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49 pages 1 hour read

Ha Jin

The Bridegroom

Fiction | Short Story Collection | Adult | Published in 2000

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Stories 4-6

Story 4 Summary: “A Tiger-Fighter Is Hard to Find”

The producers of a television series called Wu Song Beat the Tiger receive a letter from a provincial governor which praises their show. The governor points out a flaw as well, which is that the tiger the hero defeats looks fake. The governor hopes the producers will fix this weakness so that the show might go to Beijing to compete for a national prize.

The producers decide to reshoot the tiger-fighting scene using a real tiger to make the scene look more realistic. They obtain a Siberian tiger, which they keep in a cage behind the office building.

The production team heads to the edge of the woods to shoot the tiger-fighting scene. The medic gives the actor who is to fight the tiger, Huping, a bowl of liquor. He drinks the bowl in one swallow. They then shoot a tranquilizer into the tiger. Director Yu tells Huping, “Remember, once you are in the scene, you are no longer Wang Huping. You are the hero, a true tiger-fighter, a killer” (57). 

The tiger’s cage opens and the scene begins. Huping fights with the tiger until the tranquilizer begins to take effect and the tiger grows weak. Huping jumps on the tiger’s back and begins beating its head, but the animal does not react.

When the scene is over, Huping shouts and laughs and proclaims that he is the best tiger-fighter. People try to calm him down, but he continues laughing and speaking nonsense. He begins to sing. The crew members laugh at him, and they put him into the back of a truck to recover.

In the original tiger-fighting legend, the struggle between the hero and the tiger is supposed to last a long time. They will have to reshoot the scene. Huping is unable to work, though. When hospitalized, he’s diagnosed with mild schizophrenia. After considering all of the options, the producers decide that Huping is the only actor that can do the scene.

They return to the edge of the woods where they shot the previous scene. This time, when the tiger attacks, Huping flees and runs up a tree. The crew then shoots the tiger with a tranquilizer. After the scene is over, Huping refuses to come down from the tree, so they shoot him with a tranquilizer as well. Several men take Huping down from the tree and carry him away.

The producers decide to shoot the scene again using a man dressed up in tiger’s skin. They kill the tiger and obtain its coat. Once more, the production team heads to the edge of the woods. An actor named Old Min agrees to play the role of the tiger, but then changes his mind when Huping appears crazed before the shoot. Finally, the truck driver, a man named Little Dou, agrees to play the role of the tiger. When the scene begins, Huping attacks Little Dou aggressively, kicking him in the face and neck. Director Yu refuses to end the scene, despite the fact that it is clear that Huping is hurting Little Dou. Huping picks up a large rock with the intention of smashing Little Dou with it, but the crew stop him. Little Dou is bleeding and unconscious and taken to the hospital. Huping goes to the mental ward.

After editing, the producers tweak the tiger-fighting scene to look realistic. The television series receives praise and broadcast on several television stations. Little Dou and Huping remain in the hospital. Little Dou should recover eventually, but Huping remains mentally unwell and will eventually transfer to a mental home. 

Story 5 Summary: “Broken”

Colleagues at the Muji Railroad Company talk about a young woman named Tingting. Chang Bofan, the director of the Youth League, wonders whether she is “broken” (71), and says “She must be as broad as a city gate” (71). The colleagues laugh. They notice that a married man in his 40s named Benchou is often in Tingting’s office.

A young worker with a promising future named Manjin is working late one evening. Bofan, Shuwei, and four others suddenly come into the office. They ask Manjin to join them in spying on Benchou and Tingting, who are in Tingting’s office. They hope to catch the two “do[ing] something” (74).

They quietly approach Benchou’s office, where they hear Tingting “panting and moaning” (74), and Benchou humming a song. Bofan knocks on the door and shouts. Tingting attempts to escape out of the office window, but they find her and take her back to Benchou’s office. They take photos of sheets, pillows, and a used condom, and confiscate Tingting’s panties as evidence of Benchou and Tingting’s adultery.

