Shao Li
Chen Tao
The name Shao Li is associated with Teacher Qin Qing.
Thinking of Teacher Qin Qing, I had to go back to the noon in Balizhuang 14 years ago. At that time, the seventh young and middle-aged writers' advanced research class of Lu Xun Academy of Literature was in school, and the students who listened to anthropology lectures in the morning were having lunch in the canteen, arguing from time to time whether the ancestors of human beings were monkeys or bears. I helped several students to serve soup, and teacher Qin Qing looked at me. After the meal, she came to me and asked me not to do that again, with a serious smile in her smile. I didn't think so, and smiled and told her about it, and she said very seriously: "You are the class teacher, you must have the appearance of a teacher." "It was my second year in the workforce, she was the head teacher of the advanced study class, I was the deputy class teacher, and then she went home to rest because of the aggravation of eye disease caused by reading the students' works for a long time, and I took over her job. A student wrote of her: "This woman named Qin Qing, our teacher in Luyuan, from beginning to end, she has been 'gentle and frugal'. A soft face with a motherly luster of stars. "After thinking about it, it is true.
It was also at noon that she told me a lot. Her father was Qin Zhaoyang, who had worked in Luyuan for many years and was well aware of many writers' works. She mentioned to me the writers who had studied in this courtyard, and many years later I only remembered the names of two people, one was Wang Anyi and the other was Shao Li. Coincidentally, when the fourth Lu Xun Literature Award announced the list of winners, I saw Shao Li's name again, so I found her "Minghui's Christmas" to see. At that time, the unit was located at the junction of urban and rural areas, and the potholed street in front of the door was lined with densely packed stores, of which most of them were hair salons, bicycles and motorcycles under the trees were horizontal and vertical, and some young girls were squatting on Erlang's legs, holding cigarettes, sitting on a round stool at the door, looking at the men from time to time. Coincidentally, in the novel, a good-looking village girl enters the city and wants to live an ideal life by selling her body, and everything seems to be moving forward according to her vision. At this time, a man named Li Yangqun appeared, he cared for her, pampered her, she moved her feelings, but after accompanying him to see his friend and feeling the diaphragm, he went home and chose to commit suicide. I remember reading it at that time, I had the same question as Li Yangqun: "Why did she commit suicide?" "So much so that every time I pass there after work, I wonder which one would be Ming Hui?" Is it also possible to commit suicide? Of course, I got it later. Shao Li also made it clear in a recent interview: "Ming Hui is a lucky person, and when she entered the city, she met a city person who was willing to accept her, Li Yangqun. However, Li Yangqun only used her as a talker, and all he could give her was a temporary house, not a warm and loving home. Li Yangqun did not deliberately not give, but his inaction hurt Minghui. On the night of another Christmas Eve, Minghui soberly realized that although she had a Li flock, it could not be her dependence, and her dignity and happiness would disappear at any time. Life had met the most insurmountable threshold, and to remain in the city she was doomed to not get the identity and love she longed for; but for her to return to the countryside to live a life with her back to the loess, all that she had done in the past had been in vain, and it was better to die than to die. So her death is irreversible and inevitable. Only then, it is even more sad. ”
In the following years, I read some of Shao Li's works and met her on different occasions, but there were not many opportunities to talk. Until I went to gansu village to take up a post, the China Writers Association organized an interview group to Gansu, and the colleague in charge of leading the team vowed to come to see me. Lonely and lonely, I was very excited, and I packed up my office early and planned the route of their visit, but what I was waiting for was the news that I would go out of the mountain to meet them. It turned out that my colleague found that even if the two adjacent places on the map still needed to cross the mountains and mountains for ten hours, I had to make an appointment to go to the neighboring county first, and then to Lanzhou. In fact, I like to go to Lanzhou, in Lanzhou, in addition to eating beef ramen, you can also take a bath, of course, the most important thing is to drink with friends. Especially when teachers and friends come from afar, it is inevitable to drink more drinks.
