Just recently, I began listening to the transcriptions and reimaginings of Bach’s music written by the Italian pianist Ferrucci Busoni; these albums had been part of my father’s music collection and now they are part of mine. Two hundred years separate the births of Bach and Busoni, yet I find these transcriptions intricate and terribly beautiful. Why did Busoni transcribe Bach? How does a copy become more than a copy? Is art the creation of something new and original, or simply the continuous enlargement, or the distillation, of an observation that came before? What answer would my father give?
In 1989, when he left my mother and me, he waited in Hong Kong for Sparrow to come. I was so young when he abandoned us; the regrets he carried can never be known to me. I fear to imagine his suffering and yet the details I do know will not leave me. Pills and drinking, my mother was later told. A debilitating depression. Gambling. Perhaps he felt that what had happened to Sparrow must be his fault somehow, that the Hong Kong visa, the travel papers, the ticket, had made Sparrow a target. Of course, it wasn’t true, but Ba couldn’t know that, and he came to what seemed to be a logical explanation. He had betrayed my mother and me, and didn’t know how to go back, to become what he was. Sparrow, Zhuli, the Professor, his own family, they were gone; all the selves he had tried to be, everything that he had lost, could no longer be denied. My father had loved Sparrow almost all of his life; of this I have no doubt. It was early in the morning, still dark, when he went to the window of his ninth-floor room. He climbed out. Nobody looked up, nobody saw him; he was entirely alone. I understand that he wanted to stop his heartbreak, no matter the cost, and to end the enormity of his emotions. Maybe he hoped we, his family, would forget, but my mother and I, waiting in Vancouver, held on to the person we had known. Ma had truly loved him–the part of him that he had shown her.
Many lives and many selves might exist, but that doesn’t render each variation false. I don’t believe so. If Ba were still alive, this is what I would tell him.
Throughout my life I have struggled to forgive my father. Now, as I get older, I wish most of all that he had been able to find a way to forgive himself. In the end, I believe these pages and the Book of Records return to the persistence of this desire: to know the times in which we are alive. To keep the record that must be kept and also, finally, to let it go. That’s what I would tell my father. To have faith that, one day, someone else will keep the record.
MONDAY AND TUESDAY FELT like a single continuous day in Sparrow’s life.
Production had slowed to almost nothing, Old Bi and Miss Lu were listless, and Dao-ren looked as if she was dismantling radios rather than building them; but Sparrow felt glad for the distraction of work and actually surpassed his quota for the day. Music joined all the movements he made, it slid between his thoughts like a staircase reaching in multiple directions, until he was nothing more than sound. Around him conversation continued: rumours and truth crumpled together. Someone said that the People’s Liberation Army was planning a coup. Miss Lu reported that police had arrested a dozen members of the Iron Mounted Soldiers, who had renamed themselves the Flying Tigers. Old Bi said that high-ranking generals in the army had been purged, and that new battalions of the PLA would re-enter Beijing tonight.
“Tomorrow,” Miss Lu said.
“Never,” said Fan.
Meanwhile, in the Square, Hong Kong entrepreneurs had donated hundreds of brand new tents and the students had erected a statue, the Goddess of Democracy. A new open-air forum, the Tiananmen University of Democracy, had been inaugurated the previous night.
On Wednesday, Fan did not arrive for her shift.
By Thursday, the temperatures were reaching forty degrees and the wires in Sparrow’s hands felt alive. On Radio Beijing, a powerful member of the standing committee said that the youth were “good, pure and kind-hearted,” and were not the problem. It was the workers, in particular the leaders of the autonomous union, who had created a cancer cell made up of the “dregs of society.”
But where was Fan?
On Friday, Old Bi came in late. His normally neat and clean hair was damp with sweat, and he had to smoke three of his Big Front Gate cigarettes in quick succession before he could tell them what had happened. Old Bi described the crowds in front of the public security office on Qianmen Avenue. “They’ve been arresting people all week,” he said. “So I went up there to find out what happened to Fan. These bastards asked me why I was looking for a counter-revolutionary. A political criminal! They said, ‘Run along home before we arrest you, too.’ ‘Oh, really?’ I said. ‘For what crime?’ ‘Comrade, you’re in violation of martial law.’ ‘Fuck me,’ I said. ‘You’re in violation of the Constitution!’?” Old Bi took out another cigarette. “Idiot that I am, I was wearing my ID card on my shirt. They wrote everything down.”
Miss Lu yanked the cigarette out of Old Bi’s mouth. “You shouldn’t have gone by yourself! You have no self-control.”
Sparrow poured him a cup of tea.
“I’m going back tomorrow,” Old Bi said, grabbing back the cigarette. “They can’t arrest us all.”
That night, Sparrow called Cold Water Ditch. Big Mother Knife was out of breath from being summoned to the neighbourhood phone. After she had huffed for some minutes, she told him that the student demonstrations had spread to Shenzhen and Guangzhou. When he asked if she had joined the protests, she shouted, “Deng Xiaoping and those old farm tools in Beijing should retire! All those old men, it’s like they breathe through the same nostril!”
Beside Sparrow, the caretaker of the phone, Mrs. Sun, was smoking and pretending to read the People’s Daily. Her children clambered around her like sparks going off.
On the other end of the line, Big Mother had grown quiet and Sparrow thought she was done speaking.
He was in the middle of saying goodbye when Big Mother interrupted to tell him she had news. Last week, she had received a letter from Aunt Swirl and Wen the Dreamer.
“Ma,” he said.
“Don’t interrupt!” she shouted. And then, sighing, “I’m getting old. I keep losing my train of thought.”
Now Big Mother filled in the years, speaking rapidly as if she were running across a narrow beam. Back in 1977, Wen had nearly been rearrested. If it weren’t for his friend, Projectionist Bang, they could never have gotten away. They had retreated deeper into Kyrgyzstan. Last year, word finally reached them that Big Mother’s petitioning had been successful: during the reforms initiated by Hu Yaobang, the convictions against Wen the Dreamer had been overturned and his criminal label had been removed. “It only took ten years,” Big Mother said bitterly. Swirl and Wend were coming home. In the letter, Swirl said they’d already crossed Inner Mongolia and reached Lanzhou. After nearly twenty years in the desert regions, they wanted to visit the sea. They planned to stop in Beijing before continuing on to Shanghai and Cold Water Ditch. Big Mother had already given them Sparrow’s address, even though it would be another few months before the official paperwork reached them. He should expect them in the winter.
“Will you recognize Swirl?” his mother asked.
“Always,” he said. Sparrow shifted the phone to his other ear. “Do they know everything that’s happened?”
He feared he had inadvertently pushed his mother off the balance beam and that she had toppled over and fallen into the quiet. But Big Mother’s voice, when it came back, was steady. “She knows. They both know.”
Over the line, the faint echoes of other conversations broke through and fell back.
“My son, have you been writing music?”
Sparrow, surprised by her question, answered truthfully, “Yes.”
“Well, what is it?”
“A sonata for piano and violin.” He wanted to tell his mother about an entirely different recording, Bach’s six sonatas for the same two instruments. Throughout his life, Bach had returned to these six pieces, polishing and revising them, rewriting them as he grew older. They were almost unbearably beautiful, as if the composer wanted to find out how much this most of basic of sonata forms-exposition, development, recapitulation-could hold, and in what ways containment could hold a freedom, a life.