Li Er, China critics will think it’s not enough, but Western Han people will think it’s very good.
What about Liang Hong? Will this lead to an attractive tendency of the China family to gain influence in the West?
Li er, many western Han families are simple. I think this kind of good thinker in the western Han family has a simpler view of history and a simpler description of historical reality. It’s not that what the family wrote is recognized by them, but that the recognition of the western Han family has stimulated or strengthened some families’ views. However, the western Han family often doesn’t understand that this kind of writing is often part of the main ideology. In fact, this kind of writing in China is a kind of security, which is a kind of security writing.
The background boundary of Liang Hong’s challenge has been lost. Now people are not interested in general criticism, which is meaningless to a nation because even political ideology has been denied. Ordinary people know that writing based on such a simple historical view is the way to present more things. As far as the theme is concerned, it has no new historical vision. Where is its value?
In a chat with Li Er, Li Tuo told a wonderful detail, and he could also say how important the historical view is to the family. Tolstoy wrote that Napoleon attacked Moscow. Russian officers were arguing, but Marshal Kutuzov was dozing off. For those main battle men, he thought they were patriotic, but he risked the lives of soldiers and advocated retreating. Kutuzov also looked down on Kutuzov’s views. He knew that this battle could not be fought at the moment. He could wait until winter came and heavy snow forced Napoleon to withdraw. He can be such an image. His image contains his knowledge of a Russian, the historical reality and the weather, but he can’t say that once he is reported to the czar, he may even lose his head. He can finally choose to doze off. Tolstoy didn’t write it like this, but such a detail contains Tolstoy’s understanding of history. Although his novel is not a knowledge type, it contains profound ideological content. This novel is wonderful.
Liang Hong, but critics also ask whether writers still need ideological resources, which may also be a rhetorical question.
Of course, Li Er needs ideas, and the literature needs ideological resources more and more. The writer can no longer write by ability. If you are a real family and you don’t want to be a best-selling family, then if this family doesn’t have enough mental preparation, his writing is untrue and worthless. He can write once, like a can.
Liang Hong is interested in the issue of family history. My personal experience is great. What am I not satisfied with? With the deepening of reading, you will find that it has not brought you an ideological shock. Of course, you will also be shocked by beauty. But in some novels, you think that writing this novel should not be beautiful in language or skill, but should be more simple or it should be presented to you. You are not satisfied. This should not be a mature novel, but reading the west. Some people always feel that apart from language and style, you have gained a lot. Although you don’t know their national situation, this family has been in a speculative state about their national situation. For China, it may be because we know the national history too well, but it may be more demanding, but it is not particularly excessive. This should become a family-based consciousness. Nowadays, reading novels is generally not satisfied with reality, but it is too simple. The language is becoming more and more complicated, the aesthetics are becoming more and more refined, but the ideas are becoming simpler.
Li er, but who can surpass history? It’s very difficult for the family.
Split state of knowledge
Liang Hong’s division of knowledge and fate in China’s contemporary literature and history has always been a major theme for the family. Since seventeen years, do you think the China family has defined knowledge in the literature?
Li Er’s China modern writings are actually composed of knowledge-divided narratives, but it is very strange that knowledge-divided narratives are all a kind of vassal status, and all of them pay tribute to people at a lower level, including a little thing from Lu Xun, who tries to blend into the flood. If he is outside the flood, he will feel uneasy and ashamed of his noble temperament. In spirit, he tries to get close to a lower level of life, but the narrator of his novels is knowledge-divided, and his family wants to live a life of knowledge-divided, not him. The article yearns for that kind of life, which is a very strange split state. Compared with saying that Lu Xun will not become a rickshaw puller, he will let his characters look down on themselves. Lu Xun still hopes to lead a life of drinking tea and smoking and writing articles with high taxes.
Liang Hong, that is to say, the role of a modern narrator is in a split state. In the process, the characters are always required to see each other, so the spirit of life is the real life.
Li Er, this is not to say that they are pseudo-monarchs, but that he is in a state of involuntary division, and this division is at the expense of his own personality. Until Zhang Xianliang’s novel Zhang Yonglin thought about living in Ma Yinghua, he thought it was the best truth, but he believed that Zhang Yonglin would never live that kind of life, so he would be given a chance. He would pat his ass and leave his early life in Ma Yinghua to give him a good memory.
Is Liang Hong a moral requirement of China society or does the development of political history lead to anxiety about knowledge? He always admits that he is wrong or lacking, so what kind of knowledge branch is such a mentality?
Li er is even more strange that knowledge is willing to live a more exquisite life, but he is willing to let his characters live a more crude life, which includes Park Su-jin. Both kinds of mentality are true, and that exquisite life constitutes his guilt. He let his protagonist live that life through some kind of venting, and so do I. I am so impulsive to drag them to dinner and so on.
Liang Hong, actually, it has become a landscape. In that connection, it is very illusory. You repeatedly describe Ge’s shyness in coloratura. It is an individual’s secret spending. What kind of historical situation do you think Ge’s shyness contains knowledge? Or what kind of political environment and historical situation is Ge’s when his face is shy? What kind of ending will his shyness lead to?
Li er, we now have a chance to turn people into machines. We don’t need personal feelings in it. It doesn’t need to be ashamed. It needs you to do something without hesitation. When our camera sweeps over the rostrum, all the people have to present a standard expression, a standard indifference standard. Seriously, when the camera hits, their department is already sitting on the rostrum. We can hardly see his walking posture, his daily conversation, and his personal part disappears. This will require us, but Ge still maintains a certain kind of mental life, and he will involuntarily show shyness, weakness, still keep writing hobbies and so on.
Liang Hong, in the middle of the class, you repeatedly met with everything as if you were indifferent to everything. What does it mean for him not to leave?
Li er actually has no place to go, not that he can go to his body, but to his soul. This meeting will not allow such a Ge person to be here.
Liang Hong, the more ignorant he is, the more tragic he is.
Li er is more willing to flee to the barren hills than he is, which may keep him a little personal at a certain time. When he cherishes this now, he can keep his past memories.
The Liang Hong Revolution made you a hero under the banner of making you a hero. The value of knowledge in it is certain. First, you can do something at the head of national crisis. Secondly, you can keep a little personal independence, but you will find that in the end, you can only keep a little honor when your personality is wiped out. Of course, this kind of righteousness is what you pursued at first, and you also got knowledge and dreams, but you will find that it is at the expense of your body.
Li Er, every one of us wants to be a hero and join in the flood of history. This is a requirement of the times, and it is trapped by the times. In fact, there are not many personal choices, and in fact, in the end, the heroes are not formed by themselves. Peng Dehuai said when he talked about resisting US aggression and aiding Korea that all heroes are dead. When Sartre talked about the Russian revolution, others did not participate in this process. Who was willing to participate in this process in the ideological field? It was Gide who first discovered that the cruelty of the Russian revolution was. Humanism is illusory. They discovered the imperial secret. Sartre praised others very much. China’s Cultural Revolution, Stalinism, Khrushchev thought it contained some utopian colors.
Liang Hong is a little abstract in meaning, and you will find those big words, such as national revolution, human beings, etc. There are always some differences in their knowledge points. Of course, it does not mean that knowledge points are not responsible for righteousness. It seems that he always realizes these things by law, and when he wants to realize them, he always sacrifices the physical cost to achieve a greater meaning.
I was very confused when Li er actually talked about the revolutionary knowledge. This is not the kind of knowledge. Whether to participate in the historical process is simple and confusing. Of course, we must participate in the historical process. None of us can stay out of history. This is not a question. What is the way to participate?
Liang Hong: I once wrote in a comment that profound thoughts can’t take the place of literary aesthetic depth. Does it take the place of literary poetic sublimation? I tried to return to the scene purely to achieve historical non-nature, but in the end I fell into the mire of sexual consciousness. To a certain extent, I ignored the fact that literary works should be moist, colorful, emotional and life-shaking. There is no doubt that poetry is lost. This is a slightly critical tone, but I often wonder whether I call poetry classical nostalgia. This nostalgia leads me to turn a blind eye to your new beauty element, including general reading. Missing or missing my nostalgia is not nostalgia, but a certain affirmation of literary spirit. When reading coloratura, I often have to go back to the past to look for clues before I can form a certain feeling. My brain is also filled with many sounds in the left, middle and right. It is certain that this is your intention. This form has reached your view of history, but some emotional things have been destroyed in the toss and turn. What is going on? Is this also because I am a reader who refuses to forget my classical feelings? Is this a loss?
Li Er, no one asks that a novel must tell a story from beginning to end without interruption. We are a habit of reading. I think my novel is still poetic, but I usually don’t want the word poetic to make me choose. I prefer to choose the word poetic, which contains complex cognition. We are not adapted because this process will be more difficult to read. Another reason is that you are a professional reader, but you will always read to my editor. She is very determined to print. She wants to know that ordinary people look at her and let her mother look at her with interest. Suspense is very interesting.
Liang Hong, do you mean that my pursuit of complexity is due to my strong desire to read and analyze as a major, but an ordinary reader may read interesting and strange stories?
Li er, this is very interesting. You are too complex, but you want to analyze a relatively simple novel, and my complex expression can be recognized in ordinary reading. There is no obstacle to reading.
Before Liang Hong’s reading was very harsh, I always assumed that general reading could not accept you’s many novels. If you don’t worry about general reading, you may find it interesting and eager to find the fate of the characters. He will read the memoirs or excerpts of historical materials with relish, and so on. This knowledge may not constitute a reading obstacle. From the perspective of the development of novels, this encyclopedic narrative may reappear the charm of novels through another thing and gain another breadth. For China’s contemporary novels, this change is not a general novel element, but a novel style change. It means that the new concept of literature, the world outlook and the narrative source of novels
Local narrative after the loss of rural myth
Liang Hongxian asked a basic question: Why do you want to write about pomegranate trees and cherries? For a novelist like you who has been writing about knowledge and life.
