Captain Kadian takes a large swig from his glass tumbler, closes his eyes for a moment, smacks his lips, and says, ‘The job’s not that hard, you see, you just go down once a week or fifteen days, and the money, the money is not bad at all.’
This novel is set in Indian Kashmir, near the ‘Line of Control’ with Pakistan. Kashmir isn’t an independent country (though you suspect most Kashmiris might want it to be). When India and Pakistan gained independence, the Muslim-majority state was ruled by an indecisive Hindu maharaja who opted for India at the last moment. Open and covert warfare between Pakistan and India, and Kashmiri militants, for decades has been the consequence. Both countries claimed the state and occupy it (India the majority). India promised an independence referendum at the outset, that has never been held. Some sixty years later, no solution is in sight. The lovely valley is perhaps the world’s most likely flashpoint for a nuclear war.
In ‘The Collaborator’, brutal, drunken Indian Army Captain Kadian gives a marvellous self-justification for his actions, going through the full catalogue of rationalisations with which such people kid themselves (only). It’s their own fault that atrocities occur, can’t be helped, just part of his job, I’m just a tiny cog in the machine, it’s the law, those who whinge about human rights don’t understand, I have a family too, I didn’t kill them myself, they chose to die, it would have happened anyway, even if I agreed I couldn’t do anything.
He forces the boy narrator to ‘collaborate’ and count the fallen corpses in the typically beautiful Kashmir valley on the border (a job he considers too dangerous for his own soldiers); every day he expects to find one of his boyhood friends who had gone across to Pakistan to join the militants.
The high point is the visit of the Governor of Kashmir, who helicopters in as if on a military operation, humiliating the villagers (who had been warned by an azan ((Muslim call to prayer)) recited backwards), like the preparation for a massacre instead of a ‘hearts and minds’ campaign.
There are a lot of Kashmiri, Arabic and Hindi/Urdu words used, but unfortunately no glossary is provided and they are not always explained.
Although he is speaking of his scavenging expeditions, when the Collaborator says he is tired of it all he must be speaking for most Kashmiris.
WAHEED, Mirza (1955 – ), The Collaborator, London, Viking, 2011, ISBN 978-0-670-91895-9
Yurts on the Karakorum Highway towards Pakistan – my photo
Coming from Kazakhstan, which was lucky (and perhaps rather surprised) to find itself liberated from Russian control when the USSR disintegrated, it’s time to hop across the border to look a the closely-related people next door who were not so fortunate. Xinjiang (Chinese for ‘New Territory’) is the largest and westernmost province of the People’s Republic of China (Kashgar is closer to Istanbul than to Beijing, and not just geographically). It has traditionally been inhabited by mostly Turkic-speaking Muslim peoples, especially the Uighurs, who call it East Turkistan or Uyghuristan, and smaller groups such as the Kazakhs and Kyrgyz (now with their own nations) who are related to other peoples in Central Asia rather than to the Han Chinese. Nobody said history is fair. On the contrary, in recent years so many Han have moved in (colonised?) that the Uighurs may now be in a minority in their own homeland, in a similar situation to the Tibetans. (It should be said, though, that the Chinese have also been in the ‘Western ‘Regions’ for a long time, since the heyday of the Silk Road). So far I haven’t been able to get a single Uighur novel, at least in one of the western European languages I can read. Perhaps that in itself says something? So I’ve covered this huge territory with a short story by a Uighur writer, Wild Pigeon (also called Blue Pigeon, light blue being the Uighurs’ colour), and the novel Loulan kaj Fremdregionano by INOUE Yasushi.
“The air inside and outside this cage are identical, I think, but the life possible on my side of these iron bars might just as well belong to a different universe.”
Considering how much writing it was to cost its author, this is an important little work.
In a dream, a wild pigeon (perhaps from the ‘Stans to the west?) visits his relatives the domesticated pigeons (of Xinjiang?) They have given up their souls, given up even thinking about souls.
The visitor suspects that words have different meanings here, but actually they don’t. There are in fact two kinds of naivety.
The older pigeon has ‘gone over’ to the humans, and he gets his fill while others starve, defending the system. In the end it’s the pigeons themselves that do in the wild pigeon, not the humans.
