Liang Hong, perhaps the afternoon poems are not about writing knowledge, but there are also profound pan-political themes hidden behind them, including the fact that you write about the national highway. They are all major themes, but when you set up multiple ways of focus in detail and multiple ways of discourse, you just woke up the complex reality of this era. We pay attention to the paradox, which is exactly a typical landscape life in the post-polar era. Every key point is controlled by lies or dragged to a very absurd point by some inexplicable force.
Li er, you must stay at every key point.
Liang Hong, this is indeed a change in the style of beauty. It is a quiet modification of beauty. We can name it daily life poetry, a new style of poetry. Although the theorists have made in-depth analysis, we have discussed the reality from the aspects of poetry theme, language style, character structure and narrative. This is also a change in philosophical consciousness, including historical view and political view. When reading these novels, I always feel that it is telling you something that you often see, hear or do. Although it is very close to you, you have always turned a blind eye. Now you have made me really see them, which is much better than I am now.
I still made a lot of arrangements in Li Er’s light and shadow. It is better than saying that I arranged for the hero’s mother to die. Teacher Zhang raised him. When his mother died, his hometown was not a meat hometown but a spiritual hometown. He grew up in an intellectual body. He was a father who recognized his value, but in the later process, his value was stripped a little bit and shattered. Finally, he was crushed by teacher Zhang, a symbol of his value. Teacher Luan Wen regarded him as a savior, which would be a great blow to Sun Liang. He had to finish this because of a sense of gratitude, that is, he had to send his brain to
The process of Liang Hong Sun Liang’s return to his hometown has actually become a process of being far away from his hometown, a process of collapse of values and beliefs. The most ridiculous thing is to play a double reed. They are in a passive position, but that policeman Xiao Wang was promoted because of it. It is secondary to be promoted and enter the core of strength. The final ending is that Sun Liang’s urine splashed all over him. Xiao Wang’s heart is very interesting.
Li er is an official. Don’t say that if you spill urine all over him, it will be a shit all over him. He is also flattered.
Doubt about common sense
Liang Hong: I’ve been thinking about whether there is a simplification behind the complete emptiness, and whether it is a kind of complexity and simplicity. It seems that Camus’s emptiness and philosophy are just contrary to Sisyphus’s myth. In the end, it shows that emptiness and love give life full meaning, but in the light and shadow, I don’t feel some kind of leniency. In the philosophical sense, I nailed people to death. At the end, Mr. Zhang described that when Mr. Zhang was trembling in front of Sun Liang, you felt very vicious, but it was more complicated than vanity and overbearing, but there was no lack of imagination. Now the ending
Li Er, let me say it again. In my opinion, fiction is a negative revelation, seeking affirmation in negation or further. I almost think that this is the kind of person who I really didn’t create before I wrote my letter, which can show the sense of direction in life and directly stimulate people’s health. The important reason is that I must be very careful when I write realistic themes. I can’t give promises at will. For adults, it is better to be aware of real pain clearly than to believe in false happiness confusedly because of pain. You can change the status quo only after suffering. You can see that in modernism, the last promise of happiness is actually a wish. Bergman’s shadow shouts drizzle. At the end, a very warm scene is touching. Three sisters are swinging in the garden, poetic and lush, but in fact, it is a memory of a life fragment that has disappeared. It is the past, not the future. Bergman is very awake.
Liang Hong, some time ago, I saw that one of your essays was about Kutcher.
Lier Kutcher’s novels are very telling. Can you think about the story of Kutcher’s characters? What is Tolstoy’s pen meeting now? What is Faulkner’s pen meeting now? If you close your eyes, you can think about the value of human face in Tolstoy’s Faulkner’s novels. They are either maids, stupid prostitutes or sweaty slaves. Of course, you can think that I am talking nonsense. They have written those people into people, people who have not been eroded by literature or oppressed coolies. But we might as well think about whether this experience is really reliable. Although you will be infected by their art, I feel
Liang Hong Kutcher has a different way.
Li Er’s look at Master Coetzee Petersberg tells you the truth, even I feel cruel. Where is the cruelty? Coetzee is going to use a knife. After Coetzee finished, he made a new explanation. If the girl was asked to write by Tuoweng, it would definitely be a symbol of a better future. However, Coetzee turned this little girl into the most important part of a tragic world. When Coetzee simply named that chapter poison, I felt that I wrote the novel by Coetzee. Don’t laugh. I met it seriously. Do you think that you wrote a good novel because you also want to write that novel? Do you think that an unknown person has fulfilled your dream of reading Coetzee’s novel? I think I feel very similar. I can feel that Coetzee is thoughtful. When he writes fiction in this way, his attitude at home is very positive. He has the courage to penetrate that fiction. He dares to question what is recognized as untrue and thoroughly examine and analyze it, which will produce a more positive effect behind his disbelief. For writing in this era, there is no common sense. Only when common sense becomes the object of doubt can meaning be established.
