Wang Shu 'Kuwata Sun Nuan': The Three-Handed Chapter

The time in the post-70s writer Wang Shu's long novel "Mulberry Field Sun Nuan" (published by Beijing October Literature and Art Publishing House) is the time of the lunar calendar, from the autumn equinox of 1983 to the 1985 mango seed. The location is on the alluvial plain not far from the East China Sea in the lower reaches of the Yangtze River, in a village called He Jiayuan in Yuzao Township.

After the countryside entered the era of family contract responsibility system, the heroine Xinglan's family of five (and a mouthful of Zhenjin, which was passed on to Xinglan's parents) saw the beautiful life of eating "pure white rice" beckoning to them, and the days had a head start, so they germinated the dream of taking the lead in building a large tile house in the village, and began to take action to realize this dream. Who knows, just after two battles to defend the boundaries of the field, the husband of huang Tao and the eldest son Chun Jin, two laborers who looked like pillars and pillars, were destroyed and killed in the "snail". The family's newly ignited hopes were shattered and fell into the ice cellar. At this point, a rural woman in her early forties who could not read a few large characters, Xinglan, dragged the two girls and one son who were not yet underage, and with incredible resistance and stubbornness, once again launched the goal dream of building a large tile house. In the face of various problems and obstacles on the journey, especially the homestead dispute with the family of her husband's eldest brother (Mian Tao) and sister-in-law (Li Jinxiang), who have been in the same courtyard for a long time, around a wave of uneven and wave-after-wave of emergency incidents, the Xinglan family has launched one "war" after another. These emergency events include the setting up of the Huangtao Father and Son Spiritual Hall, Qiu Jin dropping out of school, running the class, suing the teacher, visiting the family of the eldest brother and sister-in-law, chiseling the wall to spy on himself, building a house, Bao Jin beating the wool, running away from home, earthquakes, collecting offerings, building temples, Zhao Bricklayers getting married, disappearing and returning.

Wang Shu's novel ability is precisely in these large and small, endless "wars" instigation, unfolding, dueling and closing rounds, which have been perfectly presented step by step and naked. According to the conventional formula, the heroine Xinglan will basically become a rural hero who "pays will be rewarded" and "will succeed if she fights", and breaks out of a new world in her original hometown by her own strength. But in fact, what fulfilled her dream was not all her efforts to the land, but the pure love captured in the process of this effort, together with the blessing of her own beauty and virtue. The author's ingenious reversal is intended to show that the peasants must first get out of the shackles of the land when they revitalize the land under their feet. It can be seen from this that the "sun warmth" of "Kuwata" in the title of the book is promoted in many ways, and love is an important aspect.

Native China is undoubtedly the world's largest producer of rural novels. Under such circumstances and pressures, Wang Shu dared to be among them, and it was impossible to get involved without enough observation, weighing, odds and conceit. The common sense of the generation of novels is that to solve the problem of what to write and how to write, Wang Ke obviously cannot stay at the level of writing about rural areas and even writing about rural changes - I estimate that there are more than 10,000 such novels, such as Jia Pingwo's "Qin Cavity", Li Peifu's "Sheep's Door", Luo Weizhang's "Hundred Years of Hunger", Sheng Ke's "Rest of the Soil", Wei Sixiao's "Don't Take The Rest", etc., these excellent novels are all. What the king wants to take is to bypass the existing or pass through the existing gap. In this way, what Needs To Be Solved by Wang Shu is to write about what is in "rural change" and how to write about it.

As for what to write, as I said earlier, I wrote about all kinds of "wars" in rural change. In the final analysis, Kuwata Hinata is about the battle of concept inheritance, the battle of interests, the battle of life existence, and the battle of dignity defense and acquisition. Those parents are short, seedlings and seedlings, and the trivial matters that are as fine as dust and insignificant in the city people fall in the growth bones and blood of the individual life of the "plain people", and each piece is bigger than the sky.

But in my opinion, the greatest success and contribution of "Kuwata Hinata" lies in the fact that it responds well to the topic of how to write. I found that Wang Shu was writing with three hands, one hand holding a pen, one holding scissors, one holding a video camera, and three hands taking turns from time to time, working together from time to time, luck, power, and doing beautiful work. Each has its own emphasis: the hand holding the pen mainly contributes simple and sturdy words and captures the birds and green snakes inside the body, such as the big brother and sister-in-law's home, the "return cake" section of the visit to relatives, the delicate and magnificent psychological reaction between the concubines, which is written into the wood and thrilling; the hand holding the scissors mainly contributes to the structure, rhythm, air mouth, order and the mechanism of elite military simplicity; the hand holding the camera mainly contributes to the picture sense, dynamic and contradictory conflict of the film and television art to the holographic sense of the picture, the dynamic sense and the sword and light of the conflict. The three hands are not only consistent with the outside, more often, they use their own mutual fighting skills to present a wonderful series of battles of wits and courage, and with quick wits to bring out the quick wits. The "feudal superstition" that has been delayed from primitive society is omnipresent in the countryside, and the author cannot bypass it. However, the "feudal superstition" written by the author is more of the reverence and obedience of people in the world to the soul of the dead, and it is the dialogue between the most fragile part of the soul and the undead. Mankind always has places where it cannot explain all things, so it is necessary to leave these places to God to manage.

The Tao gives birth to one, one to two, two to three, and three to all things. It is the three hands of Wang Shu that make "Sangtian Rinuan" surface as a reef in the grand narrative river of writing about rural change, forming another fascinating chapter and gratifying results.

Editor-in-Charge: Hengwen only

Source: China Youth Daily client