Experienced detective Ding Gou’er does not really know what to expect when he travels to Liquorland on assignment. He is there to investigate unsavory rumors coming out of this region where, allegedly, the people are feasting on the flesh of children and washing it down with their fabled alcoholic beverages. (Local officials insist that the food is only crafted to look human.) Inspector Ding Gou’er (not much of a drinker, we are told) needs to keep his wits about him, but neither can he dare insult the local officials and so finds himself deeply intoxicated by an abundance of toasts. Worse still, Ding Gou’er quickly learns of the local appetites for flesh in all its guises, sexual, sensual, or gustatory, finding himself in debate with Yu Yishi, a dwarf whose stated goal is sexual conquest of all the regional beauties and in bed with the beautiful wife of a local official. Are the poor of Liquorland bearing children in order to supply the culinary academy with “Meat Boys,” or is that just a story told by a local writer with too much alcohol and an overactive imagination? In either case, the environment of Liquorland has a powerfully deleterious effect on the (formerly) respectable inspector.
The corruption of Ding Gou’er, however, represents only one of the three narrative threads that form The Republic of Wine. The other two threads consist of the ongoing epistolary relationship between the eminent author Mo Yan and his younger contemporary Li Yidou, doctoral candidate of liquor studies at Brewer’s College in Liquorland, and the stories written by the latter author. Most of their correspondence involves Mo Yan’s critique of Li Yidou’s stories and their plans to bring Mo Yan to Liquorland to write the biography of a dwarf Yu Yishi, which Mo Yan can only do after completing his latest novel The Republic of Wine. At no point do you read Mo Yan’s novel because, of course, that is what the entire book is. Each chapter in The Republic of Wine consists of all three narrative elements that create a deep discussion about life in Liquorland (a.k.a. a fictional stand-in for modern China), combined with the hallucinatory sensation of wondering what is “real” and what is just another layer of storytelling.
Mo Yan’s weaving together of these three distinct vantage points of a single story while inserting himself and treating all three as varying shades of textual (as distinct from real) makes The Republic of Wine and impressive novel. The closest comparison I can think of to this novel is Curzio Malaparte’s grimly surreal The Skin, but Mo Yan is much more subtle in his visions. And yet, it is only Mo Yan’s literary technique that may be called subtle since The Republic of Wine is an orgy of sensation. This is no straightforward detective tale or psychological thriller, but a story where the reader is sucked into the sensory world of hallucination where he or she is besieged by a riot of colors, tastes, sounds, and smells that threaten to overpower and it is in this aspect of the novel that I most saw Mo Yan’s critique of modern Chinese consumer culture.
For all that I appreciated The Republic of Wine and understood Mo Yan’s 2012 Nobel Prize, I did not love the book. It might have been all the more powerful for its rawness and inconsistencies, and some of my disorientation was, I am sure, intentional, I sometimes had a hard time following along. This was particularly true when there were allusions or references to Mo Yan’s other books, and I sort of wish I had begun with one of his others. More problematic for me, though, and something that I have had trouble with in other translations of Chinese-language novels, was that I did not particularly love any of the characters and in the absence of a strong plot, I sometimes found myself adrift.
Next up, I recently finished (and loved!, minor peccadilloes aside) N.K. Jemisin’s debut novel The Hundred Thousand Kingdoms. I am going to read the other books in that trilogy in short order, I suspect, and I picked up the second from the library yesterday, but I am currently reading a history of the city of Odessa, in part because I have family that lived there before coming to the United States.