Liang Hong, speaking from the specific elements of the novel, there is no doubt that such a change in the world view of the body context has also had a great impact on the beautiful style of the novel. The story disappeared when the declining tragedy has disappeared, and the rest was dull and boring, which did not end the daily life. It seems that this is not a different story structure, but a new starting point for writing. Let’s talk about the evolution of the story in the novel first. What do you think is the difference between the story and the story in the modern novel? As far as the aesthetic significance is concerned, the historical view of the novel element status is concerned.
Li Er, I can try to make some explanation. When we think of the word story, it first stands for recalling the past. It is looking back on the past, remembering the history, and retaining it when it disappears. In the past, Jia Baoyu, Yu Lin and Dai Yu were all born with tears. Jean Valjean’s magical power is also a gift. In these stories, the narrator or the protagonist of the novel actually has correct values, but when the past history has gone, it is not our experience, but also a kind of eternity. As far as values are concerned, it is either defending a certain value or opposing a certain value. Either way, the narrator or the hero of the novel has a fixed guide to action, and his personality evolution is also an opportunity to find a key and lock it.
Contemporary life is a life without stories. The most important story in contemporary life is that the story disappears. The story is actually a miracle. It is a miracle life. In the long history of novels, the story is a novel. Life without stories equals death. But now, because of the rapid changes in contemporary life, it has become a common practice for us to write about a person who is rich and needs a long preparation to write about strict father’s loving mother, to write that he was born in poverty and died in happiness, and now he is a poor man. A poor man with talent and virtue can become a millionaire in a blink of an eye, but when he turns his face, he becomes a worthless prisoner. Miracles are performed all the time. These miracles were far away before, but now they are just around the corner.
Many times, we realize that pain and happiness can be called a kind of instant pain and instant happiness. It is that we adapt to the life experience with some imaginary nature, and the hard lump occasionally flashes a light. Our life structure has been broken. Life is no longer a story. The story structure should be said that storytelling is a family worker, but contemporary artists can hardly tell stories. In the old movie, the line is not that the national army is too capable but that the communist army is too cunning. You can say that life is too fast, and it has become formless and unstructured.
Liang Hongya said among storytellers that storytellers have become something far away from us. Your storytelling is a kind of strangeness with a strong sense of difference. Everything is synchronic in communication, modern media and other information broadcasting. Our experience maintains heterogeneity and multi-time consciousness. The mystery in the distance has disappeared. This is where the storyteller draws closer when he loses his prestige, and the family can show such synchronicity in the structure. He can’t tell stories because he has lost his prestige.
Li Er often knows less about home than reading. He doesn’t have time to watch the news. Many of his stories are known from others. For him, those stories are second-hand, even third-hand. That is to say, he can’t tell distant stories a kind of knowledge. Even he lost his knowledge. He doesn’t believe it. What you said is outdated. Saddam Hussein was hanged yesterday. You arrived in the form of a story today. The former story said that the story still has a certain news nature and a certain secret nature. Now who wants to see the news from your story? See the truth. The novelist’s power has been
Liang Hong, and often, the family’s breath has not yet shocked people, which gives the family a difficult problem. The story has fallen and the story background has disappeared. Narrating in a unified novel means telling stories, telling stories about people traveling overseas, strange stories in the Tang Dynasty, stories in the Song and Yuan Dynasties, and so on. The story body is the core element. Now we need to tell the story well. Now the story does not need to be told by the family, and newspapers and so on will quickly turn it into an event. What should the family do when facing such an embarrassing situation? As far as the story is concerned,
Li Er’s family is of different types. They can still tell stories continuously than Mo Yan Yan Lianke’s family. Their foreign colleague Bilasti Bimarquez also keeps telling stories to us, and those stories are still fascinating. The stories have not disappeared in their place. They are still masters of storytelling in this era. Some families still keep their memories of the past life for a long time. The fate of the characters slowly unfolds and grows in October. Their novels are pregnant. There is a peculiar contemporariness, which embodies memory, reality, conflict, history, contemporary life, local experience, foreign cultural conflict, political and human conflict, but there is also another kind of home. They are more interested in expressing contemporary life, and their memory is washed away by reality. In their personal experience, their understanding of life is formed in this era. For this kind of home, you have to have another reading judgment.
In my own novels, short stories often focus on the back, while novels often focus on the front, but whether it is the front or the back is the home of these two types. I feel that the narrative development of novels is still endless, that is to say, in the face of your embarrassment, novels can certainly find their own development and development path.
Liang Hong, do you mean that it may also add a new narrative to the novel? Woolf once said that after you finish reading a novel, it can be relayed to another person without difficulty, so it is not a real novel, but a story. I think a very big change in concept here is not the core element of modern novels, or that novels are by no means a story, but a more complicated thing. What it wants to express is another feeling or that it wants to show a feeling of life as a mirror image, which is a display rather than a judgment.
