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Shifu, You'll Do Anything for a Laugh: A Novel
Shifu, You'll Do Anything for a Laugh: A Novel
Shifu, You'll Do Anything for a Laugh: A Novel
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Shifu, You'll Do Anything for a Laugh: A Novel

Rating: 3.5 out of 5 stars

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Mo Yan, China’s most critically acclaimed author, has changed the face of his country’s contemporary literature with such daring and masterly novels as Red Sorghum, The Garlic Ballads, and The Republic of Wine. In this collection of eight astonishing stories—the title story of which has been adapted to film by the award-winning director of Red Sorghum Zhang Yimou—Mo Yan shows why he is also China’s leading writer of short fiction.

His passion for writing shaped by his own experience of almost unimaginable poverty as a child, Mo Yan uses his talent to expose the harsh abuses of an oppressive society. In these stories he writes of those who suffer, physically and spiritually, under its yoke: the newly unemployed factory worker who hits upon an ingenious financial opportunity; two former lovers revisiting their passion fleetingly before returning to their spouses; young couples willing to pay for a place to share their love in private; the abandoned baby brought home by a soldier to his unsympathetic wife; the impoverished child who must subsist on a diet of iron and steel; the young bride willing to go to any length to escape an odious, arranged marriage. Never didactic, Mo’s fiction ranges from tragedy to wicked satire, rage to whimsy, magical fable to harsh realism, from impassioned pleas on behalf of struggling workers to paeans to romantic love.
LanguageEnglish
PublisherArcade
Release dateJan 5, 2012
ISBN9781611459531
Shifu, You'll Do Anything for a Laugh: A Novel
Author

Mo Yan

Mo Yan (pseudónimo de Guan Moye, y que significa literalmente «no hables») nació en una familia de granjeros. Dejó la escuela muy joven, durante la Revolución Cultural, para trabajar en una fábrica. Posteriormente se alistó en el Ejército Popular de Liberación. Entre sus novelas destacan El sorgo rojo, llevada al cine por el director Zhang Yimou, La vida y la muerte me están desgastando o Grandes pechos, amplias caderas.

