The long-form documentary literature "Agni Fangfei" was published to tell the "Story of the Jiaodong Revolution"

In the land of Qilu, "nursing mothers" and "red sisters-in-law" are all bright banners of Shandong's red culture, and they are also typical representatives of the heroic female groups in the national base areas. The latest long-form documentary literary work "Agni Fangfei" launched by famous writers Tie Liu and Zhao Fangxin was officially published, which is based on real historical events and composes a moving chapter of Jiaodong Milk Lady.

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Fill in the gaps of similar themes

The long-form documentary literary work "Agni Fangfei" was jointly created by the writer Tie Liu and Zhao Fangxin, and the two writers accumulated years of work, combed through historical materials, and composed a moving chapter of the people of Jiaodong through a large number of interviews and based on real historical events.

During the War of Resistance Against Japanese Aggression, many Communists fought on the front lines regardless of their own safety. For the sake of the people and the safety of the country, they have no remorse or fear of sacrifice. Similarly, in the rear of the battlefield, there was a group of women who, although they did not directly participate in the war, secretly took over the heavy trust and raised the descendants of more than 1,000 revolutionaries with their weak shoulders and mellow milk.

In the era of smoke and war, they have suffered deeply. Most of them are in their seventeens and eights to early twenties, and they are as young as flowers, and with practical actions, they vividly interpret the love of the military and the people. For years, they kept this secret. This is both a hidden past of home and a national memory that should not be forgotten.

In an interview, the two writers said that as early as a few years ago, they noticed that the land of Jiaodong had so many tragic and legendary stories during the war years, so they began to collect information. "But what really makes us determined to dig deep into this huge mine is the magic of the subject matter itself for a writer." When a writer encounters a good subject, it should be a small probability event. Moreover, according to our limited reading range, there is currently no work of the same kind that has an impact on the country, and our work is somewhat filled in the blanks. ”

Write with characters to write

Despite the excitement of encountering "good subjects", the writers also admitted that when they gradually went deeper, they found that "this is a 'hard bone' with a tooth", "because the history of the Jiaodong Revolution contains a vast sea of content." We can only be cautious and cautious, think and think again. After careful deliberation, we decided to adopt a paragraph structure to construct this book, that is, to select representative stages and events in the history of the Jiaodong revolution and express this extraordinary historical period", however, if so, it also determines that the new work cannot be a panoramic narrative, but only a partial narrative. Therefore, after a large number of material cutting and "unwilling", "Agni Fangfei" selected the "Tianfushan Uprising" and the milk lady group as the main content of the book, which roughly corresponded to the initial stage, development stage and climax stage of the Jiaodong Revolution. "In fact, this arrangement has also created a major landscape of this book, that is, on the stage of the Jiaodong Revolution, the first half of the male is the protagonist, but there is also no lack of female participation, and the second half of the female protagonist is also taking into account the male role, they are strong and soft, and together they paint a revolutionary picture of blood and fire, and the intestines are swinging."

Similarly, how to tell the "Jiaodong Revolution Story" well is a big test for any reportage writer. Because the foundation of reportage is authenticity, the writer's narrative must withstand the test of history, requiring the writer to be able to deal with the dialectical relationship between authenticity and literature.

"On many occasions, we have heard readers criticize the poor readability of reportage, and there are reports but no literature." Writers said that there are indeed some reportage writers who, for reasons of laziness or lack of casting skills, randomly pile up materials and arbitrarily quote excerpts, resulting in stiff faces and annoying at first sight. "This is no wonder to the reader, but only to blame the writer for his own indisputability. Based on this understanding, we also put forward higher requirements for our writing: we must write a lively character and a hot story. Someone once asked Mr. Shen Congwen 'how to write a good novel', and he told people, 'write with characters'. This is indeed the only way to write, the author has a sense of distance and alienation from the characters in the pen, and it is difficult to build up this character. And the story follows the characters, solves the problems of the characters, and the story naturally comes out. Infinite proximity to the characters is a road in Huashan in creation. ”

To this end, the two writers had to become diggers, from the miscellaneous materials and the thick barriers of time to open a tunnel, arrive in front of the characters, listen to their shouts, whispers, songs, feel their breath, and lean between the mountains and seas; or become a visitor, into the environment in which the characters lived, touch their remaining breath, and look for clues.

Give the story a newer meaning

"When we wrote the story of the nursing mother, we went in and out of the mountains of Rushan City and visited many of the descendants of the nursing mother, who as the spokesmen of the nursing mother, have unquestionable rationality, and it is in their narrative that we have obtained a full image of the nursing mother." Writers say.

The elderly Wang Kuimin, who lives in a village in Yazi Town, Rushan City, is one of the several nursing mothers who are currently alive. When the two writers listened to her tell the story of breastfeeding in a thick dialect on the old man's soil kang, although the old man's dialect was like an extraterritorial sound, the joy in the old man's expression and the tenderness of motherhood that stirred in her reliving the past shocked the writers.

"At that time, when she accepted the task of breastfeeding the revolutionary milk child Zhengwen, she was just 19 years old, and from today's point of view, she was still a young girl, and she had just died her own child, and we can't imagine what kind of storms her heart had been raging through, and finally convinced herself to take over the sick milk." Writers say that in writing, although they try their best to get close to these milkmaids, they can never reach the other side of their spiritual world, "these milkmaids give not only milk and time, but also maternal love." Maternal love is both simple and complex. They know that when the milk children grow up, they will be taken away, but they still release their love without reservation, and they weld their lives with the lives of the milk children without hesitation, which inevitably leads to the pain of their renunciation. So, in the book, we write the following sentence: The white-haired old man still stands stubbornly with his hand against the wall, like a farewell, like a greeting. She bid farewell to the memories of her best years and looked forward to welcoming the people who were most concerned about her. ”

With the development of the times, especially the progress of network information technology, the story of Jiaodong Milk Lady has been reported by the media many times in recent years. Therefore, how to re-give these stories a new and deeper meaning in the new work has also become a direction for the two writers to think about when writing. For example, the two writers said that the relationship between the nursing mother and the nursing child has always been a complicated existence. According to the data, more than 300 nursing mothers have breastfed more than 1,200 milk, but only more than 100 people have returned to Jiaodong to find the nursery and the milk of the nursing mother. There must be various reasons for this, and there is no need to force it, but it is always somewhat apologetic. "We did some exploration and experimentation when writing "Agni Fangfei", and the effect it produced still needs to be confirmed by the reader. Therefore, please open this work that is intertwined with tragedy and tenderness, and echoes the sound of mountains and seas. ”

Writer Profile

Tie Liu, born in October 1967, is the vice chairman of the Shandong Writers Association, the president of the Shandong Reportage Literature Society, a member of the Shandong Provincial Committee of the Chinese People's Political Consultative Conference, a deputy to the Qingdao Municipal People's Congress, an expert enjoying special allowances of the State Council, and a famous cultural artist in Qilu, Shandong. He has won the "Five One Project" Award of the Central Propaganda Department, the Lu Xun Literature Award, the "Ordos Literature Award" Excellent Work Award of "Chinese Writers", the Taishan Literature and Art Award and other awards. He is the author of the long-form reportage "Patron", "Survey of Chinese Private Education", "National Memory - A Chinese Legend", "Zhishu and His Village", "Witness - Legend of the Red Community in Rural China", "A Village's Blood Book of the War of Resistance", novella "Huaixiang" and so on. His works have been adapted into film and television dramas such as "The Great Tinder" and "The Defense Battle of Yuanzi Cliff".

Zhao Fangxin, born in 1970, is a native of Qihe County, Shandong Province. He is a member of the China Writers Association and the deputy director of the Reportage Professional Committee of the Shandong Writers Association, and is currently working in the Qihe County Literary Association of Shandong Province. He is the author of long-form reportage "Bathing In the Countryside", "Chinese Peasant Book", "Requiem of Chinese Veterans", "Blood Loyalty", etc., and has been selected for various annual anthologies for many times. He has won the 3rd and 5th Taishan Literature and Art Awards in Shandong Province and the 7th Xu Chi Reportage Award.

Producer: Xu Liantao

Coordinator: Wang Xuanbin

Editor: Wang Heran

Review: Zhang Xuexin

Source: Shandong Business Daily