Conceptual writing
Liang Hong, I was just thinking about this problem during this period. In the 1990s, many families didn’t write anything. What problems did they encounter? They suffered from this unnamed daily life, but they were also much better than Zhu Wen’s novels. We gave him a short story of pound-ounce meat. It can almost be said that he felt absurd about life and was angry about this absurdity. The theme of Zhu Wen’s novels also best represented the ideological characteristics and stylistic characteristics of late generations. Although pound-ounce meat was a short story, it was refined in language, and superb narrative skills revealed life absurdly and profoundly. This is an angry story, shocked, angry, mocked and bored by the sudden appearance of this strange and terrible face in life. When calmly describing the old lady who was swinging her arms back and forth one by one, and then describing the middle-aged bearded man in detail again, squinting and weighing those damn tomatoes, an absurd picture full of irony slowly appeared. They brought their own wisdom and spirit, and they also consumed their own lives to master the weight of adding or removing a plastic bag. The worse they are, the more they devote themselves to it, the more people can bear the tiredness. A sense of universality permeates slowly along the fixed colored pen, which suppresses the soul like a heavy fog. This is his mother’s life. It is cruel and passionate. Energy interception destroys and destroys the life, and at the same time it rudely subverts the picture of human life for thousands of years. However, it is very strange that pounds and ounces of meat are written with very emotional details, and the description of characters is almost vicious, but it gives people a very conceptual feeling. It seems that Zhu Wen writes the most detailed but non-detailed one. He does not shape the specific one.I feel that the old lady is just a symbol without her, and this conceptual tendency leads to the difficulty of writing in one direction. After Zhu Wen later switched to filming, it can’t be said that it is a manifestation of writing difficulties
Li Er’s plastic bag is very good. Who cares about the weight of the plastic bag when buying meat? It’s impossible. But Zhu Wen turned the impossible into the possible. The literary nature of the novel is to produce a novel at this time, which is to flash some imaginary things in the realistic situation. The novel is to turn the impossible into the impossible, but to make a further evaluation of Zhu Wen’s style creation. Because I rarely read it, a friend of Zhu Wen’s named Wu Chenjun wrote a novel title, which I can’t remember at the moment. I wrote that a person resigned and retired from public housing. I rented a house and then went back to the public house on a rainy day. At this time, it was raining cats and dogs. I think it was the best short story I have seen for many years. But Wu Chenjun stopped writing later. I don’t know why they suddenly stopped writing. I dare not easily conclude that they stopped writing because of some kind of conceptual tendency. In fact, I think that China is not too ideologically inclined, but lacks ideologically inclined. You tell me that China, a philosopher with a certain writing concept or at least, can’t count many fingers. I agree with you on one point, that is, angry furniture, some kind of adolescent writing characteristics. After completing a period of time, the writers write less, and maybe one day they will write again. It’s hard to say.
An important question in Liang Hong’s essay is what to write. It may be very important for a family to compare specific feelings with specific things to a woman’s feelings about the weather at the moment. However, as far as tattoos are concerned, such details are emotional, instant, fresh and endless, but it is the most persistent thing in the essay, which is precisely a very complicated thing in the 1990s. It is both complex in concept and emotional, and it is the deepest mystery of mankind.
Li Er, I don’t agree with you again. On the contrary, I think that the contribution of the 1990s literature lies in paying attention to those instant fresh things because they pay attention to these unnamed experiences. Although they show their vitality, they are not widely accepted by people. Of course, the value of other literature will be discounted, and a widely accepted one is based on its canonization. However, the process of canonization is a very complicated process, and it needs to hit people’s habits at a certain point, either to cater to them to the greatest extent or to react to them to the greatest extent.
Most of Liang Hong’s late generations were immersed in the description of daily life images in the early days. Although they claimed to completely enter personal daily life, the characters in this personal life did not have personality characteristics, and the symbolic characteristics described life was not personal life, but they abandoned the historical attributes of the characters’ lives and pursued the universal theory of human nature. In this way, it was very paradoxical.
Li er, do you think this is all because of the concept?
Liang Hong, when this kind of virtual emotion develops to the extreme, the family’s feelings about daily life are mostly repetitive. The family is pondering over the ugliness of life. Behind the virtual reality is anger, malicious ridicule, and tragic destruction of the post-abuse pleasure. These have led to absolute virtual skepticism.