Li er: I think the novel’s meaning is indeed a kind of display. At the same time, I think the novel is still based on enlightenment, but its enlightenment tells people that they can’t do this. The novel tells people that life should be like this. The former novel is similar to the Oracle’s words. It tells people where to go, while the contemporary novel tells people that they shouldn’t.
Liang Hong has no answer as to how to get there. The family leaves it for reading, because the family may read nothing and don’t know what to do, but it seems that this will bring the novel into an end, which is a sense of strength.
Li er’s previous novels are a positive revelation, but now the novels show a negative revelation, which is a big difference. Let’s talk about telling stories. I often give an example, which may be regarded as arrogance by others. I wonder if you have read my statement that Cao Xueqin lived in contemporary words and could not write a dream of red mansions. At that time, the contemporary family may also write it. I mean, there is a big difference between the current novels, not the family can disappear, but the world has changed. Let me give an example. The dream of red mansions era has been expressed for thousands of years before. There is a sentence in the article on ultra-stable structure life that the stone lion in Jiafu is clean. When he said this sentence, it showed that the official family would be like this at that time. The stone lion was a symbol. When you want to find a metaphor, this metaphor will be very universal. This is a super-stable feeling. The layout of the decoration meeting in the poor family of an official family is almost the same. According to a foreigner, even if you burn the sketch of the house, China craftsmen can build the same house by feeling. How many cities are there in this city? Together, the Yellow River has flooded it again and again, and the sediment has completely closed it up, but in the sediment, a new city, a new city and an old city will soon be built, which is almost the same, because that sense of form has become a physical consciousness.
Liang Hong, you mean that it has formed a very mature symbolic metaphor system. After thousands of years of strengthening, everyone will feel it and follow it. This is also the cultural inheritance of a national symbolic system.
Li er is right, it is a complete symbol system, so that it will become relatively easy for the family to write, because writing is not only the objectification of aesthetic power, but also the echo of objects and beauty, while contemporary life is different. Today, when you see a coffee shop at the door, you may be torn down overnight and become a playground. The day after tomorrow, a small change has been built there, and this rapid root method has set up a symbolic structure everywhere. In this case, writing must change and a new form must be presented, otherwise your writing will be untrue.
Liang Hong, when we come back to the context of contemporary literature, you will find that the actual contemporary literature in China, especially the avant-garde literature, has gone through the course of western literature since the 19th century, and the novel has indeed succeeded in a certain sense. However, after such a course, you find that Yu Hua Gefei and others are all in the process of transformation, and the avant-garde literature has returned to the story. What does this phenomenon say? What kind of anxiety is hidden behind this or what kind of requirements are based on?
Li Er’s root-seeking novels are mainly influenced by Latin American magic novels, and avant-garde novels are mainly influenced by French countries, compared with French neo-novelists, etc. Of course, they also have different experiences. They accept Latin American novels because their educated youth life requires them to find a root in the hope of finding a national style and national style pioneer. They don’t have a broad life, and they mainly rely on fantasy to write. Rob Gerye Borges doesn’t need a broad life. Just feel a little about life. When the pioneers’ life experiences are getting richer and richer, they are far from satisfied with that kind of fantasy novels. Someone once talked about the transformation of Yu Hua. I said that it was because of having children. When they returned to life in their early years, their fantasy combination would produce a very strange text, which is similar to Xu Sanguan’s blood-selling story, half of which is fantasy and half of which is reality. They have achieved great success. Ge Fei is also an enemy on this edge. When they have an understanding of China’s history and feelings about reality, their performance will change and strengthen the story.
Does Liang Hong’s strengthening mean that they are affirming or summarizing their views on themselves or historical experience? When they have experienced it, do they want to return to classicality and try to bear some classical emotional enlightenment or make the story have a higher meaning? Does this also mean that the classicism in the 19th century is still the highest type or pursuit in the family?
Li Er, as far as I know, when they were writing about the enemy or Xu Sanguan’s selling blood, their reading had turned to novels like Dickens, David Copperfield or Katie’s award-winning tongue. They suddenly found out that Robert Gerye was a subject in his early years and they were going to find a subject training in the new novel. Later, they found that they were still reading nineteenth-century novels. Dickens’ novels were standard nineteenth-century classical novels. At this time, their novels were a mixture of Dickens’ novels and Gerye’s novels. First of all, due to the change of knowledge sources, I remember that Mr. Li Xiaolin, the editor-in-chief of that year, said after watching Yu Hua shouting drizzle that Yu Hua wrote it so early. Writing Wang Shuo’s novels at that time was actually a trend, but I don’t think they were returning to classicism at that time. I tend to think that they were looking for their own image by writing.
