While We're Here: China Stories from a Writers' Colony

by Alec Ash (Editor), Tom Pellman (Editor)

Overview

Anyone who has lived in China has stories to tell. For foreigners and Chinese alike, this is a land that transforms itself every day, with something to write about on every corner. Collected in this anthology are 33 contributions, a mix of narrative non-fiction, fiction and poetry, from the writers' colony the Anthill. Together, they offer glimpses into this quicksilver country—by turns funny, touching and bizarre. Whether we stay or leave, the stories remain.

Product Details

ISBN-13:	9789888273768
Publisher:	Earnshaw Books
Publication date:	05/01/2016
Series:	China Today Series
Pages:	228
Product dimensions:	5.60(w) x 8.20(h) x 0.80(d)

About the Author

Alec Ash (“In the Hutong”) is a writer and journalist in Beijing, founder and non-fiction editor of the Anthill. His book about young China, Wish Lanterns, is forthcoming from Picador. Tom Pellman (“The Tiger Suit”) lives in Beijing and is fiction editor of the Anthill.

Read an Excerpt

While We're Here

China Stories from a Writers' Colony

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By Alec Ash, Tom Pellman

Earnshaw Books

Copyright © 2015 Earnshaw Books and Contributors
All rights reserved.
ISBN: 978-988-8273-78-2

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CHAPTER 1

Model Worker

There's something about Fabien

Jonathan Rechtman

My career as a model started the way all good stories begin: I was walking down the street, minding my own business, when I was propositioned by a slim young Chinese woman with impeccable English, a snazzy white dress, and an attitude to match.

"You're perfect," she said, looking me up and down.

"Well, you've only just met me," I said. "But you're remarkably perceptive."

She ignored this, frowning. "Where are you from?"

"America," I said. "Where are you from?"

Again she ignored me. "I'd like you to call my boss. He is French. I think he would like to meet you. Here is his number," she said, handing me a soap-colored business card. "Please give him a call this afternoon. Tell him Angela gave you the card. Will you be in Chengdu for long?"

"About a month, maybe more."

She frowned again. She actually was quite ugly.

"Well, give him a call anyway. This afternoon. His name is Fabien."

And then she left, tossing her hair with a flick of her delicate, imperceptibly hairy wrist.

I bought a popsicle and sat on a bench to study the business card. The back had a snazzy logo with the letters "WMA" and a website address. The front read "Western Modeling Agency" and "Fabien Marc — Chief Agent/President/Model", with an office address and phone number. And there, in the lower-right corner, was a full-color head shot of Fabien.

The popsicle trembled in my hand. I sat, unmoving and unaware of time or space, paralyzed by the stunning good looks of the man that gazed back at me. Seductive, knowing, beckoning – cobalt eyes and stubble on a finely-sculpted chin, an irresistible come-hither aura projected at unseen women that would surely flock to his tanned, muscled body like iron filings drawn to a man-shaped magnet. This face could capture hearts with but a gaze, induce orgasms with but an expertly boyish wink. This was not a man, no, but a fanciful creation of the divine, a flesh-and-blood tribute to God and GQ.

I pulled out my cell phone and dialed the number on the card.

Two days later, on a hot afternoon downtown, I waited for Fabien at the south gate of Chengdu University. We had arranged to meet there and go back to his office nearby to "discuss the business" and "measure the model." In addition to being a heartthrob, I discovered on the phone that Fabien spoke an adorable brand of pidgin English.

I waited, perspiring heavily in the searing Sichuanese sun. Instead of my regular tank-top and shorts, I had dressed to impress with a pair of heavy black jeans and a button-down collared shirt. I was as uncomfortable as in-laws and sweating like guilt. I looked again at the business card, at Fabien's face, and felt a twinge of panicked excitement, like a high-school sophomore waiting for my prom date. He arrived on a motorcycle.

Blue chopper, white pants, navy shirt, purple shades. Silver chain. Hair gel and cologne. I discovered what the linguists already knew: the word "suave" is derived from French.

"Hello," he said. He looked me up and down as if I were a child, a mouse, an insignificant bug. "You are probably the Jon."

I tried to act cool and American. "Yeah," I said, pausing to take a James Dean drag on an imaginary cigarette. "You're Fabien, huh?"

"I am the Fabien. Hello. We will go to my office. Get on the back of the bike, yeah?" Was he mocking my "yeah"?