Shao Li was also in this interview group. I remembered that this was the first time I had a drink with Shao Li. Everyone who sees Shao Li for the first time, in the face of her image and temperament, may think of the word "elegance", people will grow old in time, the only way to compete with time is elegance, elegance usually has two points, one is to reject the arrogance of thousands of miles away, the other is inexplicably trust and warm affinity, Shao Li obviously belongs to the latter. Shao Li at the wine table drank cheerfully, did not talk much and properly, and the breath she gave was sincere and chivalrous. Perhaps it is also this blend of elegance and chivalry that many people love and recognize her.
Shao Li's "Minghui's Christmas"
Jiangsu Phoenix Literature and Art Publishing House
2016
To Shao Li, I also have respect. The time I have been engaged in literary work is not short, and I have more and more realized the true meaning of the phrase "writers write to the end is a contest of personality". Writing is the natural duty of the writer, and it is the inevitable right of every writer to express in words the judgment of major events, the huge and complicated life, and the rich and subtle human nature. A writer, in addition to the attributes of an intellectual, should also be a member of society, and in the present society, in the face of public events, those who criticize for the sake of criticism, those who are always criticizing but never provide any constructive opinions, sit-down writers, I can hardly affirm them. And those writers who rise up and throw themselves into it are worthy of respect and admiration in any case. Among these people, Shao Li counted one.
At the most tense moment of the new crown pneumonia epidemic last year, Shao Li organized writers to create short reportage that reflected the current situation of the frontline anti-epidemic at the grassroots level. Due to the severity of the epidemic, it was really impossible to go to the local area, shao Li interviewed two young women by phone, and their husbands died suddenly under the intensive work of epidemic prevention and control. Shao Li said: "Facing them, for the first time, I felt that I was such a useless person, I did not have any way to comfort them to alleviate their sadness, nor did I have any ability to reach out and pull them." When Shao Li put down the phone, she cried for up to half an hour. She laughed to herself: "When I am older, my feelings are fragile like reeds in the wind, and the slightest sound of the wind is inflamed." ”
In the face of this year's floods, Shao Li wrote a long poem reflecting the flood resistance, and I asked the editor to send it to the public name of the China Writers Network, which had a wide impact. In the face of this poem, some people thought that she was just moaning a few times when she was idle at home, so she wrote: "Someone asked me: When disaster comes, do you write poems at home and drink coffee?" Can I praise myself for one? Up to now, our Henan Provincial Federation of Literature and Literature relies on the influence of organizations and artists, and the urgently needed relief materials sent to the disaster areas have exceeded 10 million yuan, and I have no strength to say a word every day when I return home. We literary and artistic people are not absent in the face of resisting disasters that have not been encountered in a thousand years, and we will not be absent. I write poems in the middle of the night, praising those ordinary and ordinary civilian heroes, and I praise the indomitable brilliance and spirit of Great Henan. I am not ashamed to write! ”
Responsibility and compassion, to the firmness and the softness are vividly reflected in Shao Li's body. In front of those who touched her, in the face of those criticisms that need to be fought back, Shao Li did not hide her inner feelings, behind the direct expression of emotions, it was a strong empathy, a fiery frankness, and a kind of self-confidence that ignored the surroundings.
As a very good writer at present, Shao Li is transparent about society and human nature. Her creations start from the initial nuances of husband and wife, marriage, emotions, etc., transform again and again, and finally move towards an open social life, and her pen is surging with vivid worldly emotions and worldly hearts. Many years ago, some people commented that Shao Li "took her rich life accumulation as the support, keenly hit the 'A is hole' of life, touched the 'pain point' of society, and she can treat the suffering of life with compassion and ideal vision, tolerate the complexity of human nature, and calmly depict it with restrained brushstrokes, so that people feel deep understanding and comfort." With the deepening of her writing, her consciousness has become more and more conscious, and her works have become more and more mature and rounded. Shao Li is not a prolific writer, but almost every one of her works receives widespread attention and has a great impact, whether short, novella, or long. "Years later, it's still accurate.
