"Zhizhen Says" - a rural novel that continues the Legend and Transmission of God in Chinese style

□ Li Guikui

I was a close friend at the same window and table during my college years, and I knew each other's roots and threw myself into each other. He is also human, sleepy and affectionate. When happy, he often grins his teeth and smiles, and when he is hurt, he often cries and pours downpours. It is also known for its good "speaking", witty words like pearls, and the works are live and readable. From opening a literary and art review column of "Xiao Kui Stargazing" in the "Popular Daily", commenting on star stories and winning a number of fans, to recent years, "The Old Man Says Hometown", drunkenly speaking the story of the ancestors living in Zhizhen, so to speak, it has been said for most of his life. The "Zhizhen Saying" launched here is a novel of "Gu Yu Zhi The novel was first serialized in the newspaper "Rural Masses" and reprinted in major media, attracting more and more readers. Now, on the occasion of the publication of the collection at the request of jinan publishing house, I specially preface it in the first place, not only to convey the author's creative intentions, to dialogue and communicate with the maverick author, but also to provide a reading guide, trying to guide the majority of readers to read, quite inheriting the meaning of the ancients' so-called "the meaning of the author, the heart of the open viewer".

First of all, "Zhizhen Said" is rich in wild flavor and is a rural novel full of folk customs.

What are the characteristics of "Zhizhen Talk"? In a word: wild. The countryside is rich in folk wisdom and can nourish the lost culture. Confucius said, "If you lose your courtesy, you will ask for the wilderness." In The view of Confucius, once the ceremonial culture is lost to the upper class, it is necessary to go to the folk to find a remedy. During the Ming and Qing dynasties, Wang Shizhen and other literary celebrities also had the so-called "history is lost to seek the wilderness". In their view, once the correct history as a mirror is invalid, it can only seek remedies from the people. Besides, the ancients have long regarded the novel as a "barnyard official and wild history". It can be seen that the novel is inherently inextricably linked to wildness and wild food. Based on this cultural tradition, Qi Chunjie grasped the word "wild" in the "Zhizhen Theory" and fully promoted the vitality of the folk secular society with the "countryside" as the mainstay, making full use of the advantages of the novel as a genre.

In traditional Chinese culture, "wild" has its special status. Its original meaning is "wilderness" and "wilderness", which is composed of land and trees on the ground. Xu Shen of the Han Dynasty said in the "Explanation of Words and Characters": "Wild, the countryside is also." By extension, the word "wild" also has the meaning of "wild", "barbaric", "rough" and so on, full of primitive vitality and grassroots cultural atmosphere.

In Chinese and foreign cultural traditions, "wild" and "wine" are like twin brothers, achieving each other. It can be said that the Chinese style of "drunken thinking" and "drunken image" and the corresponding pride of wine echo the "Dionysian spirit" named by Western Nietzsche. In China, "wild" is not only full of some kind of Western-style irrational Dionysian spirit, but also often infected with the local heaven and earth grandeur and the wild advance of human beings themselves. As far as Qilu culture is concerned, in addition to its gentle and elegant side, it also has a wild temperament and charm. Novelists who live in this sacred land often do not lack the accumulation of the spirit of Dionysus and the growth of wildness. Among them, the Nobel Prize winner Mo Yan is good at making a fuss about "wine", not to mention that his "Wine Country" is borrowing wine to talk about the officialdom, and even some other novels are also good at using wine to tell the story of human feelings. "Red Sorghum", which was adapted into a movie, was even more impressed with a song of "drinking our wine", singing with great enthusiasm and pride. Chun Jie and Mr. Mo Yan are fellow villagers in Weifang, Shandong Province, and they are also teachers and friends. They are all good at wine by nature, and they are all good at talking about alcohol and drunkenness in their creation, and they convey the local people's alcoholic feelings and rough local spirit in the creation of novels. Overall, "Zhizhen Says" narrates state affairs and family affairs, embellished with alcohol and drunkenness, which is both unique and ingenious.

