Nanji
Who does the girl call together?
Li er
The artist is a critic.
Critics, alas, art imitates life and life imitates art. Now art is equivalent to life, just like a room is equivalent to the world. There is no quiet table in this world.
As the critics sighed, everyone suddenly lost their desire to talk. I turned the mahjong from the shelf drawer and spread the table with the flannel covering the brain as mahjong cloth. They called for tea, so I went to make tea for them. At this time, the room became both a mahjong club and a teahouse, which was an important scene in daily life. I brought this conversation while they were playing cards. I thought I might be able to buy half a catty of good tea in exchange for good luck.
Moral advantage and anti-moral advantage
At the beginning of 1996, a friend asked me what I thought of a family named Zhang. My friend was a critic. Zhang was familiar with Zhang. At that time, a film praising the spiritual beauty of the poor was a best-selling country. Of course, he praised the spiritual beauty of the poor as well as his own. My friend’s attitude was sincere, and I couldn’t help being sincere. I said that I was surprised that Zhang Zhong showed such moral superiority. He had to make you feel that he was right and wrong. If you want to change your evil, you must do what he said, or you will wait for a friend in hell to pass thick. Looking at me through the lens, I went on talking. I said that Zhang poor people wrote opinions, which also made me feel puzzled. In the Yan ‘an era, Mao Tseng-liang Shuming had an argument. Mao believed that the landlord class had to be overthrown and the poor peasants turned over. Liang said that there was actually no class in the countryside. The difference between extreme poverty and extreme poverty was not to overthrow those landlords, but to make the poor peasants become rich peasants. Mao didn’t want him to argue, so he left. I said that Zhang wanted to realize his idea, and all the people had to suffer. Fortunately, his idea was realized, so I could
I also complained about Tolstoy. Does that mean I’m jealous of Tolstoy, too? Can this have anything to do with jealousy? He’s already dead. I don’t want to be jealous. That’s why I seemed to feel heavy after refuting my friend’s words, so I made a lot of explanations, trying to turn jealousy into a compliment. As soon as he explained, I left. Later, I met many fans of the Zhang family. In fact, if you dare to say no to the Zhang family in front of those people, they all want to eat you alive. It’s really emotional to be in charge of this job
I remember that it was not long after this incident that my friend made up an ultimate novel. He chose one and needed a signature to agree with his selection. One day, Zhang was invited by a famous hotel to give me a class in the city. This friend called me in advance and asked me if I wanted him to go with me. After that, we can communicate. Of course, I won’t, because I know the way to communicate. This friend took another critic friend to another more advanced hotel. My two friends in the room said that I had read your article and thought it was good and promising, but how did you do this now and said that I was often raped by others and it was nothing to be raped again? This time, my friend was not as lucky as me because he didn’t get the Zhang family’s explanation of the word rape, but it is true that even if the Zhang family described rape as a compliment, my friend would not rape him. My friend has been reluctant to tell me about his post-mortem feelings. It took me a long time to know the details of that day. My first feeling was that they were raped by Zhang and that rape was not a compliment.
I’m not surprised at the word rape. I’m very grateful to the Zhang family for saying it in his mind, so that I can bring it to him. Even if I could feel his twisted posture before, I wouldn’t dare to take it lightly. Now that he has arrived, I’ll just ride a donkey to make it convenient. He came to rape and read it, which is the strong sense of moral superiority he expressed in his speech. I can’t say that many of his readings are masochists, but I know that those readings didn’t enter a real dialogue when reading him. An important reason, of course, is that Zhang has no dialogue channel. Zhang is announcing that he is really preaching, and in Zhang’s view, the opposite can’t be true, fallacy and devil. I can explain Zhang in the best sense. I can say that Zhang is happy because he found his own life support, but when he read these things, he lost the possibility of rape. At least, Zhang didn’t preach moral concepts to himself. The questioning machine was born in him. From his vast Central Asian map, it was not a lucky cloud, but a mass. The murderous mushroom cloud is dry all year round because it refuses to breathe. Many places are barren. It is said that desert has always been a deadly metaphor, so let it be a metaphor instead of a reality. When desert rapes oasis, we should feel sad instead of happy.