Shao Li "Golden Branch"
People's Literature Publishing House
2021
In recent years, Shao Li's creation has changed again, and she has begun to focus on the theme of her parents, from "The Yellow River Story", "Mother in the Wind", "Golden Branch" to the recently published novel collection "Father on the Rooftop", etc., all of which are rare, and it is rare for a writer like her to write about "parents" for a long time. This can also be seen as a writer's sense of responsibility, on the one hand, she is reanalyzing the way of kinship in traditional Chinese culture, not only constituting an orderly social relationship of respect and inferiority, after all, "this relationship is only a kind of obedience and reverence, not real understanding, tolerance and love." On the other hand, she still wants to record the living predecessors in writing and tell them to the younger generations. She said: "Could it be that the so-called ancestors are left with a name and a tablet?" Rao is like this, the past of my ancestors is my future. I can't bear it. The ordinary and strange life of that generation cannot be like the gum in the mouth of a child, chewing for a while and throwing up. ”
When it comes to Shao Li's works, I have to talk about one more thing. A few years ago, a Spring Festival, it seems that in 2018, I saw an article forwarded by her on the high-speed train home, written by her husband, opened to see, the content is a memory of the deceased mother, reading to the middle of the difficult to control themselves, shed tears, the whole article is read, the emotions are difficult to calm down for a long time. Wait until it calms down, and tip decisively. In the process of reading, the number of tears is not much, counting carefully, this is the third time, the number of tips is even less, think about it, it is the first time.
Chen Tao
"Between the Mountains"
Liaoning People's Publishing House
2021
2022 No. 2 | Yangtze River Literary Review
Contents
Famous prism Shao Li
Shao Li | Capture: Emotions and the World
Chen Tao | Shao Li's people and literature
Huang Dehai | patient middle age or difficult growth – a recent work on Shao Li
Literary Geography: A Study of Contemporary Northeast Narratives
Liang Hai | engraved the "raw edge" of memory - on the northeast narrative of Shuang Xuetao, Ban Yu, and Zheng Zhi
Zhang Xuexin | the "Desolate Aesthetics" of Ban Yu's Northeast Narrative
Huang Ping | Father's Name: On Zheng Zhi's Novel
Liu Tianyu | Between Virtual and Real: A Social History of Moses on the Plains
New quick review
Fang Yan | Ruins of prosperity and romantic monsters- Reading Li Hongwei's "Guide"
Zhao Yi | from "place" to "world"—on the literary geography context of Shi Yifeng's "Crossing the Ocean to Send You"
Critic Research Xie Mian
Xie Mian Zhou Mingquan | we should face our times - Mr. Xie Mian interview
Lin Qi | "rise" and "watch", or "immature" "spiritual charm"—a teacher in the eyes of a "Xiemen disciple"
Web Literature Studies
Xu Miaomiao | the "Big Heroine" of the New Media Era: The Transformation of the Media Identity of Female Authors of Online Literature
Li Wei | "Active Fantasy": The Script Kills as "Literature" in a New Spatial Form
Xiao Yingxuan | more than romance: the pluralistic narrative of the female frequency fairy tale web novel
Writer's Work Theory
Shen Xiayan | intergenerational identity changes in family novels, centered on "The Old Site"
Zhai Yueqin | "The Tragic Spirit of the Eastern Purpose": "The Drama of Sound" in Yang Mu's Poems - On "Lin Chong Night Running: The Drama of Sound" and "Miaoyu Zazen"
Yang Chenjie | "Fringe" wandering and ideological persistence - re-reading Han Shaogong in the 1990s
Liu Zheng | warmth and compassion: the narrative background of Liu Qingbang's novels