Tingting and Benchou get interrogated separately. Manjin takes notes. The director of the Railroad Company, Director Tan Na, interrogates Tingting. Director Tan Na demands to know the private details of Tingting’s relationship with Benchou. She asks how many times she and Benchou have had sex, where, and how it was. After the interrogation, Tingting must write out a confession for her crime. She asks that her colleagues not tell her home village about the incident.

In the days that follow, Benchou goes to work in the Cargo Service, while Tingting begins a new position at the Telegram Station. Manjin’s roommates try to ask him about the details of Tingting’s affair, but Manjin keeps quiet. He notices that women in the dining hall begin paying him attention, including a tall basketball player he’s attracted to.

One evening he hears nurses in the dining hall talking of going to see a film. Hoping he might meet the tall basketball player there, Manjin decides to attend. While walking to the theatre, Manjin sees Tingting. She enters the theatre and Manjin follows. Once inside, he finds the theatre nearly empty. He doesn’t see the nurses or the basketball player.

A woman appears beside him in the row of seats. Manjin can’t see her face. The woman places her hand on Manjin’s leg and pulls Manjin’s hand onto her leg. Manjin’s hand reaches further up the woman’s leg, and “his fingers opened her fleshy folds” (83). After exploring “around her lips” (84) and “tracing the valleys, caverns, gullies” (84), Manjin sees humans, buffaloes, and paddies on the movie screen and begins to feel sick. He starts retching and the woman apologizes, wipes his hand with a handkerchief, thanks him, and leaves the theatre.

Manjin leaves the theatre and finds a girl in a white blouse near the front entrance. Manjin goes up to her and puts his arm around her and says, “[L]et’s do that again!” (84). The woman screams and two men appear. Manjin runs and the men follow him. Ultimately the two men pin him to the ground and take him to the police station.

Locked in a small office in the police station, Manjin begins to weep. After half an hour, Chang Bofan, his boss, arrives with a few policemen. They interrogate him and Manjin explains what happened. Bofan and the policeman discuss the veracity of Manjin’s story. Bofan attempts to defend Manjin, while one of the policemen demands that they find out who it was Manjin encountered in the theatre. They say that the girl in the lobby of the theatre had been the daughter of a Vice Mayor Nan.

When Bofan talks to Manjin alone, Manjin reveals that he had seen Tingting at the movie theatre. During a second round of interrogations, Manjin shares this fact with the policeman. Manjin explains that the woman in the theatre had wiped his hand with a handkerchief. That night, the police go to Tingting’s home and find a handkerchief. They interrogate her. Though she defends herself, she isn’t able to establish an alibi and must write out a confession of the incident.  

It is rumored that Tingting has killed herself with DDT. She doesn’t leave a suicide note. Manjin remains unsure whether it had in fact been Tingting who sat next to him in the theatre. In the dining hall, girls no longer pay Manjin any attention. He sometimes goes to sleep with Tingting’s panties under his pillow. 

Story 6 Summary: “The Bridegroom”

A deceased friend leaves his daughter, Beina, in the care of the narrator. As she grows to the age of 23, the narrator worries he will not be able to find her a husband because she is timid and homely. Then, suddenly, a man named Huang Baowen proposes to her. Two months later, they marry. The narrator is suspicious and worried about the marriage. He is unsure of Huang Baowen’s motives. Educated, Baowen is highly sought-after by other women, yet he chooses to marry Beina, who has a “fleshy face” (92) that reminds the narrator of a “blowfish” (92).

After eight months of being married, Beina still is not pregnant. One morning, Beina tells the narrator that Baowen hasn’t come home since the night before. The narrator makes calls around town in order to find Huang, but is unsuccessful. The narrator receives a call from the Public Security Bureau. They have detained Huang Baowen for indecent activity. They ask the narrator to come to the Bureau as soon as he can.  

