bare foot. Her white toes wriggling in the clear stream are like plump little grubs. You don’t know how it began but suddenly you are pressing her head against the green undergrowth on the bank. She sits up and you find the hook to her bra at the back and her perfect round white breasts glow in the noon sun. You see her stiff” pink nipples and the fine blue veins below them. She calls out softly as her feet slide into the water. A black coloured bird with white toes, a shrike, is standing in the middle of the stream on a grey-brown rock. The rock is perfectly round just like a woman’s breast. The sides of the rock reflect the rippling light of the water. Both of you slide into the water. She’s upset about her skirt getting wet, not about herself, and her moist eyes sparkle like the sun’s rays reflected in the stream. You have finally captured her, a stubborn struggling wild animal, and she suddenly turns docile in your arms and begins to silently weep.

      The black shrike with white toes looks from one side to the other, sticking up its tail as its