Li er, let me ask you first. What do you think of pomegranate trees bearing cherries?
Liang Hong asks you again whether this is luring the enemy into the country. I’d better answer it honestly. First of all, I think pomegranate trees bearing cherries are a narrative of Xinxiang village. What does it mean because it presents a naked village in front of us? What does naked mean? Modern literature and history have always been a myth in the countryside, which is to scold it for loving it. Behind it, it is all symbolic, such as the warmth and suffering of mother earth. It contains great symbolism. Some literary motifs, the basic proposition of human destiny can be found here and pinned on you. There is no homesickness, no spiritual significance, and there is no land, wild events, and the countryside becomes a modern society. An element, a body, a home and an accurate style decompose the countryside into realistic factors, which reveals the reality of rural China and truly enters other muscles for the first time in the past. We see that the countryside is entangled with the process of modernity. This is a very big feeling.
Secondly, a little regret, fear of a kind of surprise and loss, after losing the classical meaning, a nation has lost its roots, saying that even the countryside can no longer be the most rooted place for human beings to rely on, so where can we find spiritual support? I feel that this narrative is very cold and cold, which is my basic feeling
Li er, how did you feel when you returned to your hometown?
Liang Hong’s disappointment and warmth are always full of yearning before returning to his hometown, but after returning, it’s nothing more than this or it’s more desolate. It’s far from what you imagined, but every time I think about going home, I am very excited. I must go home, but every time I leave in a hurry. I once wrote an article that was once so familiar to me, but now it’s so strange that it hurts.
Li Er, actually, everyone doesn’t take the rural spiritual hometown as a very interesting meeting some time ago. At that time, critics were saying that economists should write about riff-raff, but now we can’t see that the descriptions of the people at the bottom are all written by the city people. When can we see that the people at the bottom have written the bottom? At this time, Li Jingze said that I am an editor, and I can show it to you now, but you won’t read anything. Because the people at the bottom write articles that are all about urbanization, they are all romantic novels. You want to see descriptions of the sufferings at the bottom. But their true description is very simple romantic prose. Whether I read this kind of prose in people’s literature or not, they will think that I am not responsible. Now critics can read it. We hope to see that kind of low-level prose is not when critics call on the bottom people to write the low-level prose, which is similar to writing the notes of the dead house when Dostoevsky becomes the bottom people. He can’t write it. In our imagination, we think that the bottom people should write novels by writing the notes of the dead house or by people like us, but when we are finished, the people in the dead house will not read it.
Let’s go back to our topic. When I was writing, I knew very well that rural people didn’t read my novels. Of course, I also very much hoped that they could read them. They might be unhappy. This doesn’t mean that they don’t think it’s true. Many people think it’s not true than after reading it. How can rural people have a mobile phone? Many of our city people’s impressions of the countryside come from the shadow of the Cotai Strip. When they came to the vast west of the right-wing family or the educated youth township, they lived a kind of land and plants. It became our memory autumn. In our memory, the first thing is the mature crops, the bare land in winter and the three grabs in summer when the agriculture is busy. When we write like this, how irresponsible we are to the countryside, we are satisfying our imagination, which is very superficial.
Liang Hong is like you in the light and shadow. Sun Liang feels the same way. He sent it back to his brain to show the world that he is suffering from the world now.
Li er, I just broke this fantasy.
Liang Hong’s actual pomegranate tree bears cherries, which continues your usual style of post-modern collage poetry. Farmers are talking about the election of the village committee in the pigsty with their mobile phones, rubbing their toes and discussing the Taiwan Province Strait issue. This village is no longer the moral core, but in the process of modern development. This is a more realistic country. What kind of qualitative impact do you think this modern discourse will have on the country and what it means to the country?
Li Er, I think that at this stage, the village is a village placed in the post-modern discourse. It is no longer coming to the village. It is far from being shaped. The village is undergoing drastic changes, and various values are constantly splitting and dissipating. I must find a way to reunite such a solution to the village. I have found the way of election, because the election is the most direct symbol of modernization. I use this symbol to show this process and absorb various experiences.
In fact, many rural narratives in Liang Hong are still suffering narratives, but your narratives are obviously different. You think that you have found the core spiritual features of the countryside in such diversified narratives. When we see the scene of flowers talking with their mobile phones next to the pigsty, we think it means that life is still muddy in the pigsty, but when you can cross it with your mobile phone, what do you think this modern, most advanced and oldest landscape means to the countryside at the same time, is it a kind of progress or a kind of chaos?
For me, Li Er is first of all a real picture in the process of modernization. Her mobile phone can get information about the distant world, but her feet are still connected with animals and plants. Everything she does is not to change this reality, but to talk to other people. This role is very complicated. For me, this novel means that I wrote a rural woman. Before rural women, she often represented motherhood. I chose this woman. When rural women were integrated into the secularization process, then a village entered the secularization process. This is also the reason why I chose women as the protagonist of this novel, although I was very bad at describing it.
Liang Hong’s grafting is like a folk song. Can pomegranate trees and cherries really take root in the countryside and help rural China to a new situation?