Li er, for example, specifically
The two common themes in Liang Hong’s comparison are money. At the same time, it shows the charm of money worship to the times unexpectedly, which just caters to the needs of the market public from another side. This is an inevitable embarrassment of realism.
Li Erha’s talk about money can’t be said to be absolute nihilism catering to the mass market, but it is the main theme of the primary stage of socialism. That is the main ideology, but I still have to say that it’s okay to write about money or sex. What can’t be written about money can of course be written.
Liang Hong, I mean, this kind of writing has the value of escape and rebellion, and it becomes obscure because of the lack of desire to pursue the protagonist’s attitude towards everything, and finally succumbs to reality in confusion and to the emptiness of sexual inertia, and the narrative of the text also points to a cynical spirit retreat, which catalyzes the more desire, madness and emptiness of the contemporary landscape.
Li Er: Oh, Liang Hong, I have to give me a basic opinion. I have to say that this is not a literary mistake in the 1990s, not a mistake in your daily life. You can search a little bit about who wrote the most money and who wrote the most sexually. I think that apart from home, maybe some families were born in the 1950s. You must make an accurate analysis of this, but no matter who wrote it, I think it is right to write about desire and false writing. On the contrary, I think it is very important to explore the mental state of China after the 1990s. It’s important. Looking at the history of world literature, you can also find that except for a few people who are suitable for middle school students to read, almost all the important themes are negative characters, and in many cases, the more morbid novels are, the brighter they shine, the more dark they are. This is the fact that the text is very broad, and it can be said that the text is important because of paranoia, depression, impulsiveness, irritability and madness, including pornography, world-weariness and decadence. If you can’t get around it, it is the real theme of daily life. They really constitute the landscape of contemporary literature.
Liang Hong linked the famous fracture questionnaire initiated by Zhu Wen and HanDong in the 1990s, and found that the fracture questionnaire tried to obliterate Wen Tonggen, showing his spiritual independence and self-identity. In a positive sense, it expressed the strong desire of the family to get rid of the shackles of unification and hypocrisy, and expressed contempt and confrontation against the closed and backward contemporary literary environment. However, this rather radical way also showed the complex and simple understanding of the literary, political, cultural and national unification by the late generations. At that time, the pure literary concept, formalism and post-modern literary criticism all led to the loss of great feelings of the family in the face of national life, which was very conceptual.
I didn’t take part in Li er’s broken questionnaire. At that time, my friends put the questionnaire in front of me at the dinner table. I looked at it, but I refused to take part. They advised me to reconsider. I said I wouldn’t take part because it was very simple, because none of the questions in it were false questions, unified bondage or hypocritical unification. It’s not that you can get rid of your way through a way similar to the peasant uprising. It’s probably just a unified way, that is, you probably didn’t get rid of it, but aggravated its shadow. I don’t think it’s a problem that you can
Cultural heritage in the tenth century
Liang Hong’s emphasis on the decade seems to be looking back at a golden age, which is the western ideological theory, whether it is beauty and philosophy or literature. In the heyday of China, it can be said that the world outlook and philosophy behind China’s innovative ideas and beauty are inseparable. At that time, you were talking about your reading situation and the atmosphere at that time
Li ‘er’s decade was indeed an era when all kinds of ideas were absorbed, but now it seems that reading in the decade was a misreading reading. Can we see what we lacked? Well, from Rob Gerye Marquez, it’s all forms. Every day, a westerner comes in. Today is Freud’s day, Jung’s day after tomorrow is Cahill. Today is Gide’s day, Borges’s day after tomorrow is Dulles’s school. Every day, people go in and hold a bunch of incomprehensible bellies and go back to the dormitory with mosquito nets. But it’s very common to fall asleep after reading two
Liang Hong is all western, right?
Li Er’s Oriental is also, of course, Japan is mainly Kawabata Yukio Mishima. In those days, I was very much in Yukio Mishima’s Golden Pavilion Temple, nor was it more than Wen Bi’s. The third wave was still heading for the future. In the Chinese of East China Normal University, especially East China Normal University, many critics took the lead in editing every family in China. It was a relaxed atmosphere, and of course China had a great influence. Like Li Zehou, it was mainly his beautiful journey.