Five minutes later we pulled into a nearby apartment complex and climbed three flights of stairs, arriving at a door with a plaque: Western Modeling Agency. Fabien pulled out a ring with two keys, tried one, cursed, then tried the second, opening the door. "I live my house in the apartment next after the office," he muttered, cocking his pretty head down the hall. "Often the keys I choose wrong."

We entered the office, and I blinked hard. It was like someone had tried to imitate an expensive art gallery in Miami Beach using nothing but catalogue sales from Ikea — lots of white space with bright-colored, angular furniture and lamps that curved like snakes. From an adjacent room, European hip-hop played softly on computer speakers. The air-conditioner hummed like Zen. I discovered what the art historians already knew: "Art Deco" is derived from French.

Fabien led me into the other room, which consisted of a desk cluttered with papers and photographs, an assortment of bright pastel chairs and a comfy-looking sofa in zebra print. On the wall was a poster of Fabien posing shirtless with a Chinese girl in his arms. I chose a pink-lemonade colored chair and sat down.

"So first I will tell you about the Western Modeling Agency," he began. "If you want to be the model, you must know my company. Yes," he said, choosing his words carefully, "it is the most foremost modeling agency in the Chengdu city, probably in the Sichuan. If you want to be the model, you must know the Western Modeling Agency, because my company is the only one that is good for Westerners."

Before I could respond, he veered into the hypothetical. "Maybe you are on the street, yes, maybe you are on the street today, and a man, a Chinese man, says to you: 'Oh you for my commercial please be the model! I will give you the money, here is the 100 kuai!' Maybe that will happen, yes? But I say no! I say you are the Westerner – the Westerner!" He beamed at me like he was saying the name of his child. "I say you are not worth the 100 kuai, you are worth the 1,000 kuai! You are worth the 3,000 kuai!"

I nodded sagely, letting the wisdom of his words sink in.

"Now," he said, narrowing his eyes and flashing me a winning smile. "It is time for you to answer the questions."

My anxiety and intimidation had vanished by this point, replaced by a playful amusement. Fabien, pretty as he was, seemed silly now — a nice-smelling man with a fondness for definite articles.

"First question. Why do you want to be the model?"

It was a tough one. I didn't know why I wanted to be the model, and I didn't know what motivations the model was expected to have.

"Vanity," I answered. "Ego tainted with a subtle insecurity."

"Vanity," Fabien repeated, looking worried. He had no idea what the word meant. He paused, looking down at a piece of paper in front of him, perhaps hoping it would offer a definition. Finally, he looked back up at me brightly.

"Second question: Are you confidence?"

"Oh I'm confident, baby," I said, figuring he'd like that. But Fabien only smirked. Your confidence is shit, that smirk said. It is merde compared to my confidence. I loved this guy.

"That's good," he said. "The model must be very confidence. But he must also be" – he paused for emphasis – "he must also be the photogenic!"

I nodded again, and he was pleased that I knew this word. "So," he said to me, "How do you look in the camera?"

As a matter of honest fact, I look terrible in almost every photograph that's ever been taken of me. Regardless of the location, lighting or lens, I invariably appear stoned, angry, salacious, sickly or dead. I most definitely am not the photogenic.

"I'm the photogenic!" I said. "I look great in pictures! Especially in China for some reason. It must be all the tea I drink here – it's really good for the skin, you know."

Fabien seemed satisfied. He got up from the desk and took a little roll of measuring tape from a drawer. It was time to measure the model. He measured my waist and shoulders, and entered the information on a sheet of paper. He asked me for my height and weight.

"Five feet, eleven inches," I said. "About a hundred fifty pounds."

He stared at me blankly. Fabien wanted meters and kilos. He also wanted the European equivalent of my shoe size. I had no idea how to calculate any of these numbers, and we finally had to resort to standing side by side, foot by foot, estimating the relative differences. The entire process was very demeaning.

"Okay," he said when he'd filled out all the spaces on his sheet. "You are good."

That was a relief. Measuring the model had been a lot harder than discussing the business, and I was glad it was over. "I think you will be the okay model, probably," Fabien concluded. "Now you must sign the contract."

He produced two stapled sheets of paper with WMA masthead and the company slogan: "WMA give you the opportunity style to make the fashion difference."