Last year, I met another critic, and we talked about our views on some beautiful women’s homes in a chat. I asked what we must be self-protection in China. When we were self-protection, we were confident and strong. We said that Wang Shuo was self-protection at the beginning, and I was afraid that if someone still had some practical significance in the specific context at that time, then now you are self-protection, you should go to prison. I call this phenomenon anti-moral advantage. Considering that many critics have said that it is the post-era, I might as well call that anti-moral advantage post-moral advantage. I have just finished this kind critic That is, I woke up with my fingers knocking on the table. I paid attention to your speech. I should pay attention to you. This is high above what young people will think of you. What do I ask? What do critics and friends say? Think about how you hated your peers at the beginning. They also said that you were self-protection
I listened to you, who are you? When and where did I dislike my predecessors? I disliked some of them, just as I objected to some of the beautiful women’s families. I always thought that Han Shaogong and Li Rui were very good families, and I also attached great importance to Gefei Yuhua. I not only valued Gefei Yuhua, but also saw a series of novels by Chinese women, such as Zhou Jie, Dai Lai and others. As far as I saw them, I thought there were many excellent Zhou Jie’s short stories, and I thought that Mo Yan’s thumb cuffs were just a handful of good short stories in recent years. I’m so excited after Li Peifu wrote Sheep Gate. By the way, does the article have to be divided from generation to generation? Do families born in 1969 have to be criticized by different standards and different critical languages? Look at the world and criticize like this?
I heard the same story before, and of course it’s not over yet. The critic later had many beautiful women’s homes, and the feeling was that some beautiful women’s homes were actually not for self-protection, and some people were comfortable with it, which met the five stresses, four points of beauty and three loves standards. Among them, Comrade party member was a progressive young man on the whole.
The moral superiority in the first story and the anti-moral superiority in the second story make people feel uneasy. They look totally different, but they are on the same logical level. In the most popular sense, before pretending to be a grandfather, after pretending to be a grandson, after hypocrisy, after falsehood, is this an experience isomorphism? Compared with some people, patriotism, traitorousness and anti-moral superiority are the same word, and it is not a big mistake to regard moral superiority as the same word more often.
I want to know whether this can accurately penetrate the reality, saying that life is full of masks and lies, so is it necessary for a mask to reveal another mask and a lie to reveal another lie? Is it to reveal or cover it up? Is it a criticism of reality or a conspiracy to reality? Can the spirit be expressed from such words? It seems to me that it is a lie, but is it too simple to call them hypocrisy and falsehood? Is that a camouflage problem? It’s a matter of closure. Is it also a kind of rape? First of all, I will show my opinion and regard it as hypocrisy and falsehood. It is unfair to them. I really want others to discuss where the problem is. What is it? We rarely see me questioning it in class.
Strangely, those markets are huge, but I don’t think that the market can say that readers are relying on real dialogue to establish real dialogue. First of all, I question the mutual negation machine, and I don’t easily decide on my own problems, which contains my negation. Maybe he is seeking affirmation in negation and encountering negation in affirmation, so he doesn’t rely on moral advantages or anti-moral advantages. Instead, the candle maker is suffering from all kinds of pains in the wind, and we actually re-focus all kinds of pains on reading. We have to constantly reflect on our reading experience and moral inertia in this way. I tend to regard it as containing.
Before the discussion, I played a game. I told the second story to my friend in the first story. I told the first story to my friend in the second story. I wanted to listen to their opinions, but I never expected that they were not interested in this issue. The first friend is full of limited love for the young family now. He is kind enough to think that these trivial issues can be ignored. The second friend is full of limited respect for the middle-aged and elderly families. It is not the main contradiction, that is, the main contradiction in their reality is that they can be ignored when they wave their hands and say nothing.