When the narrator arrives at the Public Secretary Bureau, he finds a dozen officials from other companies and organizations. They are all directed to a conference room. A middle-aged man enters; he is Chief Miao from the Investigation Department. Chief Miao tells the group that they are dealing with a case of homosexuality. Many in the group don’t know what the term means and begin to ask questions. Chief Miao explains that homosexuality is when “people of the same sex have a sexual relationship” (95). The accused men will serve a sentence ranging from a few months to a few years.

What had occurred was that the men had formed a group which met on Thursday evenings in an office building. There, they would socialize, dance, cuddle, and kiss. After the meeting with Chief Miao is over, the narrator goes to a room in the basement, where he reads Baowen’s confession and meets with him. Baowen’s confession states that he had only joined the group twice, but he doesn’t deny that he is a homosexual.

During the narrator’s meeting with Baowen, Baowen admits that he liked a man in the group, and that he would’ve done something with the man if he could have. The narrator calls him sick and Baowen says, “So? I’m a sick man. You think I don’t know that?” (97). Baowen claims he tried to cure himself in the past but has never been interested in women. The narrator asks why Baowen married Beina in the first place and Baowen explains that he had told her in the beginning that he didn’t like women and might not be able to give her a baby. He argues that the marriage is beneficial for both of them. Though the narrator is angry, he decides to try to help Baowen as best he can from receiving severe punishments from the government.

Rumors about Baowen began to spread around the factory. The narrator visits Beina at her home to console her. Beina defends Baowen and their marriage. Though they have never slept together in their eight months of marriage, Beina says of Baowen that he is “better than a normal man” (101).

With the help of the narrator, Baowen goes to a mental hospital instead of jail. Beina cries at hearing the good news. The narrator and Baowen bike to the Public Security Bureau before Baowen will go to the mental hospital in a van. Baowen tells them not to tell his mother the truth of his situation. A van arrives and takes Baowen away.

The narrator visits Baowen at the mental hospital. The hospital is located on a mountain southwest of Muji City a few miles. A doctor named Mai tells the narrator that his son-in-law is doing well. The hospital is administering Baowen a treatment called an “electric bath” (104). The narrator asks if he can watch the treatment and the doctor says yes.

The narrator enters a small room with a bathtub along with the doctors, where he sees a bathtub attached to rubber cords and a control panel. A nurse fills the bath up with hot water. Baowen undresses and enters the tub. At first, Baowen appears relaxed in the tub, but as the nurse increases the electricity, Baowen begins to writhe and moan, visibly suffering. Nevertheless, he asks for more electricity.

The narrator steps outside for a few minutes, and then visits Baowen once more after the bath is over. Baowen is shaking. He expresses his hope to leave the hospital soon.  

Around a month later, the narrator and Beina visit Baowen in the hospital again and find him in good health. Baowen and Beina chat and share malted milk and candies. The narrator goes to the nurses’ office and finds the nurse who had administered Baowen’s electric bath, Long Fuhai. The narrator tries to give Long Fuhai a carton of cigarettes as a token of gratitude for treating Baowen with consideration and care, but Long Fuhai suggests that the narrator should give the cigarettes to Dr. Mai instead.

The narrator goes to Dr. Mai’s office. He gives Dr. Mai two cartons of cigarettes and Dr. Mai thanks him and puts them under his desk. The narrator asks the doctor if Baowen might be better before the upcoming holiday. The doctor replies that there is no cure for homosexuality, because “homosexuality isn’t an illness” (111). Instead, the doctor says, homosexuality is simply a preference, or it might be congenital. He gives Baowen an electric bath because the Department of Public Health forces him to do so, but he believes electrotherapy is ineffective in curing homosexuality. Before the narrator leaves, the doctor says he’ll take good care of Baowen.

Five days before the holiday, the narrator receives a call from the Public Secretary Bureau, informing him that Baowen has repeated his crime of homosexuality. He and the nurse Long Fuhai formed a relationship. After a cleaner passed by in the hallway, Long Fuhai became convinced that the man had seen them. Long Fuhai confessed the relationship to the hospital leaders of the hospital. Long Fuhai gets probation, while Baowen receives three and a half years in jail.

