Zero and Other Fictions is a collection that displays a unique range. Huang Fan has been writing for over 30 years and it shows (though he may have been secluded for nearly a decade during this time, studying Buddhism and not writing much fiction). The “other fictions” included in this collection include a satirical tale of an unknowing political pawn, a humorous allegorical story of enterprise told through infidelity, and a bizarre metafictional piece that includes small illustrations among its many elements. This collection is concise; it is tight, dense, and powerful. Huang Fan is a different writer at every turn, and at each of these turns, a true craftsman.
The prose in “Lai Suo,” the unwitting pawn of a man, emphasizes the protagonist’s lack of agency—he is constantly subjected to experience:
He seemed to hear a number of other sounds. His two maple-leaf ears were completely exposed to the continuous noise on the street—buses, trucks, cabs, motorcycles, as well as the occasional siren of an ambulance as it rushed by. All of these sounds knocked on Lai Suo’s eardrums as if they wanted to penetrate even deeper, but were stopped in the middle by something—it was like an acoustic tile on which was inscribed: LAI SUO, TAIPEI, JUNE 1978, TRAVELER THROUGH TIME AND SPACE.
In the metafiction of “How To Measure a Ditch,” Huang turns directly to his audience:
Well, what eventually happened to those two young ladies? I’m sure a number of readers will be interested in learning if I became friends with one of them or we fell in love.
I won’t say yes and I won’t say no.
My answer is that the future developments with the two young ladies have nothing to do with this story. They returned to their real lives. Like you, as far as they were concerned, this matter was simply one of those occasional variables in life.
As you read this story, you also are “involved in” the story; it’s just that the way you enter the story is completely different from the way those two young ladies entered.
The final story in the collection is Zero, which as Balcom explains in his interview, was revolutionary for the political context in which it appeared. With this in mind, and having read his prose, which leaves no room for error, it seems that Huang is a writer whose words are wrought with an artist’s ideal in mind, that Huang’s literary work is motivated by a pure force that does not cater to even his own whims. Zero is one of Huang’s first attempts at science fiction, and while it does harken back to dystopian classics such as 1984 (with a small “Winston” cameo), it does not leave the reader a satisfying conclusion about where the truth really lies, which is infuriatingly simultaneously unsatisfying and satisfying.
These stories are no small introduction to Huang Fan.
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .