At the beginning of the 1960s, in spite of all the disasters Mao had caused, he was still China 's supreme leader, idololized by the population. But because the pragmatists were actually running the country, there was relative literary and artistic freedom. A host of plays, operas, films, and novels emerged after long hibernation. None attacked the Party openly, and contemporary themes were rare. At this time Mao was on the defensive, and he turned more and more to his wife, Jiang Qjng, who had been an actress in the 1930s. They decided that historical themes were being used to convey insinuations against the regime and against Mao himself.

In China, there was a strong tradition of using historical allusion to voice opposition, and even apparently esoteric allusions were widely understood as coded references to the present day. In April 1963 Mao banned all "Ghost Dramas," a genre rich in ancient tales of revenge by dead victims' spirits on those who had persecuted them. To him, these ghost avengers were uncomfortably close to the class enemies who had perished under his rule.

The Maos also turned their attention to another genre, the "Dramas of the Ming Mandarin," the protagonist of which was Hai Rui, a mandarin from the Ming dynasty (1368-1644). A famous personification of justice and courage, the Ming Mandarin remonstrated with the emperor on behalf of the suffering ordinary people, at the risk of his own life. He was dismissed and exiled. The Maos suspected that the Ming Mandarin was being used to represent Marshal Peng Dehuai, the former defense minister who in 1959 had spoken out against Mao's disastrous policies which had caused the famine. Almost immediately after Peng's dismissal, there was a noticeable resurgence of the Ming Mandarin genre. Mme Mao tried to get the plays denounced, but when she approached the writers and ministers in charge of the arts they turned a deaf ear.

In 1964, Mao drew up a list of thirty-nine artists, writers, and scholars for denunciation. He branded them 'reactionary bourgeois authorities," a new category of class enemies.

Prominent names on the list included the most famous playwright in the Ming Mandarin genre, Wu Han, and Professor Ma Yin-chu, who had been the first leading economist to advocate birth control. For this he had already been named a rightist in 1957. Mao had subsequently realized that birth control was necessary, but he resented Professor Ma for showing him up and making it clear that he was wrong.

The list was not made public, and the thirty-nine people were not purged by their Party organizations. Mao had the list circulated to officials down to my mother's level with instructions to catch other 'reactionary bourgeois authorities." In the winter of 1964-65, my mother was sent as the head of a work team to a school named "Ox Market."

She was told to look for suspects among prominent teachers and those who had written books or articles.

My mother was appalled, particularly as the purge threatened the very people she most admired. Besides, she could plainly see that even if she were to look for 'enemies' she would not find any. Apart from anything else, with the memory of all the recent persecutions few had dared to open their mouths at all. She told her superior, Mr. Pao, who was in charge of the campaign in Chengdu, how she felt.

Nineteen sixty-five passed, and my mother did nothing.

Mr. Pao did not exert any pressure on her. Their inaction reflected the general mood among Party officials. Most of them were fed up with persecutions, and wanted to get on with improving living standards and building a normal life.

But they did not openly oppose Mao, and indeed went on promoting his personality cult. The few who watched Mao's deification with apprehension knew there was nothing they could do to stop it: Mao had such power and prestige that his cult was irresistible. The most they could do was engage in some kind of passive resistance.

Mao interpreted the reaction from the Party officials to his call for a witch-hunt as an indication that their loyalty to him was weakening and that their hearts were with the policies being pursued by President Liu and Deng. His suspicion was confirmed when the Party newspapers refused to publish an article he had authorized denouncing Wu Han and his play about the Ming Mandarin. Mao's purpose in getting the article published was to involve the population in the witch-hunt. Now he found he was cut off from his subjects by the Party system, which had been the intermediary between himself and the people. He had, in effect, lost control. The Party Committee of Peking, where Wu Han was deputy mayor, and the Central Department of Public Affairs, which looked after the media and the arts, stood up to Mao, refusing either to denounce Wu Han or to dismiss him.

Mao felt threatened. He saw himself as a Stalin figure, about to be denounced by a Khrushchev while he was still alive. He wanted to make a preemptive strike and destroy the man he regarded as " China 's Khrushchev," Liu Shaoqi, and his colleague Deng, as well as their followers in the Party. This he deceptively termed the "Cultural Revolution." He knew his would be a lone battle, but this gave him the majestic satisfaction of feeling that he was challenging nothing less than the whole world, and maneuvering on a grand scale. There was even a tinge of self-pity as he portrayed himself as the tragic hero taking on a mighty enemy the huge Party machine.

On 10 November 1965, having repeatedly failed to have the article condemning Wu Han's play published in Peking, Mao was at last able to get it printed in Shanghai, where his followers were in charge. It was in this article that the term "Cultural Revolution' first appeared. The Party's own newspaper, the People's Daily, refused to reprint the article, as did the Peking Daily, the voice of the Party organization in the capital. In the provinces, some papers did carry the article. At the time, my father was overseeing the provincial Party newspaper, the Sichuan Daily, and was against reprinting the article, which he could sense was an attack on Marshal Peng and a call for a witch-hunt. He went to see the man in charge of cultural affairs for the province, who suggested they telephone Deng Xiaoping. Deng was not in his office, and the call was taken by Marshal Ho Lung, a close friend of Deng's, and a member of the Politburo. It was he whom my father had overheard saying in 1959: "It really should be him [Deng] on the throne." Ho said not to reprint the article.

Sichuan was one of the last provinces to run the article, doing so only on 18 December, well after the People's Daily finally printed it on 30 November. The article appeared in the People's Daily only after Zhou Enlai, the premier, who had emerged as the peacekeeper in the power struggle, added a note to it, in the name of 'the editor," saying that the Cultural Revolution was to be an 'academic' discussion, meaning that it should be nonpolitical and should not lead to political condemnations.

Over the next three months there was intense maneuvering, with Mao's opponents, as well as Zhou, trying to head off Mao's witch-hunt. In February 1966, while Mao was away from Peking, the Politburo passed a resolution that 'academic discussions' must not degenerate into persecutions. Mao had objected to this resolution, but he was ignored.

In April my father was asked to prepare a document in the spirit of the Politburo's February resolution to guide the Cultural Revolution in Sichuan. What he wrote became known as the "April Document." It said: The debates must be strictly academic. No wild accusations should be allowed. Everyone is equal before the truth. The Party must not use force to suppress intellectuals.