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Workspace

Workspace

This is very roughly translated from Yue Zhu (朱岳)”s  story 工作场. The voice is weird in the original as well, that is not merely an artifact of the translation. And yes, this picture will greatly bias your interpretation of the story, but the anti-work anti-communist message is still there for you.

In the early morning hours, I run towards my workspace. My home is very far away, so I need to run a long time, need to run without stopping. Sometimes after running halfway I get discouraged, but quickly muster up some energy.  With the tip of my nose aimed at my workplace, I run towards it, at great speeds.

Today (every today, yet another today), as in the past, I hear my deep nasal breathing as I run, then I begin to pant in great huffs and puffs.  Yet, I keep at it. My coworkers are waiting for me. We’ll labor together at the workspace.

Although I’ve run with all my strength, I find that I’m still late when I reach the edges of the workspace. My coworkers are already there, and they become agitated, cautiously observing the workspace’s periphery. They see me running near and vigorously crane their necks, nervously watching me. They clearly haven’t recognized me yet. I jump up and in mid-air make a familiar gesture. They see it and start to scamper about with excitement. They scamper like this to welcome me, and to signify that a day’s work is about to begin. “You’re late again,” their posture conveys to me. I lower my head, expressing dejection; “It’s my fault….,” I respond with this posture. They forgive me, at which point we all jump up together!

At this time, the boss runs out from a hidden location and looks us over. Each of us hurries off to his station to start working. Our work is simply to grapple with our workspace in its every corner. I run over to the little corner that is mine and start to struggle and scrape with the workspace, kicking and stamping, unequivocally. When the struggle naturally reaches a certain point, I can no longer keep my balance and fall to the ground, but I still don’t let go of that corner that is mine, doing all I can to kick and stomp. I really want to clamp it down with my teeth, but that’s against work regulations.

My coworkers are also struggling with all their might, and for a while it’s as if the entire workspace has become a battlefield. As we battle, my coworkers  and  I sneak  peeks at the boss. The boss is satisfied; he even wants to join us, but holds himself in check and then heads back to the hidden place that is his.

After the boss has disappeared from sight, we quietly relax a little. Our struggle with the workspace becomes more rhythmic. Having gone through the fierce fighting of a moment before, the workspace has again come to appreciate our might. It shakes ever so slightly, showing its docility. One coworker lies down, another sticks his head into a small hole. They’re loafing off– so early and they are already loafing off….. I yawn, really wanting to lie down right on the ground. Just then, there is a huge “Bang!”  We immediately crane our necks. The boss comes out too, also craning his neck. What’s that noise? We look off into the distance together. Far off, at the periphery of the workspace, is a grassy lawn, and this lawn extends outwards endlessly all the way until it touches a cluster of rising clouds. Nothing appears and everything is quiet again. We relax a little, but keep a vigilant eye out.

The boss juts his teeth at a few coworkers to tell them to stand watch at the edge of the workspace, and they immediately run off in the direction of the big noise. They then vigorously crane their necks, looking out even further.  We can only see their backs, but their backs put us at ease. “They are our tiny sentries,” those of us that stayed behind are thinking. We are so happy and gratified that we almost want to start jumping.

We start to work again, once again fiercely wrestling with the workspace. I can feel  that half my body has sunken into this corner of the workspace that is mine. At first I’m startled, even a little afraid, but I soon begin to feel a bit proud: I’ve done it. It’s already become malleable and, with a little more effort, it will start to get some spring, and then I’ll have succeeded. Everyone will recognize me as an exceptional worker and I’ll be able to roll around the workspace to my heart’s content.

The boss again returns to the hidden location. I stop and take a breath. Since I’m already near success, why not rest a moment,gather myself, and then push through to the finish? With that thought, I stick my head into one of the workspace’s holes.  Although the hole is small, it is extremely deep. From here I can hear the sound of the earth; it’s the sound of each and every workspace in the world brought together. All the holes in the workspaces are interconnected.  I get a bit excited and start to blow deep down into the hole, and not long after a “Whoo Whoo” sound starts to come from deep within.  It’s hard to be sure if this noise is coming from me or is a response coming from some other country, but I begin to revel in this “whoo whoo” sound.

