Answer: I really read novels in a big approval from East China Normal University in the late 1900s. The word "believer" is not at all, but everyone seems to be crazy. It is written in the dialogue of novelist Zhang Shengyi. I once said that greatness is my true culture. I benefited a lot from reading literature in my childhood in the mid-1900s. At that time, the climate of literature was also very complicated, and the cold and hot air frequently formed various microclimates. People were very sensitive to the enlightenment politics and literature. Such a special context, I think, had a profound impact on a group of people who completed the big education in the 1900s.
At that time, the latest literary tide would soon spread to the campus, even before it formed a tide. For example, I remember that before Acheng Chess King was published, we all knew that it would cause a sensation, because at that time, many young teachers attended the famous Hangzhou conference and had read the manuscript in advance and edited the discussion. We were all prophets and Taoist priests who knew the novel’s head, novel’s language and novel’s theme before reading those novels in the magazine. We were one. While listening to the teachers’ lectures and bragging, I am eager to move my arms. I miss the 1910 s. Although it was sloppy, it was very impactful. Alas, that era is really gone forever.
Ask you to write a group of knowledge points. Professor Sun Liang, Professor Hua Lin, Professor WU GANG, Professor Hou Houyi, his brother, his friends, etc. These people give me the impression that they are a group of professional jobs. Because they want to make a living, they can’t make a living. They can always find their own excuses. These images are really in line with our life experience, so they are even more desperate. Please talk about the intention of portraying these images. Do you still expect knowledge points?
Answer: I am familiar with campus life, and I am familiar with knowledge. I write that they write about themselves. Many people saw me mocking them. Actually, I said mocking. The mocking was first directed at myself, and my description was not mocking. It also included my prayers. I believe that knowledge is definitely the most sensitive in terms of feelings about the complexity of life. The word knowledge is cultural nerve, which is culturally sensitive tentacles. I describe the complex feelings of complex life. Writing knowledge can just satisfy my desire and express my understanding of writing.
What do you think the knowledge score should be? Is Ge your knowledge score?
A: Speaking of Gege in coloratura, I think he is really my idea. Gege is facing a mental dilemma. Actually, there is no fundamental change today. Gege’s choice is rare even today, perhaps even rarer. I wrote a short article saying that I respect Gege and I am passionate. I’m not being melodramatic when I say this. You have created a character first, and then you express your gratitude to him. What is this called? But I am really grateful for such a character. I don’t think I am writing this character in coloratura. Sometimes I feel very sad, not because I can’t write, but because this character has to face so many difficulties, which makes me feel unbearable. This character encouraged me to write. I believe that many readers can see from Ge’s experience a kind of strength in courage and in the face of various threats to seek my affirmation.
I know your respect and gratitude to Ge very well. Although I understand that you may not agree, I haven’t read your essay yet. I also want to say that when I read coloratura, I experienced a kind of pity in addition to respect and gratitude. That is when I read Ge’s shyness again and again, different people talked about him in different ways, and from many people I respect or love, I can see whether shyness is too rare in my life, and it is particularly dazzling when I blink.
When I was writing about Ge Shyness, I remember that I wrote a sentence saying that it was the individual who spent the secret flower because of the law. To be precise, I realized that I was shy, and I came to the word secret flower, a suspected word.
Childlike people are shy, so people are kind and unwilling to go against their wishes, and they will feel shy when they see others go against their wishes. Such a person is full of interest in subtle differences and bitter tenderness. For such a person, I am him, and he is my world. His experience of this world is always like the first love between men and women, but it is deeper than that kind of first love. It is very difficult to write such a person in the text, and it is very difficult to write truth, goodness and beauty, and even more difficult to write shyness.
I remember that I borrowed a French population to say that I thought about it at that time, and then I thought that I couldn’t explain my words. Maybe foreigners are common. This sentence has settled in my memory. It is a unique impression. When I read pomegranate trees and cherries, I used a lot of old ideas to explain it. I feel that the characters depicting life reality are all negative examples of old ideas. Wei Tian talked about this. He said that you once called yourself old with water. This may be a joke, but I still want to talk about it.
Answer: It was a joke. People said you were also called Li Er, so I said I added three points of water and a lot of water. Pomegranate trees and cherries wrote about rural life, which may be different from the rural life shown in novels so far. I didn’t mean to do this on purpose. First of all, it was because of reality. This old dream country has never been realized, and it will never be realized after that. In this sense, novels always want to describe real life. In the era of spheroidization, some kind of modernity is simply a kind of standardized design like the West. The ancient reality in rural China is combined to form one. There is no new reality before planting, an unexpected reality, Huainan orange and Huaibei orange, but that reality is neither in Huainan nor Huaibei, but on the desert island in the middle of the river. Since it is in the middle of the river, it will suffer repeated floods and endure river pollution, but it has to endure tourists’ ridicule. This reality is very tenacious when I try to describe China’s native land. It has to speak and pronounce.
