Becoming Madame Mao - Anchee Min [2]
The mother's hair is lacquer black, wrapped in a bun and fixed with a bamboo pin. She asks the girl to sit still as she begins. She looks solemn as if she is in front of an altar. She takes the girl's right foot, washes it and wipes it dry with her blouse. She doesn't tell the girl that this is the last time she will see her feet as she knows them. The mother doesn't tell her that by the time her feet are released they will look like triangle-shaped rice cakes with toenails curled under the sole. The mother tries to concentrate on the girl's future. A future that will be better than her own.
The mother begins wrapping. The girl watches with interest. The mother applies the paste in between each layer of cloth. It is a summer noon. Outside the window are climbing little bell flowers, small and red like dripping blood. The girl sees herself, her feet being bound, in her mother's dressing mirror. Also in the frame, a delicately carved ancient vase on the table with a bunch of fresh jasmine in it. The scent is strong. The pendulum of an old clock on the wall swings with a rustic sound. The house is quiet. The other concubines are napping and the servants are sitting in the kitchen quietly peeling beans.
Sweat gathers on her mother's forehead and begins to drip like broken beads down her cheeks. The girl asks if her mother should take a break. The woman shakes her head and says that she is finishing the task. The girl looks at her feet. They are as thick as elephant legs. The girl finds it amusing. She moves her toes inside the cocoon. Is that it? she asks. When her mother moves away the jar, the girl jumps on the floor and plays.
Stay in bed from now on, her mother says, the pain will take a while.
The girl has no trouble until the third week. She is already tired with her elephant legs and now comes the pain. Her toes scream for space. Her mother is near her. She is there to prevent the girl from tearing off the strips. She guards the elephant legs as if guarding the girl's future. She keeps explaining to the crying girl why she has to endure the pain. Then it becomes too much. The girl's feet are infected. The mother's tears pour. No, no, no, don't touch them. She insists, cries, curses. Herself. Men. She asks why she didn't have a son. Again and again she tells the girl that females are like grass, born to be stepped on.
The year is 1919. Shan-dong Province, China. The town is the birthplace of Confucius. It is called Zhu. The ancient walls and gates stand high. From the girl's window the hills are like giant turtles crawling along the edge of the earth. The Yellow River runs through the town and its murky waters make their way lazily to the sea. The coast cities and provinces have been occupied by foreign forces—first the Germans and now the Japanese—since China lost the Opium War in 1858. China is collapsing and no one pays attention to the girl's cries.
The girl is never able to forget the pain, even when she becomes Madame Mao, the most powerful woman in China during the late 1960s and '70s. She recalls the pain as "evidence of the crimes of feudalism" and she expresses her outrage in a series of operas and ballets, The Women of the Red Detachment and The White-Haired Girl, among many others. She makes the billion population share her pain.
To understand the pain is to understand what the proletariat went through during the old society, she cries at