All of a sudden, there’s a sharp pain in my back. I’ve been struck. I hurriedly pull out my head—it’s the boss. He’s watching me. “Are you looking to be fired?”  His posture conveys this meaning. Finding myself in a bind, I lower my head and glance about. Just as I don’t know what to do next, there’s suddenly a disturbance off in the distance. The boss’s attention is instantly drawn to it.  Our tiny sentries have discovered some suspicious characters: some guys poking about. The boss quickly signals for everyone to run over and handle these invaders as a group, so we charge over right away.

The invaders are a few weasely looking guys, poking around, seeing if there is any mischief they might be able to get away with at our workspace.  The sight of us gathered and charging towards them scares them so badly they turn and run.

Most of my coworkers run to the edges of the workspace and stop, craning their necks, angrily watching the fleeing invaders. Only two other coworkers and I keep up the chase. The invaders don’t dare look back and, without stopping, we chase them quite far. When we get back, the boss has already forgotten about my loafing and on seeing our triumphant return is so happy he could almost jump. I bet that he wanted to keep on chasing with us, but held himself in check. He goes back to the hidden location.

After a bit of dallying about, it’s already time for midday break and we we’ll go have something to eat. For us workers, this is a happy and relaxing moment. We call to each other and trot over to where we eat.

The place we eat is on the outer periphery of the workspace. It’s bounded by several different workspaces and is a neutral territory. When we run up to it, there are already guys from other workspaces there. When they see us, they stop what they’re doing, crane their necks, and watch us. It isn’t friendly at all. Me and my co-workers also crane our necks, return their stares angrily, and move towards the food, one step at a time. They see how determined we are, are frightened, and move a little bit away. We begin gulping down some food. After a little bit, the guys we chased off are tired of waiting and they start moving this way, pressuring us, step by step.  This time, they are more determined than we are and we recede. By repeating this tug-of-war some ump-teen times, we are finally full; and having eaten our fill, our spirits soar and we jump up high into the air!

Our break is now half-over. Some co-workers choose to defecate, while some others go back to the workspace to lie down for a while. Two remaining co-workers and I decide to stroll about. We start to run along the border of the workspace, we gradually depart from the elliptical arc of the workspace and run to the grassy lawn.  One co-worker starts cheerfully rolling about on the lawn, the other cranes his neck looking out towards our workspace-  don’t know what he’s looking for. I breathe in the lawn’s clean fresh air and continue onward walking deeper into the lawn.

I see someone standing in the center of the field and become curious. Without thinking twice, I run off towards him. Once I’ve run up in front of him I realize he’s extraordinarily tall; I have to strain to look upwards before I can see his face. He’s skinny, with two surprisingly long arms. I stare at him, suddenly regretting it and wanting to run off, but he’s already discovered me and begun speaking to me. I can’t understand what he’s saying, but I’m entranced by his voice. I nervously watch the shape of his mouth, earnestly listening. I want to let him know I’m listening, and furthermore, that I understand.

“I stand here like an airplane; I have passengers, but they aren’t real passengers.  I carry them into the skies and then, with parachutes on their backs, they jump down.  One after another, and one after the other they jump into the boundless void. They are just like seeds, and after they hit land they will grow forth miraculous stuffs, some scenery, they become scenery. I will continue to fly, fly to a distant place where there are real passengers, honest to goodness passengers, and I will carry them into the sky and bring them here. They don’t have parachutes and the will not jump into the void, one after another. They will admire the scenery along the way, the scenery that the skydivers have become. I hope they can see some wonderful scenery.”