Outside the figure
One of the reasons why I write novels is that novels explore experience, and I find that when an interesting character suddenly walks into your novel, when an interesting remark suddenly comes from this character’s mouth, when this character’s language has some enlightenment for our dilemma and cultural situation, you will feel a sense of being hit, because you suddenly realize that what you are writing is actually not others but yourself. The characters in your novel are cool and hot, and the cat in the novel is back to her waist. What about you? A keyboard In the winter of 1997, when I was writing an afternoon poem, Mr. Bian, the unlucky hero, suddenly made a remark. He said that we were all living outside. When I wrote this sentence, I was cold and warm all over, and I was just injected with Freon to warm me up, which freed me from that cold. I once again realized that people who are separated from experience are no longer the subject of experience. Saying that babies are dirty is his law and his desire is his appeal. Then contemporary people are actually living in other people’s words and in the mass media. This is a kind of classics. Experiencing experience, in a word, this is a kind of direct experience or direct experience. The model’s neck wig, mummy’s nails and new coat of Chlo? dan’s image have to be changed. We can see life from dirty peristalsis and cry. Many people miss the 19th century and think that it was the golden age of novels. I know more people are willing to use 19th century novels to measure this era. In a seminar last spring, a critic said a lot of compliments to the clumsy coloratura. Then he turned his back and said that this novel is still much less than that of 19th century novels. Many people snickered on the spot.I thought of the most arrogant, humblest, most interesting and most interesting sentence in the 20th century, which came from Hai Weiwei, who later shot his head off. He said that he had surpassed Mo Bosang before he touched the doorways, and he surpassed Stendhal with a little effort. He could spare all his strength to get a little drunk again. He might dare to break off his wrist with Count Tolstoy. I think Hai Wei was already drunk when he said this. It seems that he was drunk, not a critic, but these crazy words also reveal a hidden desire. People hope that in the narrative. Seeing such a figure, if he is in the water, he is swimming in a bitter sea; if he is on land, he is climbing on a precipice. He rises from the ground to the clouds and overlooks people’s sorrow. He coughs all over Lei Zhen, and he urinates all over the rain. He is a hero and a little god.
Modeling heroes or small gods is an important purpose of narrative before the 19th century. Epic is regarded as the highest narrative case, which is full of praise and prayers. It tells the story by cultivating the mind and trekking to a foreign country. By modeling a character in the story, he expresses his ambition for the world and his experience is to judge the dimension of the world. His likes and dislikes are the criteria for judging the world. This narrative reminds people of pseudo-classics, pseudo-myths or small myths, and also reminds people of the position of politicians before the world sailing movement. Being in the center of the world is surrounded by barbarians who have not yet been transformed, and the immortals in the Tiangong Que are waiting for his influence. He acts through dialogue between characters and gives his actions extraordinary significance. He praises and prays for this, but now we know that the praise and prays are privately dedicated to others, not to mention very privately dedicated to himself, from creating heroes to writing about little people, from writing about heroic wonders to writing about the background of daily life. The sadness of little people is a major change in narrative. When did this change come from Flaubert’s pen? From Mr. Bovary, Tolstoy’s pen, Ivan ilych, or Joyce’s pen, Bloom, who loves to eat sheep’s loins, there is a fog in the characters, and the world of characters is full of unexpected trouble. In these, no one can gain value as a subject. Real life has gone from the end to the end because of personal actions, and life has vanished in front of gray and ordinary large-scale public experience. Beckett’s pen, men and women, regardless of age, don’t distinguish between life and death, and Godot is no longer a problem in still hiding half her face from us behind her guitar, but these changes have neither shown their interestAh, Gordo didn’t show up, but the two foot-scratching rogues did show up. Yes, no matter how the narrative art changes, no one will lose interest in writing characters. For a cliche, the change is not true, but the method is close to the truth. The narrative is not discussed. As far as I know, after the sturm und drang decade, many novelists in China are still patient enough, interested enough and courageous enough to portray characters. This comment is very vivid. Multi-character images are still effective, but at the same time, we do have to admit that the typical characters who are loved by thousands of people are no longer the most important narrative goal of novelists. We may say that the previous novel was to create characters by cutting an arm from Zhang Sanshen, sawing a thigh from Li Sishen and cutting a pair of breasts from Wang Ma’s wife, and then fabricating a figure with some generalization to have typical significance, but now the novel is no longer to create characters, but to question the eyes to write characters through. An ordinary person observes and describes the predicament in the modern society and writes about his meager hope that he will endure despair in the world. The situation of people may never be as difficult to summarize as it is today. It may be absurd to explain that Rob Gerye is disgusting to Sartre and Camus, but his description of the situation of people in the modern society is accurate. In the era of administrative numbers, the human center said that the situation of disintegration and loss of personality may be more complicated for China to write today. The real change in the lie cover-up is to quietly enter the village at first, and then go to the same tank like a bulldozer. This situation reminds people that the word "f * * * * * is mixed up at all levelsThe knowledge of personal public life planning has never been so difficult to obtain the meaning of action as it is today, and it is always difficult to endure the multiple pressures of historical context, real context and guilt in the face of this context. In such a situation, the narrative method is consolidated and the typical characters are portrayed with a false nature. Although the strong reading inertia may win the market reward for this writing, is there such a photo significance? The narrative reform of novels has always been a response to changes, but it should also be portrayed. I am eager to see such a novel. This person is everywhere. He is always in the gap of public experience and individual experience. He is in a row of contradictory experiences. This character, his family, and this world constitute a complex province. Here, language is not only married to the bad reality, but also allied with our stubborn and beautiful wishes. We may indeed live outside. We may really plan our future, but in the novel, that person, I, we are still alive and praying, suspecting that we should work hard. This may be the last chance for writing to prove that we are not living outside.