The contract was fairly simple. I, THE MODEL, agreed to work exclusively for THE AGENCY in return for which THE AGENCY would create a photo-portfolio of me to show to THE CLIENT. When THE CLIENT selects THE MODEL to feature in an advertisement or fashion show (THE MISSION), THE AGENCY would negotiate the price and take thirty percent as commission.

I signed it immediately. Fabien signed too, and we shook hands, promising to be in touch in the next week to arrange a photo shoot. Then Fabien showed me to the door.

"Goodbye, Jon," he said. "Have the really nice day, okay?"

"You too, Fabien," I said. "I'll see you the later."

I never saw him again.

Many years have passed, but I still think of Fabien, and always with a smile. I still have my copy of the contract and business card, which I used to carry in my wallet so that his handsome face would never be far from my ass. If I'm ever feeling sad, I think of him lying on a fuzzy rug, straddling a motorcycle, or simply standing there, shirt open, a smirk on his lips and seduction in his eyes, his stubble fine and grey and deliberate, like pencil rubbed carefully on an artist's paper pad.

CHAPTER 2

The Tiger Suit

Fiction

Tom Pellman

The tiger suit stinks. It smells like dried sweat and grass clippings. They make me wear it when we practice catching escaped animals at the Shijiazhuang Zoo. The last time, two weeks ago, they chased me for almost twenty minutes straight, waving their snares, until I fell into some bushes. I tore a small hole in the leg and now I have to remember to stay on Director Wang's right side so he doesn't see it. He says rules are rules. If the suit gets ruined when I'm wearing it, I have to pay for it. That's a rule. Another one is: last person who joined the team wears the suit.

"It's not fair," I whisper to Lao Li, who is sitting next to me in the back of the van. Lao Li is like my grandfather, but kind. "Why do I have to wear it? This isn't some training. This is the real thing."

Lao Li shrugs. "Ostriches are afraid of tigers."

I look down and stick a finger in the hole in my suit. "No, ostriches are afraid of people, with guns."

"Most people with guns," says Yu Zhong, loud enough for the whole van to hear. Everyone bursts out laughing.

"C'mon Hui Ming, of course you have to wear the suit," he goes on, tears still in his eyes. "If that bird ever sees your face again ..." He can't finish, he's laughing too hard.

I try to ignore them by turning back to Lao Li and asking him about the bird. I've only seen it once and, yes, I was a little scared.

He says he doesn't know why the bird comes back to the same place every time it escapes. All he knows is that ostriches come from Africa, so it probably likes the sandy gravel out in the Hi-tech Zone, where everything is still under construction.

"But why does it always go there?" I ask, meaning the Oriental Pearl Hotel.

"It's a five-star hotel. He's got good taste."

Lao Li is pleased with this crack but everyone's done laughing. For the rest of the ride, I study Yu Zhong, watching how he leans back and stares out the window, cradling one of the guns in his arms like a child. He joined the zoo only two months before I did. He's never had to wear the suit.

When we pull up next to the Oriental Pearl Hotel, Director Wang yells for us all to wake up even though no one's sleeping. The scene outside looks like a storm blew through — tables overturned, bits of flowers trampled, a dirty red carpet. From inside the hotel, on the other side of the glass door, there's a row of people peering at us. Director Wang climbs out of the front seat and holds up both hands in greeting. Meishi'r, he yells.

Lao Li starts dividing up the gear — a black fishing net, three lengths of rope, a few long bamboo poles, a motorcycle helmet and the second gun. Yu Zhong slings his over his shoulder without discussion. Then he tucks his shirt into his camouflage pants. Everyone is wearing camouflage except for me.

"Where's your head, Hui Ming?" Director Wang says.

"Do I have to wear it? I can't really see."

"It's for your own protection."

"You won't scare the bird if you don't wear the head," Lao Li points out.

"At least give me a stick," I say, fixing the giant tiger head to my suit.

"We only brought three."

I turn away from them toward the building. Inside, a little boy is waving at me frantically. His face is beaming. I don't wave back.

"Can we just get this over with?" I say finally.

"What?"

No one understands anything I say when I wear the suit.

Director Wang turns from us and marches up the red carpet to meet the hotel manager scowling at the entrance.

"Just make sure he doesn't shoot himself this time," he calls over his shoulder.

Our little militia crosses the wide, empty road to the adjoining construction lot, the one where we found the bird last time. I walk behind them, one hand tugging down on my neck to keep the eye holes in place, the other gripping my tail like a hose. I've worn the suit enough times to know you have to keep it away from your feet.

