"I'm asking you what it's called!" he snapped, fixing me with his gaze.
Again I was alarmed by the three spots of blood in his left eye.
";Mozart . . . ," I muttered.
"Mozart Is Thinking of Chairman Mao," Luo broke in.
The audacity! But it worked: as if he had heard something miraculous, the headman's menacing look softened. He crinkled up his eyes in a wide, beatific smile.
"Mozart thinks of Mao all the time," he said.
"Indeed, all the time," agreed Luo.
As soon as I had tightened my bow there was a burst of applause, but I was still nervous. However, as I ran my swollen fingers over the strings, Mozart's phrases came flooding back to me like so many faithful friends. The peasants' faces, so grim a moment before, softened under the influence of Mozart's limpid music like parched earth under a shower, and then, in the dancing light of the oil lamp, they blurred into one.
I played for some time. Luo lit a cigarette and smoked quietly, like a man.
This was our first taste of re-education. Luo was eighteen years old, I was seventeen.
By a few words about re-education: towards the end of 1968, the Great Helmsman of China's Revolution, Chairman Mao, launched a campaign that would leave the country profoundly altered. The universities were closed and all the "young intellectuals," meaning boys and girls who had graduated from high school, were sent to the countryside to be "re-educated by the poor peasants." (Some years later this unprecedented idea inspired another revolutionary leader in Asia, Cambodian this time, to undertake an even more ambitious and radical plan: he banished the entire population of the capital, old and young alike, "to the countryside.")
The real reason behind Mao Zedong's decision was unclear. Was it a ploy to get rid of the Red Guards, who were slipping out of his grasp? Or was it the fantasy of a great revolutionary dreamer, wishing to create a new generation? No one ever discovered his true motive. At the time, Luo and I often discussed it in secret, like a pair of conspirators. We decided that it all came down to Mao's hatred of intellectuals.
We were not the first to be used as guinea pigs in this grand human experiment, nor would we be the last. It was in early 1971 that we arrived at that village in a lost corner of the mountains, and that I played the violin for the headman. Compared with others we were not too badly off. Millions of young people had gone before us, and millions would follow. But there was a certain irony about our situation, as neither Luo nor I were high school graduates. We had not enjoyed the privilege of studying at an institution for advanced education. When we were sent off to the mountains as young intellectuals we had only had the statutory three years of lower middle school.
It was hard to see how the two of us could possibly qualify as intellectuals, given that the knowledge we had acquired at middle school was precisely nil. Between the ages of twelve and fourteen we had been obliged to wait for the Cultural Revolution to calm down before the school reopened. And when we were finally able to enroll we were in for a bitter disappointment: mathematics had been scrapped from the curriculum, as had physics and chemistry. From then on our lessons were restricted to the basics of industry and agriculture. Decorating the cover of our textbooks would be a picture of a worker with arms as thick as Sylvester Stallone's, wearing a cap and brandishing a huge hammer. Flanking him would be a peasant woman, or rather a Communist in the guise of a peasant woman, wearing a red headscarf (according to the vulgar joke that circulated among us schoolkids she had tied a sanitary towel round her head). For several years it was these textbooks and Mao's "Little Red Book" that constituted our only source of intellectual knowledge. All other books were forbidden.
Excerpted from Balzac and the Little Chinese Seamstress by Dai Sijie Copyright 2001 by Dai Sijie. Excerpted by permission of Knopf, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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