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Rating: 3.641304347826087 out of 5 stars
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  • Rating: 5 out of 5 stars
    5/5
    Mo Yan won the Nobel Prize for Literature in 2012. The Chinese writer discusses his writing in the Preface of his collection of 8 short stories in Shifu, You'll Do Anything for a Laugh. The writer grew up poor in a rural area of China and was pulled out of school to help his family with their farming work. Mo Yan was lonely and developed a habit of telling stories about his observations of his sparsely populated environment. His incessant story telling caused his mother to wonder, if he ever stopped talking. This question produced a nick name, Mo Yan that means don't speak. During his farm work, he met a writer toiling in the fields as punishment for being a right wing agitator during China's Cultural Revolution. Mo Yan liked the descriptions of the writer's life related to writing stories and being able to afford three meals a day during times of famine and restrictions of individual freedom.1. In this collection of short stories, the title story Shifu, You'll Do Anything for a Laugh is a tale of downsizing of old factory jobs to make way for new workers in a business-booming China. It also describes social hardships resulting from dramatic economic change.2. Man and Beast is a story of intercultural redemption and forgiveness played out on an isolated mountainside on the island of Hokkaido.3. Soaring is a fable of perceived beauty and ugliness and societal forces that lead to tragedy and deliverance.4. Iron Child is a fable of persecution and resilience but final acceptance of inescapable human destruction.5. The Cure illustrates the ultimate solution to societal problems that seems to haunt all totalitarian political systems. The ultimate degradation of the human spirit turns the solution into an identification with the aggressor.6. Love Story is a tale of young love in the failed utopia of the Cultural Revolution in the middle decades of the 20th Century in China. In spite of the political insanity, human beings continue to procreate and evolve beyond temporary "absolute truths."7. Shen Garden explores the meaningless life of a "successful" man who turns his back on the one love relationship that could have resulted in ego integrity rather than despair.8. Finally, Abandoned Child is the story of a common occurrence in a country where the government mandates social engineering justified by the idea that family planning will curb natural evolution and allow the establishment of a Utopian society.Mo Yan's handpicked set of 8 stories was first published in 2001 then re-released in 2011. He set the context in the book's Preface by writing that, "Looking back some forty years, to the early 1960s, I revisit one of modern China's most bizarre periods, an era of unprecedented fanaticism." China was burdened by "economic stagnation and individual deprivation."Mo Yan's stories reflect his development as a writer starting in the 1980s "when China opened its door to the outside world, that we finally began to face reality, as if waking from a dream." In this volume of unique short stories, the reader can see in part why Mo Yan won the Nobel Prize for Literature in 2012. You can understand why some critics have labeled Mo Yan's style of writing as "psychedelic realism."
  • Rating: 4 out of 5 stars
    4/5
    This is a collection of short stories (some longer) by the amazing Mo Yan. After first reading Red Sorghum, which is one of the most riveting, visceral, most affecting novels I have ever read, his other work seems quite different. For one thing, as in The Republic of Wine (see my review), he is very funny. At the same time, his writing reflects the realities of Chinese life for the past fifty or sixty years. Some of these stories might seem a bit incomplete or be less than appreciated by readers who don't have some understanding of modern Chinese history, the rise of the Communist Party, and all that implies. My rating of 3 1/2 stars isn't meant as negative, however; I just have to place this book in context with his others. I enjoyed every story, whether it was one of the more realistic ones or one of the two he says are basically fables. I also enjoyed his introduction, which seems to be a mixture of autobiographic fact and fancy. Some may be annoyed with his self-estimation of his writing ability, but the originality in this and his other works backs up his boast. Whether you fall in love with a particular story here or not, you must agree that it is original and good reading. Most of the stories are really about dealing with change, and that is something we can all identify with.
  • Rating: 2 out of 5 stars
    2/5
    I was really disappointed with this book of short stories by Mo Yan. There were 8 stories in all. The first story is the longest and is about an elderly man who, after being laid off when the factory he had been working in had to downsize, becomes a surprising entrepreneur. The second is a rather convoluted story about a man's grandfather who discovers his hatred for his enemy hasn't destroyed the core of his humanity. The third story of a bride in an arranged marriage to an ugly older man is one of a fantastical escape, the ending of which was rather puzzling. The fourth story is the story I most disliked in this book, and is about a boy who turns into a rusty iron demon. The fifth story about filial piety and the desensitization of man after he has been exposed to a surfeit of violence, was, I thought the most powerful in this book. The sixth story is about an unlikely love affair between 2 young people in a re-education camp in the countryside during China's Cultural Revolution. The seventh story, I thought a rather sweet romance with a surprisingly humorous end. The eighth and last story about an abandoned baby girl highlights China's one child policy and the unimaginable number of children who are abandoned or killed.I thought the author managed to impart his subtle messages only in the first, fifth and eighth stories. I didn't care for the others and am only thankful that it's a compact book which didn't take up a lot of my time.
  • Rating: 5 out of 5 stars
    5/5
    Written by one of the most recent recipients of the Nobel Prize for Literature, this collection is an entertaining mix of phantom and reality, socio-political concern and the day-to-day business of life. The stories and characters are all enchantingly believable, even when and where they leave reality behind in favor of something more speculative, often achieving in the process a frightening version of magical realism. There's no doubt in my mind that the stories here will haunt me for some time, and draw me back to re-read and pass on the journeys to other readers. On a side note, I haven't the faintest idea why the work is regularly labeled as a novel online--it is a collection of short stories, not interconnected by anything but the occasional theme. Regardless, this is absolutely recommended.
  • Rating: 5 out of 5 stars
    5/5
    This collection of short stories by Mo Yan contains a wide variety of of themes and serves as a great introduction to Mo Yan for those not already familiar with him. There are eight stories total but in this review I’ll focus on my favorite three: “Shifu, You’ll Do Anything For a Laugh,” “Soaring,” and “Abandoned Child.”“Shifu, You’ll Do Anything For a Laugh” is about Ding shifu, who’s been working for the same factory for years and is mere days away from his retirement when the company decides to let go of most of their workers. The title “shifu,” is given to people who are a master of their trade, or just as a way to show respect to someone who has been working for a long time. With no hope of getting his due pension, Ding shifu has to find a new way to support his family and falls into despair. He gets a business idea when he spends an afternoon watching young couples in the park sneak off into the woods to get close. He builds a shack which he charges these young couples to use and makes a killing at it, at least until a couple comes along months later who enter the shack and then become deathly quiet. Convinced the couple has committed double suicide, Ding shifu runs around town trying to figure out what he should do. When he finally brings a police officer to the scene, they find no one in the shack. In this realistically bleak and yet humorous story the reader is left wondering what forces of nature had stepped in and brought an end to Ding shifu’s less than honorable business. Were they ghosts? Did the couple play a joke on Ding shifu for making money off of young love?In “Soaring,” a newly wedded bride gets a look at her new groom and takes off flying– literally. The entire town gives chase, trying to coax her down as she gets further and further away from her new home. Even her own family gets involved and begs her to accept her marriage or she’ll ruin the marriage for her mute brother which was so hard to set up and is contingent upon the poor girl’s marriage. Nothing affects the flying bridge, who eventually ends up sitting in a tree with the entire crowd watching her. Finally she is shot down and killed with a bow and arrow, and the groom laments the loss of his beautiful bride. Again humor mixes with a stark portrayal of truth about how powerless bridges are in their arranged marriages.The last story of the collection is “Abandoned Child,” which describes the terrible effects the one child policy has specifically on those who live in the rural parts of China who still cling to the belief that male children are more valuable than female. The main character finds a baby girl abandoned in a sunflower field and brings her home. His family is devastated and angry because he already has one child, a girl, and all of their hopes were for him to produce a second, male, child. He goes to the local government which suggests he go around and ask widows/widowers if they would take in the child, but he finds that these families also only want boys. Meanwhile the government official mentions that if the rescuer keeps the child, he’ll have to pay the fine for having more than one child. The story ends with the fate of the little girl unclear and the main character disgusted by the people of his hometown. This story is devoid of the humor of the previous two but the narrator of the story has a disillusioned, desperate tone that will stay with you long after you finish reading.