While the stranger is saying this, I’m entirely frozen in place, my eyes opened wide, understanding nothing, but unable to stir. I begin to have a vague sense of danger. “Have I come upon a bad person? Have I been hypnotized? Am I going to be beaten? Am I going to be carried off? Will I die?” I nervously wonder.

“So, are you willing to be my passenger?” the stranger invites me. But I am unable to answer and unable to run away. I don’t move at all. I’m frightened.

When I return to normal, it feels like it’s already been a long time since the stranger disappeared. It seems like he asked me so many times “will you be my passenger?” Yet that could also be a hallucination. In the lawn outside the workspace we often succumb to hallucinations. When my mind recovers, I find I’m squatting on the ground like a big bird preparing to fly. This posture seems to say “I want to fly”…NO…No.., I shake my head and turn around preparing to return to the workspace. I then notice my two co-workers observing me, they are concerned for me. I run towards them, and seeing that I’m safe and sound, they start happily scampering around me. To return this kind sentiment, I spin round really fast until I’m so dizzy I can’t see straight and I fall to the ground.

Break is over, and we run back to the workspace. I still haven’t recovered from my recent experience. I stand in the corner watching the” patter patter” of my sweat dripping to the ground. I stare at my sweat as it is quickly breathed in by the workspace. I start again to struggle with the workplace—- “Who says I’ll give in? !”

Just as I’m forgetting my work, another huge “Bang” sounds out. I jump up in alarm as do my other co-workers. We all vigorously crane our necks. This time, the noise came from the direction of the boss’s hidden location and we run over there together. The boss is standing there in the hidden place, craning his neck, nervously looking on in anticipation. We watch him in anticipation. But nothing appears. We relax, but the boss is still vigorously craning his neck.  He’s had a shock and can’t calm himself down, his nerves are spent. We can only leave him here, quietly backing out to our own work corners. We start to rhythmically struggle with the workspace, also sneaking  peeks at the exit of the boss’s hidden area.  After a long time, he comes out, looking weary and exhausted. He looks us over for a moment and then lowers his head and runs towards his home. He needs rest, he needs sleep.

After the boss leaves, we gather around in a circle and play a game called “we’re pretty grood,” and at its end come together in a group dance. Rather than say we’ve forgotten our work, it would be better to say that our work has dissipated of its own accord. We dance and dance, circle after circle spinning round, on and on until the sun sets in the west. It’s time to call it a day and each of us viciously slaps at the corner we are responsible for. We frantically nod our goodbyes at each other and then run off towards our own homes.

On the way back, I can’t help but think, I’m going to have a sleep in my home, dream, and then ‘tomorrow’ will arrive and I will again run to the workspace. Sooner or later there will be a day when our workspace becomes sleek and bouncy. We’ll be able to prance and move about at amazing speeds without the slightest effort. We will become one with our workspace.  Just thinking about it, my body is fully invigorated; and, with my full might, I start to jump!

 

 

 
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Posted by on November 19, 2011 in stories

 

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Dr. Green’s Misfortune

Dr. Green’s Misfortune

The following is a translation of Yue Zhu’s curious story “格林大夫的遭遇“ . It’s a strange mixture of Borges and Dahl that I think you’ll enjoy. The translation went a little better this time, though it took a lot of time. Please tell me if you find typos.

Dr. Green paced about in his private clinic, sullenly looking over the floor, the light red medicine stains catching his eye. He went to the window and pulled the dark green curtains closed. As he did so, he caught a glimpse of Gelb the butcher crossing the plaza and heading towards him and this apartment he rented. Intuitively, Green knew that Gelb was coming to him as a patient. And sure enough, not five minutes later, the clinic doorbell rang. Green shook off his mood, put on a slight smile, and opened the door.

Without even waiting for Green to speak, Gelb entered at a brisk pace, pulling the door closed as he did so.  His face was ashen, his lips swollen like small eggplants. Green noticed that Gelb’s corpulent figure seemed stiff with rickets, as if he couldn’t even manage a stretch.

“Looks like you’re in bad shape, Mr. Gelb. What’s happened?” Green indicated that Gelb should take a seat.

“Take a look and tell me what this is” said Gelb as he pulled off his jumper and turned around, letting Green see his bare back.

“God, what is it?!” Green retreated two steps. On Gelb’s back, there was a small, flesh-colored house, which was actually an enormous growth.

“It looks like a house, doesn’t it?” Gelb twisted his head around and asked.

“It does indeed look like a house, but there’s nothing to it, it’s only a growth with a special shape and nothing more”, Green regained his composure, and drank what whiskey remained in his glass with a single gulp.

“No, it’s not just that, it’s really a house.” Gelb frowned and shook his head back and forth despairingly.

“Come here and climb up on the surgery table, I’ll cut it off for you, but first I have to make some preparations.” Green deftly washed his hands with disinfectant, put on gloves, and got out the surgical instruments.

“Wait, Doctor, Wait… listen….”

Green had already prepared the anesthetic and was a bit impatient, but nevertheless went over and lowered his head to listen closely. From inside the flesh house came the sound of singing, one male voice and one female. Green thought he must be mistaken, and stuck his ear in a bit closer. It was “Ode to Joy”, but a little off key.

“Is that you singing?”, Green looked over at Gelb.

“Of course not. A boy and a girl live in that house. They’re brother and sister and always chatting.”

“Well then, this is a bit complex. We’ll first need to need to cut these residents off you; they are the tumor’s soul.” Green pondered this, feeling that his own words were a bit ridiculous.

At this point, the flesh house’s door opened and from inside emerged a little tumor boy who circled round the house as if he were planting seeds. Then, he went back inside and closed the door with a bang.  Not long after, the area surrounding the flesh house grew little red flesh sprouts.

“I planted some roses, what do you think?”, the boy said. The flesh house’s window opened and a tumor girl stuck out her head, “They’re beautiful! You’re the best brother!”

Green gave Gelb a shot of anesthetic and then grabbed a shiny silver scalpel , cutting off all the flesh sprouts in a single motion. From inside the flesh house came the sound of a girl crying. Green calmly surveyed the flesh house, thinking over the next step of his strategy. Suddenly, his nose began to itch and he raced to the mirror where he saw that his entire nose had grown little red flesh sprouts. Clenching his teeth, he cut the little sprouts off one by one, with blood gushing forth. He applied a cotton swab to stop the bleeding, wrapped his nose with gauze and adhesive, and picked up his scalpel to approach the flesh house anew. He furrowed his brow at them, but the two of them just started to laugh. Gelb, hearing the laughter let out an angry roar.

Green thought up a plan. He went to the kitchen, stirred together a little bit of flour, milk, and sugar, and put this mixture into the oven. Shortly thereafter, it turned into a peculiar, fragrant little cake. By way of decoration, Green took a cherry and put it on top of the cake, then placed it on Gelb’s back, that is, in front of the flesh house’s door.

“Brother, take a whiff, it smell so good!”, the girl said.

“Hmm, it does smell good, but it could be a trap.”, the boy said.

Green took his scalpel and quietly squatted beside the surgery table.

“Brother, I’m hungry; go bring that cake in here.”

The door opened and the tumor boy carefully stepped out. His feet and the skin of Gelb’s back were attached to each other, so that as he took a step forward, Gelb’s skin was pulled upward. Just as the boy lowered his head to take the cake, Green sprang up, and raising his hand to bring down the blade, cut him right off. Only a sad, shrill little cry of pain could be heard. The tumor boy rolled down onto the surgery table, dripping in blood and twitching uncontrollably.

“Brother, what’s happened?!”, the girl cried out.