Liang Hong: I mean, is the story disappearance of modern novels a process of being a master, and will it inevitably return to the spirit of the classic form after a certain experience? The avant-garde prose is shocking, except for a reversal of the specific situation of the text at that time, but also because it shows some confusion, some doubt and uncertainty, and a sudden break in history or life. Now, when they walk through that period, they are not suspected of breaking, but a mature person’s mentality, not to say that they are not confused. They try. Figure to condense their experience into a new story to read, which may lead to some kind of life confusion, but also has the significance of integrating stories and teaching what this return to classicism means.
Li Er Yu Hua didn’t write Xu Sanguan’s blood-selling story for almost ten years, because he found that Xu Sanguan’s form of his feelings about life had already expressed Gefei, and so did it. When they resumed writing, they would write about the historical theme of past life, for example, brothers wrote about the face of the Cultural Revolution, peach blossoms wrote about Gefei’s recent appearance in the Republic of China, and he wrote about life before the Cultural Revolution.
Liang Hong, that is to say, that kind of strange story is still structured in contemporary life, that is, the family wants to go back to the story, but he finds it very difficult to tell it.
Li Er, I want to correct a pioneer who didn’t read the best novel at that time. At that time, he was able to sell 1,000 copies on the edge of life, that is, 3,000 copies. Later, success was very complicated, including market recognition, and also benefited from the praise of academic critics. It was an innovative era. When did the new generation go through the course of western literature in 20 years? We felt that the pace was too slow, compared with saying that it would be half a year now, what style would be presented in half a year? I will tell you a true story: Roger Lee met Xie when eating at Peking University. Guan Xie Mian will ask him who he will be in half a year. They think there will be a new writer this month or next month. He will defeat the former founder. At that time, the main figure was Li Tuo. He was almost equivalent to the Dalai Lama being touched by him and he would become famous overnight. Every young writer is eager to become the person who will become famous next month, but all this is limited to the literary circle. When the literary works entered the public view journals, they still need critics to explain the transformation era. Now the situation is different. At that time, people were very tired of literature and history, and people were not willing to believe in the new critics. This led to the pioneer’
The birth of Liang Hong’s actual avant-garde literature is also a historical event. We needed a new idea at that time. After so many years of looking back, what do you think is the most important place for their enlightenment to the literature?
Li Er said that contemporary writers pay attention to the sense of form from avant-garde writers, which is a great enrichment of China literature. Although many novels are much better than avant-garde novels now, we still respect them, which shows our nostalgia for their contributions.
Liang Hong, this is indeed a remarkable discovery breakthrough, such as Ma Yuan’s narrative novel Gefei Yuhua’s structural experimental novel, etc. Now it seems a little stiff, but you can still feel that the novel form has great power, so the avant-garde is regarded as a revolution in the form of contemporary literature, but I think it is the surface of the avant-garde in a deeper sense. From the avant-garde China’s contemporary literature, it has modern thinking, that is, the ability to criticize order. It is this thinking ability that has led to the root change of modern narrative system. The difference lies in the anxiety that morality can’t be realized in the end, while the former is full of metaphysical and critical examination of moral body, which is also the difference between China’s contemporary literature before and after the avant-garde writing. The general goal behind the ideological trend of seeking roots and reforming the writing in the seventeen years is to verify the legitimacy of life history and try to incorporate them into a moral order. In the seventeen years, this moral order is pure in political ideology, and this moral order reflects the national desire to sublimate the contradictions and conflicts in novels. It is contained in the process of searching for this moral ideal, but in the pioneer article, the efforts in the novel are not to rebuild moral norms, punish evil and promote good, but to explain personal feelings about the concept of life and history, so there will be less life at home and other story elements will infiltrate.
Li er, I agree with you that their stories mainly come from fantasy stories. The basic theme is abstract, and the distant and eternal theme is better than fear, violence and sex. The main driving force of their novels is sex.
Why is this happening in Liang Hong? Is this a kind of adolescent literature? Does it mean that the literature was in an era of adolescent violence and subversion?
Li Er is of historical significance because they were in their twenties when they wrote it, and they contained adolescent violent hormones.
Liang Hong, let’s go back to the story. What elements do you think the story occupies in your novel?
Li er, I think it’s still a story in coloratura, but it’s still a rough framework to find the story when it’s in contemporary life, but it’s fragmented and coloratura is still some tracks. When I face contemporary life, I still hope to find the story, and I also recognize that there is a story in my novel, but reading tells me that I haven’t seen the story or that the concept of the story is different before the story. The former story is a suspense climax, but the expression of contemporary novels seems to be a period of time, and some plots in life can’t see the beginning and end, which seems to be a fragment in life. I think novelists are so impulsive when they structure their stories like novels in the 19th century, but often when they are really close, you feel that your stories are distorted, so that the family is often in a contradictory situation. When he wants to do this, but when he does, he contains a kind of doubt.
Does Liang Hong mean that in this era, you can complete a story with classical significance or accurate direction, which is always interrupted by life?
Li er has too much information, so you need to make a kind of analysis of various cultural phenomena, which take up the novel to show the fate of the characters, so the novel appears trivial