It is difficult for Liang Hong’s generation to get rid of the influence of the West. The great liberation of thought in the 1910 s brought about the prosperity of literature, which resulted in rich literature, but it also framed China’s literature into a vassal of Western literature, and always found some correspondence.
Li Er’s conclusion should be careful. Let me give you an example. It’s more interesting than Mo Yan’s understanding that carrots are influenced by Marquez, but Mo Yan didn’t read Marquez at that time. Of course, he may have heard a few words, and a great family can quickly understand the essence from them. I mean Marquez people are very Mo Yan. He thinks Mo Yan is great and has written a comment to Mo Yan. Marquez said that he thinks he should write such a novel. I will give another example. At the end of the decade, Li Tuo organized people to translate China for ten years. Daijia, some important western scholars were very surprised when they read it. We can’t say that our literature is the shadow of western literature. Of course, it is a positive influence. Reading those that can stimulate our imagination can make us look at our personal experience from a different angle. I think this is a good thing. Before that, we can imagine that our imagination of history is a kind of Zhang Ga youth songs. Imagine when a writer sees Marquez’s narrative and history is still understandable. It’s a shock to the family. It’s no exaggeration to say that shock is similar to letting a boy who has never seen a woman enter a brothel. He can wake up from this shock and then stabilize his mind to continue writing. It’s like restoring the boy’s ability to love. It’s not easy and a group of people are intimidated. From then on, they can become the best literary connoisseurs. But these people have firmly established themselves and gradually formed their own theme, formed their own style, and have had their own influence. It’s really not easy. I think we should be more lenient with contemporary writers and dissatisfied with China. First of all, the family is dissatisfied
Liang Hong and Li Jianjun almost denied Mo Yanchuang’s novels to Jia Pingwa.
Li Er once met me at a meeting and said to Li Jianjun, "Brother Jianjun, can you bear the fact that Lu Yao and Chen Zhongshi made a hundred mistakes? Just don’t allow Mo Yan’s old Jia to make one mistake. It may not be for nothing that his demanding is actually to put Mo Yan’s old Jia in a higher position than Chen Zhongshi."
Liang Hong’s Chinese criticism is actually an error. You want the family to express a kind of life in China, but what is the real life in China? Maybe every family writes the real life in China, but it is a part of the real life in China.
Li Er, I sometimes think that China is actually a style of writing. Don’t get me wrong. I mean, China’s family writing is actually a style of writing from the individual’s hair. Everyone finally expresses a certain aspect of life and forms a big literary gallery to present a rich life in China. Everyone is an individual and must write individually before writing, but in the end it is a style of writing.
Liang Hong’s contemporary critics are almost always moaning at the critics. The critical consciousness of contemporary scholars is very obvious, but the criticism is not sure at last. It is difficult for the family to go beyond the general historical events to obtain a new understanding of history. However, western scholars are everywhere. When we read Camus plague, we think that the novel is beyond the history of the country but also beyond the general human thoughts.
After Li Er Camus, French has gone for decades. Tell me where the second Camus is, and after Faulkner Haiwei, Saul Bellow, American has gone for decades. Where is the new master? The process of canonization is a long process. People keep explaining and adding their own solutions. The meaning of a text is getting richer and richer. You know that it is a symbolic novel, but no one dares to write that novel now. Camus’s last novel is not. The one that was finished seems to be called the first person. If he doesn’t die, the novel must have changed a lot. After Camus, the British scientist won the Nobel Prize. Golding wrote a novel, which is similar to the plague of King Camus, but we don’t care anymore.
Liang Hong, you mean that the sacred era of literature has passed, and that kind of formative thinking enlightens literature may be at a certain stage of literature, but literature should also undertake something richer. It should show us a new picture or imagination that is not at the historical level, and it should also be so in terms of novel beauty.
Li Er, that’s very demanding. Give me a simple example. If I write according to my idea, I will still be dissatisfied. Compared with saying that I want to write AIDS, I have prepared a lot of materials. But I will not write a story about the evil nature of human beings. I will write a story about Dr. Rier’s plague hero. I will write about it. The contemporary culture, the contemporary world capital market is more or less similar to Foucault’s madness. I also want to write that some people are hiding some tragic facts with very good wishes. The problem is that when I write like this, I have a new imagination. Is it hard to say