The new scene | Yizhou: everything can be expected to be eternal

Everything can be expected to be eternal

□ Yi Boat

Writing Sun Pin's "Impression Notes" is difficult and difficult for me. It is embarrassing to catch who "impresses" whom. Impressions of others, which were originally private feelings, are taken out to the world, and those who are "impressed" feel offended? In you, think it is a "good impression", in people's homes, may not feel appropriate, just like cheering into a pouring lottery, is not it an embarrassing thing? But it is extremely difficult, at this moment, it is still necessary to "impress Sun Pin", the reason is not "Sun Pin impression", is to say the blunt sense and compulsion of this "impression", but also quite quite can't stand the meaning of Sun Pin, please Ask Sun Pin to endure together, temporarily wear this "impression" hoop.

Writing an article and muttering such a paragraph first only shows my "caution" with Sun Pin. This caution stems from my understanding of Sun Pin's "serious energy", and also from my inner "love" for Sun Pin. You see, when I really want to be quoted in quotation marks - if I don't lead, there are all kinds of ambiguities of "small nature" and "not open-minded"; cherish I also have to use quotation marks to stop - cherish? How old are you to actually put on a posture to cherish others?

It's really hard. It was so difficult that I first squeezed out a "real energy", which at least reflected one of my most intuitive impressions of Sun. Come to think of it, this impression is still about accurate. Even the thinness of Sun Pin's figure and the indifference of Sun Pin's expression are all "really energetic" nature. It's hard to imagine a guy with a big heart and a fat body being a "serious" guy, right? Those who are full of spring breeze may not be more real. But Sun Pin was thin and Sun Pin was indifferent, so I looked at her as having a "real energy".

Is there a "real energy" okay? As far as Sun Pin is concerned, I think it is good. It is this kind of energy that makes Sun Pin distinguish himself from others, although, in some unknown moments, the thin and indifferent Sun Pin will also express himself like a volcano.

In addition to making Sun Pin feel a little "diaphragm" in the crowd, this "real energy" also makes her writing exude a kind of "biting through the iron" temperament. On the number, in recent years, Sun Pin's creation is obvious to all, on the inner texture, Sun Pin's novels have always been brave and unique, is a kind of "unyielding" look, the world and life, has always been the object that her characters need to oppose and stubbornly overcome, they are all "serious", less than a spare heart of solution, even if another way to get a part of the calm, the figure is still deeply "fierce" moving, just like the woman she created in the novella "White Tapir Night Walk" - Consillin, At the end of the novel, Sun Pin let this proud woman seek the liberation of self-drowning with the calmness of swimming, dress into the water, and run to the ultimate freedom, so that the surface of the water that undertakes the swimming posture is like the salvation and connection of all the humble and rough human beings.

Did Sun Pin write about anyone's "impressions"? There seems to be none in my memory. Did she refuse to write, or did everyone automatically avoid her in this kind of thing? Perhaps there are factors in both aspects, but there is only one fact - Sun Pin, who is not "impressed", has more or less borne the pressure of slightly tense relations with the world. In this regard, Sun Pin herself also felt a secret discomfort, countless times, she expressed her confusion and frustration to several of her trusted peers.

Sun Pin graduated from Lanzhou University (which is one of the reasons why we established a friendship very early, the city of Lanzhou, the school of Lanzhou University, and I am inextricably linked. But apart from that, I know very little about Sun Pin's experience. All I know is that she is a native of Shanxi, who started from a small county in Jindi, circled around, and became a professional writer in Jiangsu. It seems that this is a successful path, and in fact, it is indeed a successful path, how many writers can kill such a path from the sea of people? Then, Sun Pin's success can only be due to her "real strength". In my eyes, this female writer is a "strivers", and she does rely on her own struggles to "change something". What has changed? Yes, I literally erased the word "destiny."

Relying on personal struggle to change one's destiny does not seem much like a compliment today, especially in the literary scene, as if being put on this hat implies "un-literary" and "impure" motives. Well, let me admit first, to a considerable extent, that I myself am a "strivers", but my "struggle" is not as firm and resolute as Sun Pin's; moreover, is there a purely "literary" and "pure" motive? God knows.

Speaking of the philosophical concepts of "struggle" and "conatus" is roughly similar to that of Conatus. In the contemporary Study of Spinoza, France, Maseret's reading of Ethics is of great value, and in his reading of the five parts of Ethics, he elaborated on the "effort", the iconic concept of Spinoza's philosophy: "Effort" grows out of the inner part of every thing, that is, "effort" is an input derived from essence, which can never be explained by some external pressure intervention. Therefore, the translation of conatus as "effort" or "tendency" is always unfulfilled, especially always bringing it into some teleological perspective, so it is better to express it as a traction movement, which is either intended to be intended to an object or may not have any intention...

This interpretation of "effort" by Marsere is close to my understanding of "struggle": it is "a movement that grows out of the heart of everything" and "a movement with traction.". However, although it is so "spontaneous" and so "not intended to be to a certain object", people's struggles and efforts will always lead to a certain result, and the result obtained by Sun Pin, I replace "fate" with "something", but it is a more appropriate and more "literary" wording. In this "something", in addition to the vast fate, there is also the taste of living and the complex aesthetic, which are intertwined, and express the staged state of "struggle" in a less vast, less sonorous, weak, and even humble "something".

It is indeed a transformation of the environment, look at Sun Pin's novels in recent years, the maturity of art and the situation of the characters in the works, is the confirmation of this "something".

Taking Sun Pinlai and Jia Zhangke to do some kind of comparison and analysis, someone should have already done this, yes, the art world of these two Shanxi compatriots really has a reason to be compared and analyzed together. Two people, in my eyes are excellent "strivers", they have also changed "something", and the works created by the two people can almost reflect each other in my opinion. When I read "White Tapir Night Walk", I unconsciously think of Jia Zhangke's film: the same closed Jindi small county, the same ruined and self-respecting human world.

Reading Sun Pin's novella, the more I went on, the more uneasy I felt. I was afraid to see that situation emerge - under the advance of Sun Pin's step-by-step battalion, a piece of water that undertook the swimming position finally swept in.

When the word "swim" first appeared in the novel, I felt vaguely troubled. I saw that Sun Pin, who had written this novella without leaks, left a hesitant flaw here. The four tents that had camped in that classroom were scanned by her meticulously: the shape of Liang Aihua's letter paper folded, she made an explanation — the shape of a pine tree; the cost of Qu Xiaohong's eyebrows, she made a calculation — one-half of her salary; but for the fact that Conceline liked to swim, she brushed it over, and actually wanted to stop talking, and only half of the words were spoken.

It's no small feat. Rather than writing love letters or doing beauty, in this small coal town in the northern ravine, swimming is not stingy with the rarity of the sky. Sun Pin himself also used the word "actually" - "she still likes to draw, and she actually likes to swim." A Chinese teacher likes to draw, and she doesn't use "actually" — at least this is a special hobby than young women writing love letters and tattooing eyebrows — but she is "actually" in the matter of enjoying swimming.

It shows that the matter is big. Isn't it a big deal, shouldn't it be the place where the novel is written? In my experience, Sun Pin needs to spend some pen and ink here, and it is also a good threshold for showmanship, and the bridge section and routine are prepared for this kind of pass. But Sun Pin, who wrote the novel in great detail, swung away at this juncture, like the dish with the best quality on the dinner table, and casually left it in the cold under the plate of fried peanut rice and cucumbers. No, she's not selling a seclusion. The temperament of this novel is like Sun Pin, which has nothing to do with "selling Guanzi", the narrative is almost flat and direct, cold and obscure, and you can't imagine such a frivolous act as "selling Guanzi". Here, I only saw Sun Pin's incomprehensible silence and forbearance.

The fact that Conceline likes to swim in advance is almost the prescribed action of writing the novel, designing some gimmicks, which will certainly look good, and will also make the novel reach a small dramatic climax, but in the face of greater ambitions, Sun Pin endured. Without reading to the end, you will not understand how much vanity she has overcome.

That's right, vanity. This is the test that all those who have learned the means of fiction have to face. We know too well where to work hard, where is the seven inches of the highlight, the climax switch seems to be held in the palm of our hand at any time, and under the precise grasp, the planned effect will be smoothly realized. Of course, this is also remarkable, but isn't it a means that the old masters should be proud of? Most of the time, this remarkable tactic holds true — if you're content with just writing a "decent" thing. Therefore, most of the time, most of these old-fashioned players can only stop at "decent". "Decently" let the fish run around on the ground, "decently" let people fly in the sky, or "decently" conceive of letting the swimmers in the dryland plunge into the basin to get addicted, you see, the prescribed action is done, the highlight is there, the climax is also coming, so the vanity is greatly satisfied.

"Let the swimmers in the dryland plunge headlong into the basin to get addicted", this is the handle I can do with my hand, and it is also my instinctive reaction when I first meet "swimming" in this novella. This can only show that I am such an old-fashioned master, and I often can't help but be abducted by vanity, often in the process of complacent or big and big to deceive the reader, but also to deceive myself. Sun Pin is of course also a veteran, she is one of the best female writers of my generation, I believe that she is well versed in all the highlights and climax of the seven inches and switches, but, at least in this novella, she resisted the temptation, did not have the slightest slippage of the hand, did not let herself fall in front of all the possible cleverness of gaining small pride, and even firmly restrained the pen in her hand with a kind of anti-micro-gradual vigilance, and went straight to the last of the sky.

Nearly 40,000 words, she used more than 30,000 words to honestly write about not uncommon human trivia, even if it is like the cold and obscure city in Jia Zhangke's movie, she successfully created an ominous and dilapidated atmosphere, but this ominous and dilapidated, not beyond our imagination, rather, such cold and obscure, we have seen a lot. In our literary experience, more youkai things are endlessly emerging—four young women are crammed into a large classroom, and even if they love and hate each other and engage in lala palace fights, we will not be stunned by it. But all this, in this novella, is all absent. This time, Sun Pin's imagination seemed to be limited to less than half of her literary ability—letting the dumplings be stuffed with pumpkins, letting the stripper-dancers wear pairs of red socks, and at most, letting people like Concilin copy Ulysses. But this is exactly what makes "White Tapir Night Walk" outstanding, she did not fall into the mud of curiosity. Only because Sun Pin soberly realized that the ordinary of the ruined world is the only reliable and credible background for the painful settlement and indulgence.

An old-fashioned man who drove the car so frankly and even clumsily that I, who was accustomed to this kind of guy driving the car dangerously, was impressed by the sincerity in this frankness and even clumsiness. The car drove too hard, either with wit, without juggling, or with the "real energy" of a newcomer to the road—a little frightened, but also joyful; an impulse to gallop, but restrained by greater seriousness. So, the further I went, the more uneasy I became.

I, the veteran, saw the flaws left by Sun Pin, wondered about her "omissions", and guessed that she would have a final response. But this bit of old-fashioned "heart machine" has been disintegrated little by little in the long reading of trivial matters in the world. I have almost completely been persuaded by Sun Pin's "novice" writing, forgetting the prejudgment of that kind of "decent" novel, and began to reject this novel will eventually become a "decent" thing, preferring that she drive like a car driven by a novice, "not at all decent" to the unknown end.

Therefore, I was afraid to see that situation arise - under the advance of Sun Pin's step-by-step battalion, a piece of water that undertook the swimming position, it finally swept in. I know that it was almost an inevitable moment, almost the standard for "decent" fiction. It is said that once a gun appears at the beginning of a novel, the gun must be fired at the end. And I was afraid that Sun Pin would also let the gun in his hand open fire. After all, I still know that this Sun Pin is definitely an old-fashioned one, and the gun is in her hand, and there is a reason not to open fire. My restless reading mood is like a passenger who has become obsessed with the novice driving the car in a delicate measure between passion and caution, and will have to bear the car back into the hands of the old master without turning, and finally can only be brought to some known stimulus like a nerve.

This is my dilemma as a reader. This is the dilemma of Sun Pin as an author. In fact, this is also the dilemma of literature and the dilemma of fiction, and even, it is the dilemma of life. We ultimately have to run and depend on the law, and we are so eager to derail, to be incorrect and not good outside of what is right, outside of "decent." Yes, I can copy this passage, because it can almost be used as a recommended copy of "White Tapir Night", which can almost completely summarize my "impression" of Sun Pin - we have to run and rely on the law after all, and we are so eager to derail, outside of the right, outside the "decent", to be incorrect and not.

The gunshot, after all, still sounded, steady, accurate, fierce. Concelin, who "actually likes to swim" from the beginning, many years later, the white tapir travels at night, through dust and time, and finally comes to the shore of the water.

"In the moonlight, she jumped into the ice cave beneath her feet in her clothes. ”

So, have you ever seen someone swimming in clothes? Will you question whether the four words "wearing clothes" were inadvertently written by Sun Pin? She was swimming and drowning herself. I have to admit that Sun Pin's last shot was too crisp and beautiful. Desperate and hopeful, it's one of the best novel endings I've ever read. Therefore, it does not matter whether the new style or the old style is, this is the old style opening up a new situation, and the new style has gained the privilege of literature that will always be sincere.

It is for this reason that Sun Pin is now recognized as a good novelist. So, when I saw Sun Pin in recent times, I felt that she was not so thin and indifferent.

She regarded several of our "post-70s" as brothers, saying that it was more relaxed to communicate with our slightly older counterparts. I thought, or maybe Sun Pin just used this to express her "not relaxing" with all others, and the gap between her age and her "post-70s" was just a difficult excuse for her to feel uncomfortable with all outsiders - it was difficult for me to be with "my and ours", "non-mine and non-our", in order to calm me. This reality is like a philosophical problem, and the difficulty is that in Sun Pin's world, the other and the outsider actually contain "me" and oneself. Yes, she had almost no difficulty getting along with herself.

This speaks of my "love" for Sun Pin. Because I'm also such a guy who can hardly get along with myself. This makes me even if I am self-righteous, I will have a heart of understanding for Sun Pin, so that I have respect for Sun Pin's "struggle". Because I know that the fundamental object of our "struggle" is the haggard and hasty self. But Sun Pin, things may not be so bad, just as Marserei's final conclusion to "effort" is that everything carries in itself and relies on such a force, as long as there is no external cause interfering with the certainty of this force, it will make things permanent, so that everything can be expected to be eternal...

—END—

Yangtze River Literature and Art, No. 1, 2022

Responsible Editor | He Ziying Xiong Mengrou

▲Yizhou |

Yi Zhou, novelist. He is currently the deputy editor-in-chief of Yanhe Magazine. He is a member of the Plenary Committee of the China Writers Association and a member of the Youth Work Committee, and has been selected as a national cultural master and "four batches" of talents in the Propaganda Department. He has won many important awards such as the Lu Xun Literature Award.