When you leave the countryside now, you will find that there have been many changes in the west of China. Shen Congwen’s west of Hunan lies in the travel pictorial. I have to write about this change. You know that many local novels write about eternal human nature, this to write about human evil, and that to write about human good. A friend told me that writing about human good is of course a national prize for people’s human good, and writing about human evil is of course a foreign prize for China people’s human evil.
Asking this question really makes me wonder. I also want to ask whether you feel that complexity is more complicated than complexity in the face of a certain life event or real situation. Do you usually have full confidence in it? Generally speaking, do you have any ideas about reading when you are writing?
Answer: I can write because I feel a small part of it. I can always do it when I point to where to type and where to write. In fact, the gap between ideas and reality is always here, and I will face problems, including Kafka and Cao Xueqin. Otherwise, the castle Dream of Red Mansions will not be finished, which means that many things can’t be said or written.
But the most interesting part is now at this time. You must try your best to say that you can’t write or write. The part you have written should be able to make others feel that you really haven’t written something. What can be said is that you have written this part. Its significance lies in revealing the part you haven’t written. It’s huge. It’s unspeakable. Your meaning is to let people know that there is something unspeakable, but that unspeakable thing can only be established through your speech.
Of course, I imagine that writing is a kind of dialogue novel, in which there should be multiple dialogues. In the novel, there should be dialogues between characters. In the novel, there should be dialogues between characters. In the novel, every grass and tree reads dialogues. Writing a novel is not keeping a diary, not resisting forgetting. I don’t intentionally please reading. I think it is not a dialogue. Deliberately pleasing reading is actually a great disrespect for reading.
I hope I can have another chance to talk specifically about this question. Now, your conversation is still back to the problem of novel characters. In the feminist debate, there is a saying that if we act according to some feminist ideas, then human beings can stay in the hut of the mother clan today. It has always been said that the old thinking is to return to ignorance, and an important idea in the old thinking is to keep the old woman noble and soft, while others associate the old with feminism. The two most important figures in the pomegranate tree and cherry are two women. However, the feminist Taoism is not bound up, which is quite the opposite. It can be said that they struggled outside the modern tile house.
Answer: I am ignorant. I don’t know that feminism has been hung up. I didn’t think about two women’s feminism. I really didn’t think that one of the characters had actually been to feminism, but that was to write about living people and rural knowledge. I don’t know how to write all kinds of fashionable opinions. Frankly speaking, I don’t know the two women I should talk about. I know that you have studied feminism deeply, and I dare not talk about this topic casually. I can say that I am painting a tiger according to a cat.
Ask me this because Kong Fanhua Xiaohong, the two characters, are so unusual that they have always evaluated women in a formal way. Those lexical theories are both positive and negative, which are not suitable for them. These two people are far more than scheming. Rural women say that old ideas have become tricks in their old age, and they seem to skillfully combine this tactic with modern political means. Of course, these two people are different from each other, which means that discussing gender differences is often irrelevant, just like summarizing the characteristics of a family group in an age group. I am not going to pursue it to the end. Is it that the old instigated the later generations to steal tricks from the old and then compete in life, or is it that life can always try to get rid of it, but instead, it will intensify, but I want to know that in the face of such a reality, although it is very tenacious to stand out from the words, you are also devoted to writing about cultural complexity, but the value attitude is still implied.
Answer: I have to go back to cultural complexity. I am often amazed at the ability of China culture to cook everything together. This ability can also be shown in a rural woman’s body that a world culture can assimilate Jews. That’s amazing. Our culture is both diachronic and synchronic. When it comes to cooking in one pot, I think of the famous three-legged cauldron, but it has become the most important ritual vessel in China, the symbol of the king of the country, and bones can be eaten in the tripod. Melting into soup in this cooking process, clean culture will continue to produce new variations, and at the same time, smelly things will also produce new variations in the cooking process. Lin Yutang mourned Lu Xun, saying that Lu Xun was a big-hearted dog who cooked and drunk, and Lu Xun was sitting alone and sighing. Faced with such a cultural reality, scholars often seemed to be sighing.
As far as Kong Fanhua is concerned, I want to say that she is still a good cadre if she is regarded as an ordinary village cadre. She also wants the people to seek welfare, but once she enters the novel, people will be dissatisfied or disgusted with her. In the final analysis, this dissatisfaction is a constant response to a cultural reality, and this is what I want to achieve in rhetoric.