The narrator tells Beina about Baowen’s situation. He tries to convince her to divorce him, but she refuses. She says instead that she’ll wait for him to get out of jail. The narrator tells her not to come see him again.

Stories 4-6 Analysis

One important element of “A Tiger-Fighter Is Hard to Find” is Director Yu’s ambition. He obsesses on his show’s success no matter what the cost, even the health of the crewmembers helping him produce the show. This is evident in several places in the story. In the crew’s final attempt at shooting the tiger-fighting scene, for example, Director Yu refuses to end the scene, even when it is clear that Little Dou, the truckdriver who plays the tiger in the scene, is gravely injured. The scene only ends when crewmembers rush onto the set to protect Little Dou. If they hadn’t done that, it isn’t certain that Director Yu would have ended the scene in time to save Little Dou’s life.

One hint as to the nature of Director Yu’s ambition comes in an exchange he has with Huping near the beginning of the story. After giving Huping a copy of the book The Old Man and the Sea, he tells Huping, “A man’s not born to be defeated, not by a shark or a tiger” (56). Director Yu encourages Huping to have the same level of ambition as he does. That is, while Director Yu will not let the technical difficulties of shooting the scene defeat him, he encourages Huping not to succumb to fear of the tiger. While the show ultimately goes on to be a great success, the cost of ambition for Huping is that he loses his mind.

The director shows more regard for the success of the television show than he does for Huping’s life. The end result of this disregard is that Huping loses his sanity permanently. In this way, “A Tiger-Fighter Is Hard to Find” acts as a warning against the dangers of unbridled ambition.

“Broken” illustrates the degree to which authority in communist China can meddle in the personal lives and affairs of its citizens. In this story, two characters must share intimate sexual details while under interrogation. Such a dynamic demonstrates the way that even a person’s most private details can be a public matter under a state of authoritative rule. One character in particular, Manjin, participates in the roles of both the interrogator and the interrogated. Manjin takes notes when Director Tan Na presses Tingting for the most intimate details of her affair with Benchou, and then must provide his own set of personal details when he himself later faces interrogation about a sexual act. The dynamics of the authoritative state thus transcend the control or personal moral preferences of any individual. Instead, all citizens are equally subject to the rules and laws that govern the state.

One of the more interesting elements of “The Bridegroom” involves the way Ha Jin uses point-of-view to tell the story. Ha Jin might have told Baowen’s story from Baowen’s point of view, from his wife, Beina’s point of view, from the nurse Long Fuhai’s point of view, from the police chief’s point of view, or from Dr. Mai’s point of view. Each one of these viewpoints might have demonstrated how homosexuality appears from a different angle in Chinese society. Instead, Ha Jin chooses to tell the story from the point of view of Baowen’s father-in-law.

The father-in-law might represent a conservative, traditional viewpoint of homosexuality within Chinese society. He believes, for example, that homosexuality is a kind of sickness or disease. Interestingly, Baowen himself seems to believe that his sexual orientation is an illness. When the narrator learns that Baowen is homosexual, for example, he tells him, “You’re sick!” (97). Rather than defending himself or arguing otherwise, Huang simply replies, “So? I’m a sick man. You think I don’t know that?” (97). This demonstrates that the belief that homosexuality is an illness is a belief affecting the whole society, and is not merely the personal belief of the father-in-law. 

Questions to this cultural belief only arise when the father-in-law meets Dr. Mai, who tells him directly, “homosexuality isn’t an illness” (111). This is the first time in the story that the father-in-law or any other character considers this possibility. Ha Jin likely knows that most of his Western readers will already be familiar with the idea that homosexuality is not a disease. But by telling the story from the point of view of someone who does not already believe this, he allows readers a powerful window into the cultural preconceptions of China during a specific period of contemporary history.  

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