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Shifu, You'll Do Anything for a Laugh - Mo Yan

Shifu, You'll Do Anything for a Laugh

1

DING SHIKOU, OR TEN MOUTH DING, HAD WORKED AT THE Municipal Farm Equipment Factory for forty-three years and was a month away from mandatory retirement age when he was abruptly laid off. Now if you put shi (+), the word for ten, inside a kou , the word for mouth, you get the word tian ( ), for field. The family name Ding can mean a strapping young man. As long as a strapping young man has a field to tend, he'll never have to worry about having food on the table and clothes on his back. That was his farmer father's cherished wish for his son when he named him. But Ding Shikou was not destined to own land; instead he found work in a factory, which led to a far better life than he'd have had as a farmer. He was enormously grateful to the society that had brought him so much happiness, and was determined to pay it back through hard work. Decades of exhausting labor had bent him over, and even though he wasn't yet sixty, he had the look of a man in his seventies.

One morning, like all other workday mornings, he rode to the factory on his 1960s black and obstinate, clunky Grand Defense bicycle, which presented quite a sight among all the sleek lightweight bikes on the street. Young cyclists, male and female, first gave him curious stares, then steered clear of him, the way a fancy sedan gets out of the way of a lumbering tank. As soon as he pedaled through the factory gate, he saw a group of people clustered around the bulletin board. The voices of a couple of women rose above the general buzz, like hens about to lay eggs. His heart fluttered as he realized that what the workers feared most had finally happened.

He parked his bike and took a look around, exchanging a meaningful glance with old Qin Tou, the gateman. Then, with a heavy sigh, he slowly walked over to join the crowd. His heart was heavy, but not too heavy. After word of imminent layoffs at the factory had gotten out, he went to see the factory manager, a refined middle-aged man, who graciously invited him to sit on the light-green lambskin sofa. Then he asked his secretary to bring them tea. As Ding held the glass of scalding liquid and smelled its jasmine fragrance, he was engulfed in gratitude, and suddenly found himself tongue-tied. After smoothing out his high-quality suit and sitting up straight on the opposite sofa, the factory manager said with a little laugh:

"Ding Shifu, I know why you're here. After several years of financial setbacks here at the factory, layoffs have become unavoidable. But you're a veteran worker, a provincial model worker, a shifu — master worker — and even if we're down to the last man, that man will be you."

People were crowding up to the bulletin board, and from his vantage point behind them, Ding Shikou caught a glimpse of three large sheets of paper filled with writing. Over the past few decades, his name had appeared on that bulletin board several times a year, and always on red paper; those were the times he had been honored as an advanced or model worker. He tried to elbow his way up front, but was jostled so badly by the youngsters that he wound up moving backward. Amid all the curses and grumbling, a woman burst out crying. He knew at once it was Wang Dalan, the warehouse storekeeper. She'd started out as a punch-press operator, but had mangled one of her hands in an accident, and when gangrene set in they'd had to amputate it to save her life. Since it was a job-related injury, the factory kept her on as a storekeeper.