What is more brilliant is that "Zhizhen Said" vividly conveys the folk customs under the traditional wine culture, and then has a good conveyance of the spiritual soul of the nation and the customs and customs of the society. Since "wine" is regarded as a love object, hospitality is naturally indispensable to wine. Hospitality is both a microcosm of traditional wine culture and has evolved into some rural customs. In order to show hospitality and create a lively atmosphere of happiness and harmony, the host always tries his best to persuade guests, so there is a saying that "drinking wine and expecting people to get drunk". This is even more popular in The town of Zhi, which is full of nostalgia for many years. For example, the novel recounts with relish the custom of "carrying a drunkard in a leisurely basket" in Zhinan Village. Gongye Dehong's sister-in-law said that this custom was invented by the old man of Zhili, of course, she listened to her concubine. The specific scene is, on the new wheat grave, "The old man of Zhili invited his uncles and brothers to gather together and put on a big drink, which was the ancestral wine and the harvest wine." Together with the old man Of Zhili, a total of eight brothers, according to their age, found their own position to sit down, shouted five drinks six, and drank. Punching, guessing, pinching... Drink it high. None of his seven brothers could stand up from their drinks. Old Man Zhili ordered him to find seven baskets, put seven brothers in baskets, and carry them home one by one. Since then, whoever has set up a liquor store has a leisurely basket at the door. The basket was cleaned beforehand, covered with linoleum paper, waiting to carry the drunk man home. "Such a scene narrative is not only unbearable, but also reasonable, interesting.

Since ancient times, the people have taken food as the sky, and because the wine is made of grain, the people especially cherish it. Especially in that era of lack of food and food, people felt that "eating does not hurt and sprinkle pain". There is a passage in the novel about the young Gongye Dehong and his father returning from exchanging wine, accidentally slipping on the ice, the wine spilled out of the jar, and the father not only "immediately lay down, with his hands supported, his chin against the ice, his ass poking, sucking and licking on the ice", but also drank the young and ignorant son: "You little dead body, don't you want to lie down and drink, but also wait for the wine to eat!" "Such a scene is really both unbearable and sad. Although the author does not use the words "jade" at the beginning of the "jade" characters such as "jade ant", "jade wine", "jade liquor", "jade liquid", "jade liquid jinbo", "jade liquid jade cup", "jade pulp", "jade paste", "jade liquor", "jade west east", "jade thing", "jade zun", "jade wine", "jade liquor", "jade chalcedony" and other "jade" words and "fang" words such as "fang" and "fang" words such as "fang" and "fang liquor", we can see from this detail, How the simple father and son duo regard wine as a love object with practical actions, and are not willing to waste a little bit.

Of course, in this novel, the depiction of drunkenness is not made for curiosity, it is combined with the wild communication about the characters. In particular, the first chapter of the opening chapter, "Drunken Scene of Zhizhen", is really a painting of the underlying style of wine scattered. As we read, we will be touched and shocked by every character who is full of vitality and legendary stories and innovative powers.

In addition, "Zhizhen Said" is lively in writing, simple in language, and exudes a strong local atmosphere and local colors. While making extensive use of dialects and vernacular, the author also uses many common names from time to time, such as calling goji berries "dog tits", dust "mashed soil", etc., and briefly explaining them in the narrative process, increasing the affinity of the locals. As for the folklore, famous utensils and dialects, they are all more elaborate, and they also feel faithful and kind.

Secondly, "Zhizhen Says" narrates the fate of the Gongye family, full of legend and charm.

The vast countryside of the land of China is scattered with thousands of families, forming different family groups, and the fate of each family is closely related to the fate of the entire country and nation. Each famous and prestigious family often experiences disasters and disasters, and after being forged by bloody rain and wind, there are different ups and downs, ups and downs. Therefore, clever novelists often focus on the family when writing about the country and the world. Family novels have existed in ancient times, such as "Golden Plum Bottle", "Misguided Street Lamp", "Awakening Marriage Legend", "Dream of the Red Chamber", etc., which have been endless. In modern times, Ba Jin's "Home", Lao She's "Four Generations Together", and Chen Zhongzhong's "White Deer Plain" are even more flocking to the scene, making the family novel home flourish.