Green and Gelb roared with laughter. Green laughed until his stomach hurt, proudly looking at his own scalpel as if entranced. “You killed my brother?” The girl pushed open the door and charged out, furiously staring at Green who was doubled over with laughter. Green once again raised his hand and brought down his blade; again there was cry of pain, and the tumor girl rolled down next to her brother’s body. She died without time to close her eyes, and she still glared at Green just as before. Green bundled them up in some gause and brought them over to Gelb.

“These things are really disgusting, they wreak of stinking fish!’, Gelb covered his nose with his hand.

“Now it’ll be easy to deal with that house, I’m going to pull it out from its roots!”, Green said as he brought his knife to the flesh house’s door.

Suddenly, an old woman’s voice came from within, “As long as I’m still here, don’t even think about knocking down my house. Get my grandson and granddaughter and give them back to me.”

Green and Gelb were stupefied. Before they could recover their senses, hundreds of tumor men and women poured forth from the flesh house. They sang as they went to work. In no time, there appeared on Gelb’s back, a fleshy town. There was a clock tower, plaza, church, city hall, commercial district, and so on. Green even thought that in the midst of it he caught a hazy glimpse of the apartment building where he had his clinic. After completing the construction, the tumor people gathered in the public square, stomping their feet in unison and singing a majestic martial ballad. Green had the feeling that he’d heard this song in his youth, but couldn’t come up with its name.

“Save me, Doctor! Save me!” Gelb squealed like a pig being slaughtered.

Green went once again to the window and opened the curtains, looking out at the plaza. His ex-wife was just then leading two fair-skinned children to feed pigeons in a corner of the square. A pigeon landed on his daughter, who shrieked and ran with laughter. Green tore the gauze off his face, and let the sunlight shine down on his nose. He felt that this might disinfect it.

Gelb did not continue howling; he might already have been dead or have already accepted his fate. Green pushed open the window, stood on the dust covered windowsill,looked at his watch and the clock tower at the end of the plaza, then stepped off the edge.

 
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Posted by on November 10, 2011 in stories

 

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Fadecraft: interview transcript

Fadecraft: interview transcript

The following is a translation (with some small liberties taken) of Yue Zhu (朱岳)‘s  short-story, “消失术“访谈录。 On the word ‘fadecraft’: the phrase “the art of vanishing” was a little too clunky, although it sounded pretty, and a neologism is appropriate as the author uses one in Chinese, but I’m still not quite satisfied. Using -ology makes it too scientific and less of an art form. “fadecraft” sounds a little too silly, but that might be a good thing. Let me know if you think of something better. 

 

Foreword

Ayr:

“Fadecraft” is to most people an unfamiliar word. It is actually a very unique popular art form. In the course of preparing for this interview, I have begun to have some slight understanding of this art’s core substance, but if you wanted me to describe it, I wouldn’t know where to begin. Today, we are fortunate to have fadecraft master Mr. Drayton join us; and I’m confident that in talking to him, the mysterious fog enveloping this subject can be dispersed.

Discussion

Ayr:

Mr. Drayton, would you please explain to us what is meant by “Fadecraft”?

Drayton:

Excuse me, first I must correct a small slip that you made. I’m really not a fadecraft master, I’m only an enthusiast,  an insider. Fadecraft isn’t really mysterious, it’s just that it’s true meaning naturally evades peoples’ line of sight. Now, let me attempt to introduce the basic feel of fadecraft. Many of us, when we were students, have had an experience like this: the teacher has assigned homework to prepare for class, but you haven’t done it.  As the teacher looks for a student to answer his questions; his eyes sweep over the classroom. You’re nervous that the teacher will choose you, but what can you do to put yourself outside his notice? If you appear jittery, it’s very likely that the teacher will call on you, but if give him a little smile, he might also take a shine to you. In this kind of situation, what on earth can you do? This is the problem that fadecraft seeks to resolve.

Ayr:

So can we say that fadecraft a technique for helping us stay out of others’ sight?