Perhaps the captors’ stupidity and ignorance about the pigeons’ is shown by their idea that they could keep a male pigeon for eggs? It is such a sad, cruel, hopeless and beautifully written story that, even if not of the same quality, it reminded me of one of Oscar Wilde’s fairy tales.
After the wild pigeon falls into the human trap, in the end he comes to the heartbreaking conclusion that the only thing to do is commit suicide and die with dignity. The situation really does seem hopeless. The poet Yasin was jailed by the Chinese authorities for writing this story, ‘inciting splittism’, and reportedly died in prison in 2011.
In the translation on the Radio Free Asia website, blocks of the text were repeated – I was unsure as to whether this was deliberate or a mistake.
As a postscript – The PRC has recently started using surveillance drones disguised as birds, called The Dove, especially in Xinjiang. I’m sure this is a pure coincidence.
YASIN, Nurmuhemmet (Nurmemet) (1977? – 2011?): Wild Pigeon (also: Blue Pigeon), first published in the Kashgar Literary Magazine, 2004, issue 5 (all copies of which were subsequently recalled). Translated by Dr Dolkun Kamberi, 2005 https://www.rfa.org/english/uyghur/wild_pigeon-20050627.html, accessed 14/11/2018.
Book 71: Kazakhstan (German) – Abai = Абай жолы (Abai’s Way) (Mukhtar O. AUEZOV =Мұхтар Омарханұлы Әуезов)
Beside Kunanbai’s yurts stood, closely-packed, those of the relatives. Multifarious life echoed through the afternoon steppe. Dogs barked; sheep and lambs bleated, blended with the calls of the shepherds, the clip-clop of the horses, which, enshrouded in golden glow-through clouds of dust, pulled to the drinking-trough; foals neighed, having just been released, and now rushed through the steppe, seeking the dams. From the campfires the smoke climbed into the clear evening sky and hung like a dark grey curtain over the yurts… Yes, that is what he had longed for in the city.
I have to admit that my heart sank when this one arrived in the post. Firstly I found that through some slip of the finger I’d accidentally ordered two copies. Secondly that the binding was of such poor quality that the spine was broken – already – on BOTH copies. (Perhaps I wouldn’t have been surprised if it had been from an ex-Soviet publisher, but from a German one I expected a bit better). Thirdly, because it is in German. Well, of course I already knew that. (’Abai’ doesn’t seem to have been translated into English, despite being the, or one of the, key works in Kazakh literature). But how would my German stand up to the fourth point, which is: it’s gigantic – nearly 900 pages. What is it about Kazakh novels, that they’re as vast as the steppes? The Nomads by Yesenberlin (reviewed by Ann Morgan) is also very long. Reading in German slowed me down too, so I ended up spending a whole year on it at the rate of three pages a day, while I ploughed on through other virgin lands in my reading (not a fast year, since three of these were in French, one in Dutch, and four in Spanish – serves me right for trying to read in the original!) Reading this book felt like running a marathon. I should mention that ‘Abai’ was translated via Russian, so I hope it didn’t lose too much seeping through multiple filters. Perhaps my little translation above into yet another language is nothing but a ‘Chinese whisper’.
Mukhtar Auezov (Muchtar Auesow in German spelling) lived during Soviet times and promoted the works of Abai Kunanbaev. He was attacked during the paranoid 1930s for supposedly propagating feudalism in ‘Abai’, but he received an Order of Lenin for it after Stalin died. Ironically, Auezov himself and his hero Abai Kunanbaev were quite Russophile; for him, making Kazakhstan a modern, civilised nation certainly involved fostering elements of its traditional culture such as epic poetry (Abai was an akyn – wandering poet/bard – himself), but also considering Russia as apparently the sole source of modernisation, including introducing high points of Russian culture such as Pushkin’s poetry. Despite his Russophilia he is still the Kazakhs’ national cultural hero. Abai pretty much single-handedly created Kazakh as a literary language. I wonder how much this seminal work has influenced modern Kazakhstan, which seems to be less nationalistic and friendlier to Russia than some of the other new Central Asian nations?