Survival, disaster and survival are the age-old arias of family fiction. Not to mention that Yu Hua once directly used "Alive" as the title to write about Xu Fugui's life after social changes and the fate of his family's repeated sufferings in the context of the big era, that is, Chen Zhongzhong's "White Deer Plain" also won by writing about the two major families of White Deer Plain and Deer. Among them, Bai Xiaowen, the eldest son of Bai Jiaxuan, in the process of degeneration, repeatedly issued sighs such as "live well" and "there is hope in life". Speaking of family tears, it is easy to pluck the heartstrings. No matter what kind of spirit is conveyed, the novelist will always seem to have a deep affection for family writing. I remember the novelist Wang Anyi once said: "Without family myths, we have all become orphans and live in fear." One end of our life is hidden in the darkness of the five fingers out of sight, and the other end is hidden in the fog. In the darkness, there was still a glimmer of light, and that was the mother's last name. "The significance of the family to every individual's life can be described as great! It is with such feelings that Wang Anyi launched his affectionate autobiographical novel "Documentary and Fiction". The novel uses the form of intersection to describe two sets of strategies in turn, not only combing the historical vertical relationship of the "tree" of the family with the nature of life, but also horizontally spreading the horizontal relationship of society with the nature of life like a "water wave". Qi Chunjie's "Zhizhen Theory" was born and grew up on the rich soil of ancient and modern family novels in the past, especially in the Gongye family narrative to some extent, the literary experience and writing strategies of many family novels were adopted. Among them, it contains both intentional absorption and unintentional coincidence.

Reading "Zhizhen Says", you will feel that there is no shortage of shadows in Mo Yan's novels about family narratives. As everyone knows, Mo Yan's "Red Sorghum Family" tells the story of the red sorghum family with vitality one after another, and the story of "my grandparents" is full of earth-moving heroism and wildness, but also a little ignorance and cruelty. "I", as the first-person narrator, seems to possess a "patriot" complex. Some commentators have pointed out: "In a sense, the family history was extracted and replaced by a romantic folk legend, and the positive history and the wild history were perfectly combined, thus completing the writing of contemporary literature from enlightenment to counter-enlightenment... Here, national discourse/family destiny, zhengshi/wild history, family culture/contemporary politics, and sex/love are perfectly integrated, and a miracle of contemporary family fiction is also completed. In this regard, "Zhizhen Says" can be described as a follow-up.

"Zhizhen Says" attaches the ancestor of the Zhizhen Gongye family as the chief of Gongye, which has great significance. As we all know, Gongyechang was the son-in-law of Confucius and knew the language of birds. In Chun Jie's pen, he is a ghost who cares for the Gongye family, and its right and wrong have become the genes of the Gongye family, and have also become an important part of Qilu culture. In order to enhance the sense of history and culture, Chunjie links Gongye Dehong in the novel with Gongyechang, a disciple of Confucius in history. The novel tells people why Gongye Chang became Confucius's son-in-law by writing Gongye Dehong's reading of the Analects of Gongye Chief: "The son is called Gongye Chief, 'But the wife, although in the midst of the silk, is not his sin!'" 'With his sons and wives.' He went on to circle the fate of GongyeChang's innocence and imprisonment with the story of his greed in bird language, writing: "It turns out that my ancestor Gongyechang was also imprisoned for greedily enjoying the big fat sheep provided by crows for greedy mouths, and was retaliated against by crows and was imprisoned in a murder case. Fortunately, Confucius knew right from wrong, and instead of blaming him, he married his daughter to him, continuing the incense of our Gongye family for more than two thousand years. Subsequently, he wrote that the wolfberries in the cemetery of Gongyechang were not pecked by birds: "The birds were excited when they saw the wolfberries red." Strangely, there was not a single bird on the tomb of Gongye Chang. Although there are many magpies around the tomb, they have made nests in ginkgo trees, poplar trees, and willow trees, and fly around, but they do not fly to the tomb and do not peck at goji berries. This legendary pen and ink is full of interest and thought-provoking: perhaps because Gongye chang knows bird language, and his soul is still talking to the birds and preventing them from destroying the goji berries that protect the tomb; perhaps there is another magic truth that is difficult for the world to understand for a while.

