When Ho was among other people, she was wrapped in a persistent air of haughtiness, but when she was alone with me, she assumed an intense motherly air that made me love her beyond all reason.
Through all the years when I was growing up, I seldom saw such an intense appreciation of the small beauties of life in my own home. My father and mother were both perpetually wrapped up in their own work, with no interest at all in the little events of everyday life. As far as I can remember, my father almost never involved himself in such things, while my mother was always constrained by the pressures of time. I know that she loved me very much, loved me intensely, but it was an abstract, general kind of love, not the significantly more common maternal kind of love of a hen for the eggs she has laid herself. Many of the things around the home that had to be done, she was unwilling to do but nonetheless did, out of her love for me. But such acts on her part made me feel so uncomfortable that I never wanted her to get more involved in our daily domestic life. I have always thought that having ambitious, work-driven parents is not by any means a fortunate thing for a child. Quite the contrary: ordinary parents can bring their children much more of the gentle essence and devotion of a family.
Ho and my mother possessed a similar graceful beauty, but they were very different in personality. Ho always exuded an air of leisurely easiness. Unlike my parents, she was never pressed for time. Her passion for living came from the core of her being. All through my growing years, every woolen sweater and every pair of woolen drawers that I wore, she had knitted. She said that the woolens you could buy were never warm enough, and that fashion was repetitive. She wanted me to be different from the crowd in everything, to be special. Most of my clothes, and those of everyone else in my family for that matter, had been chosen for us by Ho with assiduous care. In addition to having the same refined feminine understanding as my mother, she also had this charming maternal appeal.
That evening, seeing the unalloyed enjoyment with which she prepared all these dishes truly touched my heart.
She said that really, it wasn't just anyone who got to enjoy this "lover's" treatment; that she felt especially close to me; that if it were anyone else just sitting there lending lots of words but never a hand, then the person would be out of luck for dinner.
Hearing this delighted me. I picked up the copy of Interpretations of The Book of Changes lying on the sofa and started thumbing through it, reading all the parts that she had underlined in pencil.
From childhood I had been aware of her love of reading. But our shared enthusiasm for it was something that came later, after I had grown up and done a lot of reading myself. Now, the more we talked, the more we began to realize how much we had in common.
She said that she had been reading The Book of Changes lately, and that it was like smoking marijuana.
I said that she should read something a bit lighter, that the ancients had said, "As you sit by your little window reading The Changes of Zhou, spring has long since slipped by unnoticed," and that life holds for us only a limited number of such "springs."
She said she was reading some lighter things too, like Zhang Jie's The Ark and Yi Lei's poetry.
The end of the '80s was one of those times of great artistic ferment and experimentation in China. Whenever Ho and I were together, we spent hours discussing literature and life. We talked about some of the male writers, but because of our own feminine view of life, it was the contingent of outstanding female writers that got most of our attention. We also discussed the work of such foreign authors as Borges, Joyce, Kafka, Poe, and Faulkner. The kind of enthusiasm and rapture that infused our discussions of literature in those days is gone now, a thing of the past. And I am afraid that we shall never again see a time as rich in artistic energy.
That day, as Ho spoke on unhurriedly, her eyes began to shine with an intense fervor.
Every time we raised our glasses to drink, she used a line from The Ark: "Here's to the ladies – down the hatch!"
I laughed.
There was always a special minty fragrance about Ho's apartment. It was the unsullied smell that you find in the bedrooms of women who live by themselves, not spoiled by the usual mix of male and female hormones. This odor was like the warmth of a perfectly adjusted rich blue flame playing delicately above the surface of my skin, penetrating to its most sensitive nerve endings to make my blood surge with eagerness, yet without any threatening explosiveness.
I could not take my eyes off her as she flitted about before me, behind me, like a restless shaft of silvery moonlight, in a pastel dress trimmed in gorgeously striking purple.
She had had quite a bit of wine that evening and was unusually animated, telling me in endless detail the things she had thought and felt as she read The Ark, while I kept nodding in agreement and appreciation.
The sound turned all the way down, the TV was nothing more than a background stage prop to the subtle air of intensity in the room created by the two of us.
She started reciting stanza after stanza of Yi Lei's poetry for me:
Her luminous voice flashed in the room's half-light, words falling from her lips like sparkling liquid spheres upon my upturned face.
I told her that I too was very fond of Yi Lei's poetry.
That I shared her pleasure made her even more passionate, and without another thought she picked up the copy of Yi Lei's poems that was there beside her and started to read "A Single Woman's Bedroom," which was causing a great sensation at that time: