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Alert gaze
Postscript of coloratura
Pomegranate tree bears cherry preface
Preface to the night tour library
White crow sequence
Forgetting postscript
Dialogue in the room
Moral advantage and anti-moral advantage
Outside the figure
Novels never die.
Write commandments
one
In 1996, I wrote a postscript after the compilation of three national bosom volumes. I said at that time that for Chinese language, the era of individual speech had come, that is, individual speech was close to personal experience and approached the real dilemma. I also went to the era to write a photo from personal experience. This question is as simple as 11, and it is easy to get back to personal writing because after I castrated me and closed me for many years, you see how careful I was. I quoted Borges as saying. In case others refute me, I wrote that Borges once said to the effect that every nation elects a personal symbol. Italy is Dante, Britain is Shakespeare, Spain is Cervantes, but Dante has the least Italian flavor. Shakespeare is not like the British. Cervantes lacks the Spanish style. What do you mean?
Frankly speaking, the Chinese language and literature once had a brilliant individual speech, far from saying that Lu Xun’s weeds are an example. Mr. Zhang Hong once said that the writing of weeds is far away from that kind of daytime-style discourse field, and he turned his attention to writing personal heart world, dark and secret, and listened to his secret words in such a secluded moment, and his soul floated to the surface like a bubble, and talked to his ear like a shadow. Zhang Hong called this personal writing night-time writing Chinese language and literature here, but it did not turn fundamentally. For Lu Xun, his personal writing later felt that it could be in another sense.
On the other side of the question, of course, you can also write personally. Since it is close to personal experience, the beautiful scenery should be full of amorous feelings. I regret to admit that when it comes to sudden individuality, it is often the most lacking in personal experience, assimilation of personal experience, loss of soul convergence, which is almost surprising. This is very bad and embarrassing. It seems that it is easy to seek my defense. For example, our personal experience is that the monkey’s ass is always the same, and the red dog always works the same after seeing the garbage dump, bones and the emperor’s client’s bed, so this expression is true to me. What I want to say is that these reasons are all postulates. Facing the postulates of litigation, it seems that there is no escape. When writing, I intend to bring this tragedy, even if the soul hesitates to ask and express a tragedy, it is two concepts. You have to admit that the latter tragedy contains more personal experience and is healthier.
This involves the attitude problem, and the desolate scene also comes from my personal experience in claustrophobia, which fled to the virtual depth, refused to judge, refused to name, and the word refused seems a little far-fetched here. It seems more appropriate to choose one of the two words of losing power, first losing and then generalizing. I mean judging and naming, of course, is a kind of potential judgment naming. It is a kind of ability to penetrate false experience, avoid flattening, write in different ministries and quietly approach experience, and the truth is in trouble. Of course, all this must be gradually infiltrated in the text with a purely empirical attitude.
For me, this is more like a kind of self-reflection. I also divide myself into the ranks of personal writing. My opinion is that it is true to insist on personal writing. It can hardly be said that it is a writing strategy. All discussions should be denied before affirming that the direction of personal writing is right. It is short-sighted to protect one’s shortcomings, or it is a futile discussion. It is ridiculous to deny or protect one’s shortcomings.
two
Modernity Baudelaire’s pursuit of modernity after the concept of modernity has become a commandment. The discussion of modernity at all levels means that it is seeking modernity, and at the same time, it also says that we do say that it has been drifting away from the present
When Pass was excluded from the present, his sense of separation was broken, and his sense of separation became many pursuits of poetry modernity. The history of national modernization was pursued in different ways time and time again. We were all in the same situation. These names were almost the same as ours. The actual situation may be much more complicated. I want to say that it is also excluded from the present. The sense of separation is different. In Pass’s case, it refers to an independent culture. When it comes to us, the meaning slips quietly.
However, based on the proposition of modernity, Paz’s view should be universal. Paz said that modernity is a word seeking body meaning, whether it is an idea, a mirage or a historical moment. No one can say clearly, but it is urgent that we pursue it. In view of the fact that Paz’s own motherland has been excluded from the present, he said that modernity is now mixed and the latest flower at the top of modernity. In that acceptance speech, Paz’s description of modernity can be regarded as another poet’s most persuasive commandment to the text after Baudelaire. Modernity is not outside us, but in our department.
For this generation of writers, the writing process should actually be a process of spiritual growth. In this era, writing depends on more than just talent, compensation after experiencing mental injury. It depends on a mature knowledge, understanding and grasping the mental world, and questioning me. By mature, I mean that healthy adults are mentally mature and write from individuality, and our language takes root in the journey of seeking modernity.
three
In a novel in the afternoon, I wrote
In the afternoon, it is a time of ignorance, and the sun shines on the earth, lakes and ditches because of clouds. This way, we can see our portrait through the earth and water. It is connected with midnight, which is both an opening and a convergence. Needless to say, I really want to write this era as afternoon writing.
Camus once described the Mediterranean sunshine and thought about it in the afternoon. He also said that the ancient Greeks created the concept of despair tragedy, which was always created by beauty, instead of creating despair from ugliness and mediocrity like the modern spirit
Baudelaire Flaubert introduced the ugliness and mediocrity of daily life to Wen Joyce Bloom. Without eating sheep’s loins, the ugliness and mediocrity in ordinary life are twins, but the hope of simplicity and beauty is still the same. This is a fact, but the concept of negation also gives rise to writing ugliness and mediocrity, creating despair, which is another commandment. In fact, Camus actually wrote a gap in his mind, that is, it was at this time that the gap appeared. The potential negative force penetrated and was illuminated by beauty, and the noble tragedy was born in the genealogy inherited from the ancient Greeks.
Pessimism and virtual violence in the afternoon sunshine is not an object of opposition, but also an object of analysis. Once analyzed, it can be found that the adult spiritual world is full of more complicated and multidimensional things, and writing in the afternoon is thus different from writing in the afternoon. Facing ugliness and mediocrity in daily life, writing spiritual quality will be measured by roots, and strict self-training shows the necessary significance here.
Alert gaze
The dilemma of life is probably the most important theme to be expressed in novels. Narrative novels with a certain length give up the performance of human life dilemma, which is almost equal to death. Even if you have a dilemma in the happiest place, you can’t get around it. Otherwise, it can’t be happy. Even in French new novels or in Italian novelist Calvino’s extreme palomar, no matter how vague the characters are, we can still see the painful figure of modern people from the reflection of objects.
It is obviously not a technical problem to express the dilemma of life. The spiritual flood will certainly run through it. On the roof of hell, people are deeply immersed in it, but people can continue to stare at the flowers to keep spiritual holiness and become a basic posture. Kafka, a suffering novelist, said that people are destined to live, not to die. After saying this, he died of consumption. Camus said that a problem worthy of consideration is that killing him is a car accident. Generally speaking, he does not send his protagonists to kill him. The protagonists are fighting in the shadow of death before they are finally killed by rats. If we put their words together, we may be able to solve the dilemma more accurately. In a sense, Kafka Camus’s words complement each other, and their expressions may be the same truth.
Love is really used by novelists. Faulkner once elaborated on the truth and actually communicated Kafka Camus’s two sentences. He said that he pointed out that Camus was the only road that might not only lead to death, but also a road caused by our weak strength and absurd materials. In life, it didn’t come here until we built it. Faulkner talked about not Camus but also Kafka, and Faulkner was also a great novelist.
It can be said that a zombie is now married and sharing the same bed, the earth is a kind of food, flowers wither, and the fact that a plant withers here is that the fact that the fact value is not linked, that is to say, the fact kingdom value kingdom is always in a state of separation, and the purification is gone, but the corruption effect may be obvious.
Accurately speaking, it doesn’t actually express the meaning of life dilemma here, but it doesn’t express life dilemma or situation. In fact, death means birth, tolerance breeds freedom from hatred and compassion. The fact that the kingdom of value does not deviate. I think it may not be a technical problem here. It must touch the novelist’s attitude and cultural background. The short moment when staring at the flowers on the roof of hell actually includes the novelist’s department. The life spirit is shining at that moment, and every corner will shine brightly. Is it a more fundamental gesture to stare at the flowers when we are alert to the life dilemma?
Zhengzhou, November 1, 1994
Postscript of coloratura
That night is far away and approaching, and it seems that it will happen again and again. Over the years, I have returned to coloratura several times. I have returned to that snowy night. A general sent a weak doctor to a big barren mountain for love. This trip was a life-saving, that is, killing a brilliant knowledge of Mr. Ge, because it seems to be a dialectics of love. A few years later, I finally wrote the last sentence of coloratura, which is the protagonist’s one-year event. Mr. Fawei Fan Jihuai expressed his love for human beings. The old saying is so beautiful as an opera. The most gorgeous passage is like a magpie singing branches, but when I wrote the word love, my tears came. Many years ago that night, snowflakes poured in from the window and wet my eyes 2.
But my memory of coloratura is not a memory of a novel. The process of writing for three years is really a spiritual adventure. For me, every detail is a near silence, and every tone is a dodge. Because of Mr. Ge’s death, he loves poetry and death songs are always sung together. My heart is always filled with grief and despair, and as time goes by, this grief and despair will often become a virtual force. The virtual force is so big and its positive side is so difficult to identify that you will become an evil accomplice in a glib tone if you are not careful. I must be alert to this and thank Mr. Ge, the coloratura hero, who brought me the power of introspection and gave me a courage to face the emptiness. Although he died, he still woke up. I don’t want to give up hope. For me, it is like a process of my healing. Although the meager hope is reflected in a pool of blood, it is still a hope. I stare at that hope like staring at flowers on the roof of hell.
I said that I was full of passion for Mr. Ge, the protagonist, and that was not flowery. I also wanted to say that I was lucky to be able to accompany Mr. Ge to read his heart. When I told this story, Ge’s shy face was always floating in front of my eyes, facing the turning point of history. People’s nerves in blood shed should be as hard as soles, and Ge’s frequent blushing seemed out of place. But I believe many readers will see from Ge’s experience a kind of courage, a kind of strength to seek my affirmation in the face of various threats. The disappearance of life doesn’t mean the disintegration of life, but it means that I have finished it. His blood shines like dew in the sun and nourishes everything. Although many people try their best to shape Ge into a hero, it doesn’t matter whether he is a hero or not. His tombstone can be found, but it doesn’t matter if he has no tombstone. In his poem, Mr. Lu Xun, a friend of Ge, once wrote that the blood is full of vigor, the grass is cold and the earth is cold, and the spring is springing.