On the western side of the city, the apartment-style longtang take an even stricter approach to security. These structures are built in clusters, with doors that look as if not even an army of ten thousand could force their way inside. The walls are soundproof so that people living even in close quarters cannot hear one another, and the buildings are widely spaced so that neighbors can avoid one another. This is security of a democratic sort — trans-Atlantic style — to ensure and protect individual freedom. Here people can do whatever their hearts desire, and there is no one to stop them.
The longtang in the slums are open-air. The makeshift roofs leak in the rain, the thin plywood walls fail to keep out the wind, and the doors and windows never seem to close properly. Apartment structures are built virtually on top of one another, cheek by jowl, breathing down upon each other’s necks. Their lights are like tiny glowing peas, not very bright, but dense as a pot of pea porridge. Like a great river, these longtang have innumerable tributaries, and their countless branches resemble those of a tall tree. Crisscrossing, they form a giant web. On the surface they appear entirely exposed, but in reality they conceal a complex inner soul that remains mysterious, unfathomable.
As dusk approaches, flocks of pigeons hover about the Shanghai skyline in search of their nests. The rooftop ridges rise and fall, extending into the distance; viewed from the side, they form an endless mountain range, and from the front, a series of vertical summits. Viewed from the highest peak, they merge into one boundless vista that looks the same from all directions. Like water flowing aimlessly, they seem to creep into every crevice and crack, but upon closer inspection they fall into an orderly pattern. At once dense and wide-ranging, they resemble rye fields where the farmers, having scattered their seeds, are now harvesting a rich crop. Then again, they are a little like a pristine forest, living and dying according to its own cycle. Altogether they make for a scene of the utmost beauty and splendor.
The longtang of Shanghai exude a sensuality like the intimacy of flesh on flesh — cool and warm, tangible and knowable, a little self-centered. The grease-stained rear kitchen window is where the amah gossips. Beside the window is the back door; from this the eldest daughter goes out to school and holds her secret rendezvous with her boyfriend. The front door, reserved for distinguished guests, opens only on important occasions. On each side of the door hang couplets announcing marriages, funerals, and other family events. The door seems always to be in a state of uncontrollable, even garrulous, excitement. Echoes of secret whispers linger around the flat roof, the balcony, and the windows. At night, the sounds of rapping on the doors rise and fall in the darkness.
To return to the highest point in the city and look down on it from another angle: clothes hanging out to dry on the cluttered bamboo poles hint at the private lives and loves that lie hidden beneath. In the garden, potted balsams, ghost flowers, scallions, and garlic also breathe the faint air of a secret affair. The empty pigeon cage up on the roof is an empty heart. Broken roof tiles lying in disarray are symbols of the body and soul. Some of the gullylike alleys are lined with cement, others with cobblestone. The cement alleys make you feel cut off, while the cobblestone alleys give the sensation of a fleshy hand. Footsteps sound different in these two types of longtang. In the former the sound is crisp and bright, but in the latter it is something that you absorb and keep inside. The former is a collection of polite pleasantries, the latter of words spoken from the bottom of one’s heart. Neither is like an official document; both belong to the necessary language of the everyday.
The back alleys of Shanghai try even harder to work their way into people’s hearts. The pavement is covered with a layer of cracks. Gutters overflow; floating in the discolored water are fish scales and rotten vegetable leaves, as well as the greasy lampblack from the stovetop. It is dirty and grimy, impure, here. Here the most private secrets are exposed, and not always in the most conventional fashion. Because of this a pall hangs over these back alleys. The sunlight does not shine through until three o’clock in the afternoon and before long the sun begins to set in the west. But this little bit of sunlight envelops the back alleys in a blanket of warm color. The walls turn a brilliant yellow, highlighting the unevenness of the rough whetstone and giving it the texture of coarse sand. The windows also turn a golden yellow, but they are scratched and stained. By now the sun has been shining down for a long time and is beginning to show signs of fatigue. Summoning up the last vestiges of radiance from the depths, the lingering rays of sunlight flicker with a sticky thickness of built-up residue, rather dirty. As twilight encroaches, flocks of pigeons soar overhead, dust motes drift, and stray cats wander in and out of sight. This is a feeling that, having penetrated the flesh, goes beyond closeness. One begins to weary of it. It breeds a secret fear, but hidden within that fear is an excitement that gnaws down to the bone.
What moves you about the longtang of Shanghai stems from the most mundane scenes: not the surging rush of clouds and rain, but something steadily accumulated over time. It is the excitement of cooking smoke and human vitality. Something is flowing through the longtang that is unpredictable yet entirely rational, small, not large, and trivial — but then even a castle can be made out of sand. It has nothing to do with things like “history,” not even “unofficial history”: we can only call it gossip.
Gossip is yet another landscape in the Shanghai longtang—you can almost see it as it sneaks out through the rear windows and the back doors. What emerges from the front doors and balconies is a bit more proper — but it is still gossip. These rumors may not necessarily qualify as history, but they carry with them the shadows of time. There is order in their progression, which follows the law of preordained consequences. These rumors cling to the skin and stick to the flesh; they are not cold or stiff, like a pile of musty old books. Though marred by untruths, these are falsehoods that have feeling.
When the city’s streetlights are ablaze, its longtang remain in darkness, save the lonely street lamps hanging on the alley corners. The lamps, enclosed in crude frames of rusty iron covered with dust, emit a murky yellow glow. On the ground, a shroud of thick mist forms and begins to spread out — this is the time when rumors and gossip start to brew. It is a gloomy hour, when nothing is clear, yet it is enough to break the heart. Pigeons coo in their cages, talking their language of secret whispers. The streetlights shine with a prim and proper light, but as soon as that light streams into the longtang alleys, it is overwhelmed by darkness. The kind of gossip exchanged in the front rooms and adjoining wings belongs to the old school and smacks faintly of potpourri. The gossip in the rooftop tingzijian and staircases is new school and smells of mothballs. But, old school or new, gossip is always told in earnest — you could even say it is told in the spirit of truth.
This is like scooping water with one’s hands: even though you might lose half the water along the way, with enough persistence you can still fill up a pond. Or like the swallow that, though she may drop half the earth and twigs she is carrying in her beak, can still build a nest — there is no need for laziness or trickery. The longtang of Shanghai are an unbearable sight. The patches of green moss growing in the shade are, in truth, like scars growing over a wound; it takes time for the wound to heal. It is because the moss lacks a proper place that it grows in the shade and shadows — years go by and it never sees the sun. Now ivy grows out in the open, but it serves as Time’s curtain and always has something to hide. The pigeons gaze down at the outstretching billows of roof tiles as they take to the air, and their hearts are stabbed with pain. Coming up over the longtang rooftops, the sun shoots out its belabored rays — a majestic sight pieced together from countless minute fragments, an immense power born of immeasurable patience.