Novels never die.
More than ten years ago, at a gathering of friends, a novelist suddenly announced in public that the novel was dead. I was stunned because I knew that he had just written a novel. Many people in the room asked him to talk about it. Who is reading the novel now? People are watching, dancing and trading stocks. At that time, no one was there. He didn’t notice that everyone was going to discuss his novel. He listened carefully and said that a novel must be written well.
I didn’t expect that more and more people later claimed that the novel was dead, because most of them were celebrities, and the media often followed suit for a while, so they just said it until another celebrity announced that the novel was dead, and a new round of speculation would take place.
I wonder why so many people come to declare the novel dead, and they have to declare it dead again and again. Just declare it once. Not once, not twice, not three times, not three times. You know, in that famous story, when the wolf comes for the third time, he eats people, so it seems that the novel is not dead.
Think about it. It’s also a novel. How can you die?
Although people have different interpretations of novels, there is probably no doubt that novels are fictional ways to express human life. Fiction means to assume that for a novelist, he wants to express his cognitive feelings about life in a hypothetical way, and to put a big living person in a hypothetical situation so that he can show that everyone may be angry, sad and happy at a certain time. This is a novelist’s benefit. Today’s novelists do not seem to give up this benefit. For novelists, this is almost a benefit.
As for reading, reading novels is because he wants to know how others live in that hypothetical situation, and he should live to see him rise from a tall building, watch him entertain guests and watch his building collapse, but he is worried about gloating over the fact that he has risen from a tall building. That is to say, at this time, reading also lives in the hypothetical situation and lives in the novel. Bakhtin said, I give myself an image according to other people’s vision. Who is so important that he can deprive himself of reading this hypothetical benefit, which gives himself an image benefit?
How can you say that novels are dead if people can write and read? Of course, novels will not die. We still have doubts about the world. If people still remember, if they haven’t become animals, they still need to use language to write novels. Those questions, descriptions and explanations, and those named monologues will still be there.
Speaking of death, in fact, human beings are the only animals that know that they will die. Other animals may know that they will die than cats and dogs, but they don’t know that cats and dogs will die. This means that people are one kind of animals in the field of experience, and this is the most important basis for novels, but that’s the problem. Many people often enlarge their experiences and say that they feel like adults. I once met a person who also wrote novels, but later he stopped writing and taught others to write novels. This is the person who has announced many times. The novel is dead. This person has hemorrhoids, so he thinks everyone has hemorrhoids. I advised him to go to the hospital and have a look. After that, he knew that his hemorrhoids are hemorrhoids, so he thought that all human hemorrhoids are hemorrhoids. I told him that hemorrhoids are external hemorrhoids, otherwise there would be no need to distinguish them. He said that external hemorrhoids must be hemorrhoids in the primary stage and will turn into hemorrhoids sooner or later.
In fact, it is only meaningful to discuss whether the novel is dead or not, and not to discuss whether it is necessary to adjust the narrative of the novel according to the changes of the world. It is more effective than the novel to re-establish a joint effect in public life and private life, and to respond to the reality when it is necessary. Since other art categories have absorbed nutrition from the novel, the novel should also absorb wisdom from other categories, and so on. Of course, I have to admit that the novel is dead, but at that time, no one came to announce that the novel was dead because there were no human beings at that time.
Mr. Ying Rui invited me to write these paragraphs in a hurry. In fact, they are all nonsense and should not be said.
The fifth series of reading and writing
Written by local people