In ChunJie's pen, legend is mostly out of the eyes and ears, out of the common sense of daily life, rather than out of the whims outside the eyes and ears. For example, in order to convey the miraculous effect of wolfberries (commonly known as "dog milk" in Zhizhen), a story told by an old man with glasses was borrowed: "During the Song Shenzong Xining period, Su Dongpo served as the Taishou of Mizhou, once rode a donkey to qingqing, and when he was about to arrive at Gongye Village, he saw a young and beautiful young woman beating an old man with a gray beard. The crutch came over and swept it over. Su Dongpo busily sent his entourage forward to scold: 'Why are you beating and cursing the old man like this?' The young woman said, 'I train my great-grandson.' ''Your grandson?'' Su Dongpo was astonished. It turned out that the young woman was already two hundred years younger, and the old man was already eighty years younger. He was scolded for being hungry, causing his skin to lose his teeth and lose his human form. Dongpo bowed his head and bowed his head, asking the old concubine for advice. When the old concubine saw the immortal wind Dao bone, she said that she would take dog tits for four seasons. This old concubine and her great-grandson are the people of the Gongye family. This shows the author's skillful imagination in dealing with history and famous objects, as well as the ability to legend common sense (wolfberry longevity) (a hundred-year-old young woman chasing eighty grandchildren).

Perhaps, in addition to the novelist's painstaking fabrication and fabrication, there is an element of "nothing strange" in the world itself. As long as the novelist is good at restoration and skillful in catching, the legendary nature of the narrative will naturally flow out. The story of the marriage and funeral of the Gongye family on the same day as described in "Zhizhen Says", the red and white contest, the strife between the two sides, and the sword rattling seems unreasonable, but according to the hint of the spring steps, this is indeed an ironclad fact. Moreover, if it were not for "my grandfather" Gongye Xiangren to reconcile, these two major activities could have caused tragedy. As the grandfather of the famous Chinese medicine doctor in the three counties, Gongye Xiangren, bingda doctor sincerely bequeathed, with Traditional Chinese medicine thinking, rich family and national feelings, clear reasoning, solving knots, saving the crisis, enduring humiliation and burden, is the soul of Zhizhen written by the author with his heart.

Since ancient times, the wildness of history and reality has best shown the legendary and humanistic divinity of Chinese novel narratives, and often prevails in the cultural game with social domestication. "Zhizhen Theory" is based on the story of a township in the land of Qilu that happened in the past hundred years, and many of the characters have prototypes, and even have the author's own incarnation. It is worth noting that the author is good at writing about the wildness of the characters, and the prominent manifestation of the wildness is fierceness and rebellion. "Zhizhen Says" wrote about the revolutionaries Chen Ke, Wang Pigtail, Niu Erxiucai, and The Old Man Zhili, as well as the seventh grandfather Ye Xiangshu, Lei Yihu and other vivid figures with a strong and rebellious spirit. The author pays attention to the biography of people, and vigorously writes the preset generations of characters in the Gongye family, such as the old concubine, Gongye Xiangren, Gongye Xiangjing, Gongye Lingshu, and Gongye Dehong.

In a nutshell, the novel "Zhizhen Says" not only pays attention to the narrative elegance, turning plain into legend; it also pays attention to the creation of meaning, and appropriately injects some gimmicks and jokes provided by relatives and friends, which makes people feel both reasonable and unexpected, and undoubtedly enhances the legend and readability. Of course, the author also often creates legends through the traditional "no coincidence, no book" technique. For example, Wang Braid and Gongye Xiangshu met unexpectedly on the way to study in Russia, this legendary bridge section not only glues a pair of young men and women together, but also makes the narrative more rigorous and cuts a lot of messy clues.

Third, "Zhizhen Says" pays attention to the integration of "reason", "matter" and "feeling", which makes people feel satisfied and convinced by the center.

The success of a piece or a piece of literature is inseparable from the perfect combination of the three elements of "reason", "matter" and "feeling". In the history of Chinese literary theory, Ye Xie of the Qing Dynasty expounded poetry for the first time the far-reaching meaning of the three words "reason", "matter" and "feeling" (echoing the ancient meaning of the three words of "wind", "ya" and "praise"). Poetic text creation is like this, novel text creation is not like this. On the whole, "Zhizhen Says" is oriented to the world's human feelings, and in the process of pursuing legendary narrative and writing people's pursuit of divinity, it pays attention to the integration of "reason", "matter" and "feeling".

In the exquisitely woven story of "Zhizhen Said", the ancestors living in Zhizhen have left "me" not only the amount of wine "cup after cup" and the courage to go south and north, but also the unforgettable "internal wounds" left for "me". For the sake of emotional injection and narrative convenience, Chun Jie also incarnated into the novel, choosing the first person "I" to unfold his story. In a sense, Gongye Dehong in the novel is the embodiment or shadow of the author Qi Chunjie. It goes without saying that the text of "Zhizhen Says" reverberates with the author's long-cherished enthusiasm and "affection". In particular, it is not difficult for the attentive reader to feel that there are still more serious "internal injuries" such as inferiority, timidity, anxiety, and fear in the depths of the good personality of Gongye Dehong, the embodiment of the author, and this internal injury is inherited from the pro-old concubine Jingshi, like the birthmark that grows in the waist, lingering. This incalculability made Dehong unable to be free, and even made it difficult for him to breathe.

Readers may ask: How can a large family treat a woman of good nature and diligence in such a way? It turned out that this was caused by the evil concept of a concubine. In traditional societies, the inferior status of the outcroppings and the continuation of the branches of the future generations are also affected. The psychological shadow brought about by the status of a concubine of the pro-old concubine Jingshi in the novel has been affected by Gongye Dehong. The author writes about the temperament of two generations of grandchildren, full of "a handful of bitter tears". The reason why it is written emotionally and touchingly is because this text is perfunctory by the author based on his own personal experience. In the history of literature, writing about the harm of the concubine system, there was Huo Xiaoyu in the Tang legend "The Biography of Huo Xiaoyu" and then Jia Huan in "Dream of the Red Chamber", they are all representatives of Shu Chu. In particular, Jia Huan, who grew up in an environment that was looked at differently by the masters of Jia Fu, seemed to have a distorted personality, and repeated struggles were interpreted as vicious by the characters around him. In history, Yuan Shikai was a shu outreacher. In Chun Jie's view, the tragedy of his life seems to be related to Shu Chu. "Zhizhen Said" repeatedly recounts that Yuan Shikai, who was interpreted by the world as a "restoration", was called emperor, in fact, it was also driven by an internal wound. The novel writes that the old man of Zhili constantly scolded Yuan Shikai: "This little concubine is born of a sin seed!" It's bad in the womb! The seeds of iniquity have buried a good republic. When my grandfather listened, his face turned red, and the green tendons on his neck suddenly went straight to the ground: 'Zhi Lao, Zhi Lao, you scold Yuan Shikai, I approve with both hands, you don't say his origin, he is... ' The old man of ZhiLi drank high, loved to nag, and repeated again: 'Concubine child, slut! He and Jia Huan in "Dream of the Red Chamber" are all the way to the goods, and the fetus is broken. "Maybe the speaker has no intention, but the listener has a heart." The word "concubine" not only made Gongye Xiangren, who was a grandfather, sensitive, but also made his grandson Gongye Dehong unforgettable. "Zhizhen Says" also uses the remarks of Gongye Xiangren and Gongye Lingshu and the divine bird Fenice to discuss the "reason why Yuan Shikai is called emperor", and attributes the reason why Yuan Shikai dared to risk the world to be called emperor by drinking Zhizhen's wine for a moment; and the reason why he was impulsive to drink wine was after all because of the internal injuries of Shu. Psychoanalytic inferences about the details of life are not without reason.

Since ancient times, the unsolved cases that historians have not been able to solve can be answered from the novelists. For example, regarding the cause of Tang Xianzong's death, the Old Book of Tang "secretly said" in fact. Later historians usually believe that Tang Muzong killed according to the detailed records of Pei Tingyu's "Records of the Eastern View". According to the "Biography of the Later Concubines", it seems reasonable that Emperor Xianzong was "a lot of private love in the back court" and delayed in appointing his wife Guo Shi as empress, and she plotted to kill her. However, the historian Mr. Chen Yinke found the answer in the novel "Records of the Continuing Xuan Monsters", "Xin Ping Shangxian", which determined that Tang Xianzong was murdered by the eunuch castrated party, and wrote this conclusion to his "Jin Mingguan Series Manuscript II Compilation : Shunzong Shilu and The Record of the Continuing Xuan Monster". Chun Jie has personal experience and skin pain, so he writes yuan shikai as emperor, writes about Gongye Dehong's temperament and fate, and feels empathy. His interpretation of the reason for Yuan Shikai's title of emperor, although it may not be widely recognized, can become a "family word" in itself, giving people inspiration.

Judge, if you are willing to believe it as true, you may wish to be a loyal believer in the shocking and vulgar saying of "Zhizhen Saying"; if you do not want to believe it, you have the right to be the "novelist's words" that your aunt listens to, and you do not have to take it seriously. Whether it is true or not, there is no doubt that Chunjie is devoted to emotional writing and uses it to heal the scars accumulated in the heart.