Drayton:

That’s not precise enough, fadecraft isn’t what we normally mean by ‘evasion’. It isn’t stage magic; there’s a fundamental difference between fadecraft techniques and stage magic’s sleight of hand. It also isn’t camouflage; it doesn’t use props,coloration or the like. Fadecraft afficianados look down upon obfuscation and sleight of hand, because they are methods contrary to the natural state. Relying on equipment etc., is even more vulgar. That sort of thing is often mocked by my colleagues as the “bionic fadecraft.” In competitive fadecraft, these two methods are prohibited.

Ayr:

You just mentioned “competitive fadecraft”, how are competitions held?

Drayton:

Fadecraft competitions are held amongst the crafts’ enthusiasts, and the contests’ structure really is a bit special. Usually, twenty fadecraft devotees form a group, then spread out and stand in a broad open area, after which an outsider will carry their photographs (drawings in ancient times) and approach them to identify them. The later a person is identified, the higher their place in the rankings. The photos are all provided to the contest organization committee by the participants themselves, and the committee members carry out strict appraisal of each picture.  The contestant and the image must be sufficiently identical. When the pictures are placed in the seeker’s hands, they are just like a deck of cards placed in a random order, and moreover, every time a person is identified, the ‘cards’ must be newly shuffled.

Ayr:

This is the first time I’ve ever heard of this type of contest, but the feeling I get is that winning or losing would be based entirely on luck.

Drayton:

That’s not an unreasonable thought. Every contest has an element of luck. Contests not only test skill, but also test luck; and fadecraft competitions are no exception. Yet, as the finalists are always the same few people, we must conceded that winning fadecraft competitions isn’t entirely a matter of luck. For example,  fadecraft master Shirle once won 61 consecutive contests, and this streak was only broken when he came across another international level master, the Dane Finsen.  As Schirle recollects, that contest was truly gut-wrenching. At the final stage, only he and Finsen had yet to be identified. Finally, he was defeated, but wholeheartedly conceded defeat, as even he hadn’t noticed Finsen’s presence, even though he had been looking forward to meeting him.

Ayr:

But how is this done? How can you stay out of other’s sight without relying on any camouflage or sleight of hand at all? Can you reveal a few of the secrets to our audience?

Drayton:

The skills of fadecraft are very difficult to put into words, and must be implicitly understood. My own trick is to pretend I never existed. When you think like this, you become a bystander to the whole affair, and the posture of a bystander is the most transcendent. The central premise of fadecraft is to let your mind and body melt into nature. Normally, people first notice what is irregular, so the more natural something is, the harder it is to discover. However, I must say, all the techniques and methods are secondary, as fadecraft isn’t really a competitive activity, but a state of mind. This spirit permeates the lives of the fadecraft masters.  For accepting the invitation to participate in this interview, I will presumably by scoffed at by some of the old poseurs in our field. One can hardly blame them; to a fadecraft devotee, appearing on television is a ridiculous thing. However, I have my reasons. In today’s society, putting one’s face out there is actually the most natural thing there is; the purest fadecraft isn’t to use vanishing to promote oneself, but rather to strive to totally disappear. Not only to vanish from the public, but also to strive to vanish from one’s own group. I think, my fellow practitioners, must reflect on this point.

Ayr:

When you say “vanish”, I really feel like you might just suddenly disappear .  Finally, I’d like to ask, what does fadecraft mean for ordinary people? Does it have any practical use?

Drayton:

Haha, as I already said, fadecraft is a form of spiritual cultivation, and it can lead one to a deeper understanding of nature, life, others and oneself. So, I tend to view it as a type of practical philosophy. But in everyday life, it is of course very useful. There are always moments when you must “hide in plain sight” from superiors, police, creditors, or one’s own wife. I even hope that I might rely on my skill to “hide in plain sight” and avoid Death himself.

Ayr:

Maybe you can even avoid the final judgment at the end of days?

Drayton:

That, I’m afraid, is impossible, but I can strive to be the last person judged.

 
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Posted by on November 3, 2011 in stories, Uncategorized

 

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