Liang Hong Nabokov once made a wonderful exposition on common sense. In his opinion, the root of common sense is immoral, because human nature is like a magic ceremony. This kind of ceremony has existed since ancient times. At the worst, common sense is a square, but the most important fantasy value in life is beautiful and round, just like the universe or a child who opened his eyes when he first saw a circus. The prophet caved in and the witch was indignant. The artist didn’t obey the rules, and the niche shared the same sacred danger. Chang Hao, because this violation of common sense and boldness means that the family has to take risks. Coetzee called the chapter about the little girl poison, and at the same time denied that the little girl’s physical metaphor was pure and beautiful, which was recognized by Wen Du.
Li Er’s little girl, whose mothers are all helped by government, brings more violence. Therefore, Coetzee boldly called poison Coetzee, and all the negative things on the opposite side tried to make a new explanation. In shame, he wrote that a professor returned to his daughter after a girl was removed, and it took fifteen years to make a very bad sum. After what happened, one day the professor suddenly saw this girl, and he found that he was still sexually impulsive. I think this showed Coetzee’s point of view. He affirmed that the professor loved his behavior and was regarded as promiscuous by others, but in fact he was really this woman. The child or he is the one who is inspired by love. Of course, the moral law recognizes him as a shame. You can think about this story. Let the China family write it. It must be a different look. It is not a direct moral accusation. That is to say, first write a few paragraphs of desire, and then a moral accusation. I think of Milan Kundera in a different way. Of course, Coetzee can’t bear the lightness in life. Kundera has a very wonderful description. In his pen, Teresa is also treated as a pure girl. He regards her as being painted from resin. There are children floating in the cradle. It says that Teresa retaliated against her husband Thomas and went to the engineer, that is, the KGB. It was surprising. Of course, the first thing that surprised Teresa was that Teresa was sexually impulsive and wet. This is also the great thing about Kundera.
Liang Hong, I think it is very important for a family to explore the deeper fields of mankind with such an idea, at the risk of being judged by morality and being spurned by a style, and to be full of deep analysis and thinking about true skepticism, which is also the most outstanding advantage of your generation of novelists
1 China, a female critic of Liang Hong, was born in Dengzhou, Henan Province in 1973. She graduated from Beijing Normal University for three years. Dr. Zhong Wenwen devoted herself to the study of modern and contemporary literature and culture in China. She published an interview with the witch, red chopsticks, notes from other provinces, the evolution of narrative beauty of contemporary literature and so on, which had a great impact overseas. Non-fiction China was in Liangzhuang.
Virtual Doubt Context Novel Changed to Liang Hong Dialogue II
Loss of classical situation
When reading your novel, Liang Hong had a particularly strong feeling that the face of the novel had undergone a profound change. The Lukacs language in the overall life era of emotional education and moral enlightenment in the text is no longer there. This emotional narrative does not include Tolstoy Cao Xueqin’s scenic realistic novel, but also Kafka Yuhua’s fragmented modernist novel. Here, the novel has been separated from the elements of the classic novel, and it is no longer an emotional category. It tries to show that it is far more complicated than emotion or that the novel spirit is exhibited. Now it no longer depends on the experience ability of emotional channels, but also needs rich knowledge and profound wisdom rather than grasping a certain subject of the text. It depends on family speculation and the cognitive ability of the world’s multiple levels of complexity. At this time, I feel like a loss of classicism, and the golden age of finding some emotional purification in the novel world to lead is gone forever.
Li er’s novels are becoming more and more complicated and professional. The classic realism novels of the 19th century and the great novels have nurtured many people. Their focus is on writing about human nature and the story of the conflict between good and evil. The ups and downs are full of tragic power. Naturally, we will experience a purifying power because tragedy is purification. Now novelists demand more novels than this. Now whoever writes a resurrection will think that you wrote a popular novel Romeo and Juliet. Now you can see it in the newspaper supplement.
Liang Hong may be, but it’s not just me. It may also be a lot of reading feelings. It seems that our requirements for novel concepts are still in the classic era of the nineteenth century, but the actual novel creation has gone far. Does this mean that I say it is still a unified novel and modern novels have abandoned many things?
One of Li Er’s most direct feelings is that the narrative unity has disappeared, and the novel no longer tells an end story, and all kinds of broken stories, fragmented experiences and trivial details fill the novel. The novel is no longer standard in meaning, and it begins with a climax ending. The arrangement of the cock-headed pig’s belly and leopard’s tail in narrative seems to be all messed up, even if it is narrated clockwise, the protagonist of the novel keeps escaping from oblivion. You simply don’t know how it will end. The protagonist is dead, buried and crying loudly. That is the tragic protagonist is married and has a child, and firecrackers are everywhere. That
Liang Hong, this means that not only the creative subject thought has changed, but also its narrative position in the text has changed qualitatively.
Li er, who is engaged in literature and history, can clearly see that there have been many changes in the perspective of life, from quill writing brush to pen writing to brain writing. Of course, the most important thing is that the knowledge reflects the changes, and these changes will of course be reflected in the novels.
I also look through some 19th-century novels now. When I read them, I often feel that my family was happy at that time, even if he wrote about pain, you also felt that his family was happy even if others were suffering. Before the 19th century, the novelist was a god, a true incarnation, a representative of conscience, and he was assimilated beyond life. He watched the stars at night and plotted to ignite in the account at the grassroots level. He wrote something similar to the Oracle, which character he let die, which character could not survive the midnight. The sense of failure belongs to others first. People don’t see Dostoevsky’s life with his usual eyes. Is it a failure enough? Poverty and death, Russian roulette player died again. These feelings of failure have been with him all his life, but in fact he is still happy because he holds the truth in his hand, and he only looks when he writes. Usually he looks.
But the problem is complicated for contemporary economists. The family is deeply involved in contemporary life and submerged in the fate of ordinary people, which makes him feel that it is fate. He feels that it is daily life. His eyes are straight up. He looks up at the sky. You will think that he is rolling his eyes. Why does this person roll his eyes easily? The word "knowledge body" is a kind of pre-complex and vague knowledge body. It is not appropriate here to say that it is bandits, peasants and insurgents. Lin borrows the word "one" to show the state of knowledge, so it can be said that it is a noisy room. How can a family know which knowledge is right or wrong? Living in this state, he is confused and confused. I often feel that his novels are mainly about expressing his confusion and confusion. He carefully doubts about all kinds of knowledge.
Liang Hongya put it very well. He really said that the epic part is over. The narrative performance of the novel is a profound confusion of life. Now the individual is lost in the historical discourse or the tunnel of personal life, and the absurdity is expressed in the synchronic time. The virtual novel can no longer serve as an explanation of life, but can turn to narrative. What will happen to this confusion? Is it based on the evolution of the literary mind or has it changed due to the context of a world?
Li er, I really want to write that kind of novel, that kind of moral enlightenment novel in which emotional education can be carried out, that kind of novel called overall life novel, but I know very well that it is almost impossible. I believe that no one can write this kind of novel now because the world context has changed because of the complexity. The cornerstone of moral enlightenment for emotional education has been taken away. Kafka’s sentence is a good example. Kafka said that Balzac’s staff once engraved a sentence, and my staff shattered a world. I joked by the way. I don’t even have a staff, because the staff has been shattered. Kafka can also write fables and other contemporary fables. But now who can write fables unless you write them to children? That is to say, contemporary novels have lost their fable function, a symbolic force with unified meaning.
In fact, the individual life or family has fallen apart. You can’t tell the reader how you feel about the world. That physical feeling is also a fragmented and decomposed life. When reading contemporary novels, I always ask the narrator who is telling this novel, but I don’t care when reading that kind of unified novel. Although a novel is undoubtedly told by family, it is strange that we have lost faith in our family. We need to know when he tells this novel. From what angle do you enter the perspective? Otherwise, I will feel false, as if it is an exception, that is, the story of this novel is a fixed singularity, but after looking back, it means that it is a public experience rather than a personal experience of history in the pre-modern period. In this case, we can still tolerate the family’s knowledge and narrative, and the family always tries their best to meet the expectation. When the novel is close to that expectation, we will say that the novel is successful, but I will not write it like this. I dare not write like this. I must choose a narrator to tell his life. He can tell his individual life. He can tell a certain kind of life. He can tell some fragments of his individual life. In these fragments, he feels the pressure of being assimilated by life, so he resists or compromises. Therefore, his individual’s difficult meaning is gradually revealed in these fragments. How can you find a general view of the world at this time?
Liang Hong, behind this, seems to be a kind of world outlook change. The optimistic enlightenment’s grasp of the world faith in the 19th century has disappeared in the 20th century. The 19th century is full of symbolic and sacred abstract significance. In the era of the disintegration of great imperialism, the United world of science, education and capital is a world that has mastered the law, so Balzac’s lofty sentiments and ambitions became unpredictable in the 20th century when people were in the experience of alienation and anxiety in the orderly industrialization.
In a big way, Li Er must be a change in the world outlook. For China, it is only after the 1990s that we can say that the context has really changed and the new reality has been realized. It requires writing to make a difficult response and talk about the connection. Then after the 1990s, China will really connect with the outside world. This connection has two meanings. One is that we are called the globalization wave, and the other is that China’s special reality has emerged. We were drowned by the wave and waded through it, which also became the aquarium in the wave, but China’s huge political and cultural heritage remains. First of all, it belongs to us. At the same time, it is constantly undergoing fission and displacement in the new context. It is always said that the China family played western modernism once in more than ten years. Of course, there is no lack of irony in this statement. The implication is that we finally lost ourselves. But the basic fact behind this is that our life has indeed gone through the history of others for decades and centuries in more than ten years, and it is our experience. The focus is on China. Such an accusation is actually like talking, because none of us can be lonely. Hanging out of the historical process, I think people’s most direct feeling may be that contemporary life is changing too fast, which is simply dizzying. You just have three eyes like Lord Ma, and many times we in the West are the same concept, but our expressions are different than what we all say about anxiety.