Just then a white Jeep Cherokee drove in the gate honking its horn, seizing the attention of the people fighting to read the layoff list; they all turned to stare at the Jeep, which looked as if it had just come back from a long, muddy trip. The clamor died down as dazed expressions showed on the people's faces. The Jeep looked a little dazed too, its horn suddenly silent, the engine sputtering, the tailpipe spitting out puffs of exhaust. It was like a wild beast that sensed danger. Its gray eyes stared as they fearfully sized up the situation. At roughly the same time it decided to back out through the gate a chorus of shouts erupted from the workers, whose legs got the message, and in no time the Jeep was surrounded. It tried to break free, lurching forward and backward a time or two, but it was too late. A tall, muscular young man with a purple face — Ding Shikou saw that it was his apprentice, Lü Xiaohu — bent down, opened the car door, and jerked the assistant manager in charge of supply and marketing right out of his seat. Curses rained down on the man's head, translucent gobs of spittle splattered on his face, which by then was a ghostly white. His greasy hair fell down over his eyes as he clasped his hands in front of his chest, bent low at the waist, and bowed, first to Lü Xiaohu, then to the rest of the crowd. His lips were moving, but whatever he was trying to say was drowned out by the threatening noises around him. Ding couldn't make out a single word, but there was no mistaking the wretched look on the man's face, like a thief who'd been caught in the act. The next thing he saw was Lü Xiaohu reach out to grab the assistant manager's colorful necktie, which looked like a newly-weds’ quilt, and jerk it straight down; the assistant manager disappeared from view, as if he'd fallen down a well.

A pair of police cars stormed up to the compound, sirens blaring. This threw such a scare into Ding Shikou, whose heart was racing, that all he could think of was getting the hell out of there; too bad he couldn't get his legs to follow orders. Finding it impossible to drive through the gate, the police parked their cars outside the compound and poured out of the cars; there were seven of them in all — four fat ones and three skinny ones. Armed with batons, handcuffs, walkie-talkies, pistols, bullets, tear gas, and a battery-powered bullhorn, the seven cops took a few unhurried steps, then stopped just outside the gate to form a cordon, as if to seal off the factory gate as an escape route. A closer look showed that they probably weren't going to seal off the factory, after all. One of the cops, who was getting along in years, raised the bullhorn to his mouth and ordered the workers to disperse, which they did. Like a wolf exposed in the field when sorghum stalks are cut down, the assistant manager for supply and marketing popped into view. He was sprawled on the ground, facedown, protecting his head with his hands, his rear end sticking up in the air, looking like a frightened ostrich. The cop handed his bullhorn to the man beside him and walked up to the cowering assistant manager; he reached down and took hold of the man's collar with his thumb and two fingers, as if to lift him to his feet, but the assistant manager looked as though he was trying to dig a hole for himself. His suit coat separated itself from him, forming a little tent. Now Ding could hear what he was shouting:

Don't blame me, good people. I've just returned from Hainan Island, and I don't know a thing. You can't blame me for this… .

Without letting go of the man's coat, the policeman nudged his leg with the tip of his shoe. Get up, he said, right now!

The assistant manager got to his feet, and when he saw that the person he'd gotten up for was a policeman, his phlegm-splattered face suddenly became the color of a dirt roadway. His legs buckled, and the only reason he didn't crumple to the ground again was that the policeman was still holding him by the collar.

Before long, the factory manager drove up in his red VW Santana, followed by the vice mayor for industry in a black Audi. The factory manager was sweating, his eyes tear-filled; after bowing deeply three times to the workers, he confessed to them that he was powerless in an unfeeling market that was taking a factory with a glorious history down the road to financial disaster, and that if they kept losing money, they'd have to close up shop. He wrapped up his tale of woe by calling attention to old Ding. After recapping old Ding's glorious career, he told them he had no choice but to lay him off, even though old Ding was scheduled to retire in a month.

Like a man who has been awakened from a dream, old Ding turned to look at the red sheets of paper tacked up on the bulletin board. There, right at the top of the lay-off list, in alphabetical order, he spotted his own name. He circled his fellow workers, with the look of a child searching for his mother; but all he saw was a sea of identical dull gray faces. Suddenly light-headed, he squatted down on his haunches; when that proved too tiring, he sat down on the ground. He hadn't been sitting there long before he burst into tears. His loud wails were far more infectious than those of the females in the crowd, and as his fellow workers’ faces darkened, they too began to cry. Through tear-clouded eyes he watched Vice Mayor Ma, that agreeable, friendly man, walk toward him in the company of the factory manager. Flustered by the sight, he stopped crying, propped himself up by his hands, and got shakily to his feet. The vice mayor reached out and shook his grimy hand. Old Ding marveled over the softness of the man's hand, like dough, not a bone anywhere. When he thrust out his other hand, the vice mayor reached out with his free hand to take it. Four hands were tightly clasped as he heard the vice mayor

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