‘Abai’ gives great insight into the dying traditional nomadic life on the steppes. Everything you need to know about Kazakh life in the 1800s and early 1900s seems to be in this book, and it was instrumental in fostering self-consciousness among the Kazakhs. (The divisions among the peoples of ex-Soviet Central Asia, especially between the Kazakhs and Kyrgyz, originally were really quite artificial, and several of the nationalities were virtually created by Stalin for divide-and-rule purposes; and the physical borders that resulted are quite crazy. But since the divisions have congealed with the gaining of independence, the national identities are slowly becoming a reality).
Being nomadic, or semi-nomadic, much of the Kazakhs’ culture was portable and verbal. Hence their love and respect for the akyns.
The novel begins with Abai’s life in the aul (a key word which is not defined in the otherwise excellent glossary, but which here means a nomadic camp, though nowadays it can also mean a village, a district or even a touristy ‘traditional’ restaurant). Abai’s father was a powerful regional clan leader, who administers rough justice, and is hated by other clans for his imperialism. Abai spends periods in the cities. He comes back to the aul as a rare educated man – the clansmen think he’s a mullah and can cure illnesses (he doesn’t try to disabuse them). He is happy to learn from the Russians, including exiled revolutionaries. He counters the narrow-minded Kischkene-mullah, since he respects Western civilisation more. He becomes left-leaning and has a feeling of class solidarity with the poor Russians he meets.
Abai ended up with several wives, but he always remained in love with Togshan, whom he couldn’t marry for political reasons. Personally, I felt that his first wife Dilda was not described enough so I wasn’t sure why he didn’t really love her.
Basically, ‘Abai’ is the story of how he becomes a leader for the Kazakhs who is above the petty conflicts of the clans, and the Kazakh literary star by blending the oral tales of the steppes, Islamic literature and Russian literature. It is a fascinating journey into another culture, time and place. But please, someone, translate it into English!
AUESOW, Muchtar (1845-1904), Abai: vor Tau und Tag, translated from Russian into German by Hilde Angarowa, Berlin/Tübingen, Hans Schiler, 2010, ISBN 978-3-89930-262-2
(originally published in Kazakh in four volumes between 1942 and 1956)
Book 46: Uzbekistan (English) – The Dead Lake (translation of: Вундеркинд Ержан = Wunderkind Yerzhan) (Hamid ISMAILOV)
Towards evening Uncle Shaken took the children to the Dead Lake. ‘Don’t drink the water and do not touch it,’ he told them. It was a beautiful lake that had formed after the explosion of an atomic bomb. A fairy-tale lake, right there in the middle of the flat, level steppe, a stretch of emerald-green water, reflecting the rare stray cloud. No movement, no waves, no ripples, no trembling – a bottle-green, glassy surface with only cautious reflections of the boys’ and girls’ faces as they peeped at its bottom by the shore. Could there possibly be some fairy-tale fish or monster of the deep to be found in this static, dense water?
The bus driver called Uncle Shaken to help him with a punctured tyre. Yerzhan was left in charge of the class. He saw his long shadow reflected on the water’s surface. Dean Reed in the boundless steppe, underneath the limitless sky, above the bottomless water. He briefly took Aisulu’s hand. Then he let go of it and pulled off his T-shirt and trousers and walked calmly into the forbidden water. For a moment he splashed about in it and then, to the admiration and terrified twittering of Aisulu and the others, he walked out of the water, shook himself off as if nothing had happened and dressed again in his canvas trousers and Chinese T-shirt.
Nobody snitched on him. And for a long time afterwards everyone recalled with respectful admiration Wunda’s dramatic escapade.
I’ve long felt a special connection with Uzbekistan, both because of a long fascination with Central Asia and because I was privileged to visit in the year it became independent from the USSR.
The author Ismailov was born in Kyrgyzstan, lived in Uzbekistan (whence he was forced to flee in 1994) and now lives in Britain, and this book is set in Kazakhstan. Does he qualify for my Uzbek writer? Well, it seems everyone doing a similar project to this one thinks so, and has chosen him. (Fair enough; after all, Uzbekistan lies at the very heart of the Silk Road, so you should expect a bazaar of influences, cultures and ethnicities, especially with the crazy, artificial borders left in Central Asia by the collapse of the USSR.) However, while they seem to have all gone for his The Railway, I’ve chosen The Dead Lake.