In order to effectively convey "reason", "matter" and "feeling", the narrative of "Zhizhen Says" is also very wonderful. In the transmission of "feelings" and "reason", Gongye Dehong, who has experienced, touched and experienced, shoulders the role of "affection" more. The novel is written from the birth of Gongye Dehong, who is the embodiment of the author, and it is obvious that he is mainly following the footsteps of his predecessors in accordance with his life trajectory, and even tracing the traces of "my" ancestors. Relatively speaking, another special role, namely the immortal bird Phenix, which is sacrificed by the Gongye family, plays the role of an all-knowing and all-powerful "bystander" and a "narrator", releasing doubts at any time, exploring problems at any time, and randomly revealing mysteries... The setting of this character effectively reinforces the "rationale" of the narrative.

The integration of "reason", "matter" and "feeling" in "Zhizhen Says" is also reflected in the narrative management of good work. It comprehensively uses the time and space of the main narrative and flashback, the supplementary narrative and the interpolation to spread and cross, creating the ups and downs of the story, and the vertical and horizontal. In particular, it has ingeniously adopted a narrative method of intricate time and space and time jumping to explore the fate of the Gongye family, not only paying tribute to the souls that have gradually disappeared in the smoke and clouds of history, but also praising and derogatorily commenting on their seemingly ordinary past.

Since "Zhizhen Said" was originally launched in the form of a newspaper serial, it also more or less carries the narrative effect of the traditional chapter novel "wanting to know what happens later, and listening to the next time decomposition", coupled with the key words as subtitles, it is enough to lead or pry the plot of each part. This also stands out from most of today's novel sections glued together. No matter from which point of view, "Zhizhen Said" can be regarded as a work of dedication, which better completes the text creation of the trinity of "reason", "matter" and "feeling".

"Zhizhen Says" is like a vivid family history, dedicated to the interweaving of narrative and lyricism, not only allowing readers to feel how the world works and flows, but also allowing readers to appreciate and understand the true meaning of life; "Zhizhen Says" is like a drama, on the social stage dominated by Zhizhen, the legendary role play and the divine role performance come alive; "Zhizhen Says" is like a picture scroll, for history and for reality, drawing the story of the godlike disposition and legend of Zhizhen' lineage.

Another thing that needs to be said is that "Zhizhen Says" practices certain creative concepts and is of great significance.

In the specific writing of "Zhizhen Theory", Qi Chunjiezhi has transcended and pioneered, not only striving to surpass the previous people's attachment and restraint to the high standard of writing such as "encyclopedic school", "realist school" and "typical character school", but also striving to surpass the cramped record of the usual history books and local chronicles, and also striving to transcend the barriers of "vernacular novels" and "nostalgic novels" in the last century, and instead focusing on drawing nourishment and strength from the traditional Chinese "legendary" and "transmission of divinity" and other active aesthetic culture and theoretical systems, and creating a new road of "rural novels" Unique.

ChunJie has always been humble and willing to absorb various suggestions. While I was working on translating the research results on Chinese narrative, Chinese writers and Chinese lyricism into practical applications in recent years, Zhizhen Said was also formally put into creation after a long period of preparation. He not only carefully read my research results on "Chinese Writers" in previous years, but also widely accepted the reminders, encouragement and help of various friends in recent years, and consciously transformed the relevant suggestions into his brilliant novel writing.

In addition to the practice of physical practice and literary theory, If You qingjie inadvertently waits for Zhou Yi and Traditional Chinese Medicine in "Zhizhen Theory", he consciously conveys Chinese culture and Chinese spirit, highlights China's aesthetic interest, and wins the main theme of a great era.

At this point, it suddenly occurred to me that in the Western world, the novella "The Call of the Wild" by the American writer Jack London supported Jung's collective unconscious and archetypal theory; in the East, could Chunjie's enthusiasm for creating "Zhizhen Theory" and the "legendary" and "transmission of divinity" theory that I was enthusiastically discussing also achieve some effective echo? After reading a foreign "Zhizhen Sayings", I suddenly felt that as long as literary research is oriented to literary texts, it will not be reduced to "air-to-air" or "paper talk".