It should also be of literary value, right? Recently, I read that critics call pomegranate trees and cherries light drama style. If I want to say this feature, it is not this one. Your other novels are more characteristic in form than inverted words. It can be said that you have always had some kind of inverted words, but there are no folk songs in those novels. I think the absurd understanding of human nature has been influencing you. How do you understand the truth?
Answer: You said it was Mr. Nan Fan’s comment. Nan Fan actually criticized me. I think he criticized him and said that he had written my comments before. He was familiar with my novel. He said that the light drama style actually didn’t just mean this novel. He actually hoped that I could express a deep feeling in the novel.
As I mentioned earlier, many people born in the 1960s have a non-dualistic world outlook, that is to say, in addition to this non-awareness, they also have a sense of opposition to dualism. Many of my novels are used to expressing a paradoxical experience, but I don’t think this paradoxical experience is serious about the absurdity of things, and the opposite may also be a fallacy. I think it is more positive to these two views before. Of course, I can realize that it is easy to give people a false sense of this paradoxical experience, but it is also empty and positive. The virtual experience is not meaningful.
I say the truth accurately, the truth is absurd and absurd. First of all, I define the meaning of each word accurately. Let me try to say that I feel that my heart is true from the perspective of writing. I tend to be serious and true in rhetorical meaning, but rhetorical truth may be closer to the truth. This seems to be a problem. Let me try to give another example to compare novel writing with news writing, claiming to tell the truth, but we already know that many times it is to stack the truths together and finally form a lie. It is said that the plot of the characters who wrote it is fictional, but it is actually a truth in the end, which is in line with the historical truth. It is a funny saying that history is a fake novel except that the names of people are true. Except that the names of people are false, they are true and have no rhetorical significance. Actually, the method identifies the truth. I also want to say that this is a novel narrative. Today, the novel has to be achieved through fiction. We have to listen to the real heartbeat of the world.
I asked you if Mr. Nan Fan’s previous comments were the historical tension of the novel. I still remember that maybe I was obsessed with the meaning of the text and recognized that the form or technology, especially the narrative technology of the novel, was the home. I realized the by-product through the novel’s richer meaning, and the characters were more realistic. It should be said that some viewpoints in Mr. Nan Fan’s article, such as coloratura narrative style, questioned the legitimacy of the historical narrative, dismantled the historical formation workshop and so on. I sincerely believed in these value-related judgments. I’m not interested in other explanations, such as coloratura, what is a novel, how it is fictional, and so on. I’m shocked not because of its narrative skills. It reminds me of 1994, when they express the same theme, how individuals were eliminated, but the narrative methods are completely different. It can be said that one is good, the other is reversed. Compared with 1994, coloratura is purely fictional, and it is retrospective imitation of history. One is that the plot is simple and linear, and the other is endless from the ending plot clues. But these forms The difference is not important. The important difference is that in such a place, Winston, a protagonist, used to be a tenacious individual and insisted on his beliefs to the death, but he was completely domesticated when he ate a gun. Another protagonist’s personal weakness was vulnerable in historical groups, but he was realized when his body was killed. What other significance does it have for reading besides arousing us to be alert to the common events and the narrative techniques of novels?
A: Actually, your question already contains the answer. That’s why you said that the narrative technology of the novel is richer in meaning, and the novel’s intention is more fully realized. The technological change of the novel has been going on all the time, not that the family must change, but because when his awareness of the world changes, he must find a way to express this awareness. In other words, the novel is a kind of rumor that the water in the glass should be constantly shaped with things.
The change of novel narrative technology will inevitably bring about the defamiliarization of form, which can arouse readers’ vigilance against common things. In my opinion, the novel narrative technology has been constantly changed because the novel must establish a world dialogue, rather than because some functions of the novel developed before the media may have been replaced by the media. At this time, the novel must find a new expression and a new technical means to rebuild or activate it. A novelist is sensitive enough and has the necessary courage. It is also because of this that whenever I hear people say that the problem of how to write has been solved, I am full of doubts. How to write a problem will never be solved. It is not a pioneer’s problem, but a responsible one.
As far as how to write a question about what you want to write on both sides of a coin is concerned, I feel a bit naughty, which is reflected in your creation, which is more hippie and funny than your novel language, including the characters’ language. However, from the description of the characters’ words and deeds in the story, you can imagine that you are angry and desperate when you write, but you can read your sympathy and sympathy in many very birthday expressions. In contrast, many things that reflect or claim to reflect people’s livelihood often smell like something is written to satisfy me. This is what I was ordered to do in the past year by research description to get a feeling for you.