"There!" someone shouts. A black blur shoots past on my left, close enough that I can hear its claws in the gravel. But by the time I swivel my head, it's gone. I can only make out silhouettes of earth-movers and cranes as we take crunching steps forward.

"He's back there," Lao Li whispers. "We need to flush him out into the open. Hui Ming? Where are you?"

"Here."

"The silent predator," Yu Zhong snorts.

I already know what Lao Li is going to ask me to do.

"And just remember," he finishes. "The bird is the one that's afraid of you. Just be careful of the claws. They're like a chicken's, but sharper."

The bird must have heard me coming because when I peek around the cement mixer, he's already standing at attention, head bowed, huge wings spread. When he starts hissing, I turn and give Lao Li a panicked look, which of course he can't see. Instead, I see Yu Zhong pointing his gun at his foot and pretend to shoot. My face turns hot with anger. They can't see that either, of course.

When the bird raises its head, it seems different. It looks ridiculous standing a full two meters tall on those plucked legs. Tiny head. Wild hair. Long eyelashes. What a stupid-looking animal! It has no idea what its put me through every day for the last six months. I can't say exactly why but I feel an urge to grab it by its delicate neck and squeeze. Yu Zhong doesn't believe I could do it. No one does. But I know I could kill it if I wanted to.

And then I'm charging toward the bird — screaming, groping, stumbling forward. I see a flash of fear in its giant eyes – I'm sure I see it – but it trots away easily when I'm still ten meters away. Once it's gone, I sit down on the dirt, take off my head and wipe away the sweat with my dirty paw.

The chase takes about twenty minutes but Yu Zhong is the one who finally shoots it, of course. By the time I join the others, they are standing in a circle around the thrashing bird, smoking, waiting for the dart's drugs to take hold. A few of them are still breathing heavy.

"That was harder than last time," someone says.

"Dumb fucking bird," Yu Zhong mutters. "Why does it keep doing this?"

Lao Li is squatting closest to it, inspecting its scratched neck. "He's not dumb. He's clever to have escaped so many times."

"It's dumb. So dumb it can't remember that it's got nowhere to go."

When we finally get it loaded into the van, Lao Li uses one of the ropes to lash a few sheets of newsprint around the bird's neck, to stop the bleeding. Its white tail feathers are stained red and brown. We tie the bird's legs together and someone puts a paper bag over its head.

"God, it looks like you've kidnapped it," Director Wang says when he sees us.

"It keeps him calm," Lao Li says. "He'll be fine."

For a few moments, we all listen to the bird's steady breathing, crinkling the paper.

Then, Director Wang yells.

"Hui Ming? Come out here!"

(Continues...)

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Excerpted from While We're Here by Alec Ash, Tom Pellman. Copyright © 2015 Earnshaw Books and Contributors. Excerpted by permission of Earnshaw Books.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

Foreword,
Jonathan Rechtman Model Worker,
Tom Pellman The Tiger Suit,
Sascha Matuszak Flower Town,
Anthony Tao Writers in China,
Karoline Kan Examining the Past,
Josh Stenberg The View,
David Moser The Book of Changes,
Tom Fearon State of Media,
Carlos Ottery Big in Beijing,
Sam Duncan Ayi and I,
Rosalyn Shih Mid-Autumn Lanterns,
Carl Setzer The Cornfield Grave,
Michael Salmon Dumplings,
Cobus Block Life is an Internet Café,
Canaan Morse Nursery Rhyme for Beijing,
Robert Foyle Hunwick Shower Business,
Alicia Lui Censor,
Laszlo Montgomery Made in China,
Jonathan Kos-Read I'm Not a Communist, But I Play One on TV,
Kaiser Kuo Old Chokey Christmas,
Peta Zhimin Rush Family Footsteps,
Magdalena Navarro Short Nails, White Socks,
Jesse Field Awkward Lavender,
Jeremiah Jenne The Mountain Spirits are Laughing,
Tom Mangione Rice Fields,
Aaron Fox-Lerner Back and Forth,
Mia Li Over the Wall,
Courtney Han Roots and Leaves,
Hannah Lincoln Love, Anywhere,
Brent Crane Ramadan in Kashgar,
Yuan Yang Emei City,
Alec Ash In the Hutong,
Daniel Tam-Claiborne If Not for the Melon,
Contributors,
Notes,