With a title like that coming from an Uzbek writer, you might (like me) expect the Dead Lake to be the what’s left of the Aral Sea (which perhaps should now be re-named the Arid Sea). But it refers to another Soviet ecological catastrophe, in another country altogether.
The scene is the Polygon, the poisoned zone in Kazakhstan where the Soviet Union carried out its atmospheric and underground nuclear tests, seemingly without any consideration for the people who lived on the supposedly empty steppe (which can’t help reminding this Australian of the British tests here).
The narrator meets “Wunderkind” Yerzhan on a train across the Kazakh steppe, where he is playing the violin. He angers Yerzhan, who has been permanently stunted by the incident of rash childish bravado I quoted above, by mistaking him for a 12-year-old boy (he is in fact 27). As the train rattles over the endless plain, he learns Yerzhan’s tragic story (and fills in some of the gaps himself).
After he realises at 12 that he has stopped growing, Yerzhan makes pathetic attempts to stretch himself.
The railway seems to be a symbol of progress, and it is sometimes hard to distinguish a nuclear test from a rumbling train. So often in this world you wonder whether ‘progress’, even on balance, is worth it, most especially for the people unfortunate enough to live where there are resources (minerals, forests, agricultural land, or just space) that others covet.
I’ll never forget Ismailov’s exquisite potted legend of that other Wunderkind, Mozart.
What a tragedy that this incandescent, angry and compassionate book, along with Ismailov’s other works, is banned in Uzbekistan.
ISMAILOV, Hamid (1954 – ), The Dead Lake, translated from the Russian by Andrew Bromfield, Peirene, London, 2014, ISBN 978-1-908670-14-4
China (English) – Journey to the West /Monkey = Xi You Ji 《西游记》
by (WU Cheng’en) (吴承恩)
The old man was at the same time delighted by Sanzang’s fine appearance and alarmed by Pig’s and Friar Sand’s remarkable ugliness. Inviting them in, he told the younger members of the family to bring tea and cook a meal. Hearing all this Sanzang rose to his feet to thank the old man and ask, “Could you tell me, sir, why it has turned so hot again although it is autumn now?” “These are the Fiery Mountains, the old man replied. “We don’t have springs or autumns here. It’s hot all the year round.” “Where are the mountains?” Sanzang asked. “Do they block the way to the west?” “It’s impossible to get to the west,” the old man replied. “The mountains are about twenty miles from here. You have to cross them to get to the west, but they’re over 250 miles of flame. Not a blade of grass can grow anywhere around. Even if you had a skull of bronze and a body of iron you would melt trying to cross them.” This answer made Sanzang turn pale with horror; he dared not to ask any more questions.
Probably the greatest of the ancient Chinese classics is the Hong Lou Meng (Dream of the Red Chamber, amongst other alternative titles). Since I had already read it, I chose another classic to kick off this project, the Xi You Ji.
This is a mythologised Ming version of the (Tang Dynasty) pilgrimage to India by one of my heroes, the monk Xuanzang, to bring back the true versions of the Buddhist scriptures (which had become corrupted in China, due to distance from the source and difficulties in translation into a very different language). It is one of the great classics of my beloved Silk Road. When I was in Xi’an I was excited to see the Big Wild Goose Pagoda (Dayanta) where Xuanzang spent years translating them to Chinese, and also the Flaming Mountains (Huozhou Shan) near Turpan in far western Xinjiang where he had one of his adventures. The Xi You Ji is a send-up, and its Xuanzang (called Sanzang in this edition) bears no resemblance to the historical figure! He is accompanied by some mythological animals, Monkey, Pig, and Friar Sand and the poor pilgrim is just a figure of fun who wouldn’t have made it if it wasn’t for Monkey (who is like Sancho Panza to Cervantes’ Don Quijote). It’s such a shame that while the Xi You Ji is well known to Chinese people, the account by the real Xuanzang, who deserves to be as well-known as Marco Polo, both by them and the outside world, is almost forgotten nowadays. Even so, the fairy tale is a good romp!
Wu Cheng’en (c. 1500 – c. 1580): Journey to the West, translated by W.J.F. Jenner, Beijing: Foreign Languages Press, 2008 (originally published 16th Century), 3 vols., ISBN 7-119-01663-6
Monkey, translated by Arthur Waley, London: Penguin Classics, 1994, 1942, ISBN 9780140441116