"Peeping", or Buck's Writing Dynamics Mechanism
Jiang Libo
Buck was the first literary friend I met since I came to Fuyang. It can be said that I have witnessed the long evolution and evolution of his personal writing history, and I can even say that I am one of the few friends of Fuyang who knows his personal history and several secrets of survival the most. I remember visiting his home, a six-story self-built house on the side of Xidi Road, not far from the Fuchun River, where he used one of the floors himself and the rest was rented to outsiders. This is where most of the stories of Dear Tenants take place, and I believe that most of the protagonists have lived and lived here. When I make this judgment, I have actually violated the fundamental nature of the novel as a genre, and have made some accusations and questions about the novelist's professional ethics, that is, the novel is a fictional genre, and the novelist takes fiction and weaves another "reality" as his vocation. Of course, I never deny the fictionality of the novel, but when it comes to Barker's novel, I believe that he did make the most of the reality of his life, the raw joys and sorrows and the change of fate, and even he himself may well have played the character in the novel as "I" or some other identity. Being both a writer and a landlord allows him to travel back and forth between life and writing, and it also makes it possible to penetrate the barriers of fiction and reality, thus reconstructing a more essential reality as much as possible.
Buck recently took a photo
I sometimes wonder if Buck is playing the role of a "voyeur" in real life, quietly observing and recording the actions of tenants, tracking and peeking at their trajectories and fate codes, and weaving their lives at will, but "none of them know that I wrote them", this ecstasy of stealing pleasure may constitute some kind of writing dynamics of his writing. It is no wonder that he is very good at it, no doubt thanks to his original ecological "expropriation" of real-life elements and original appearances. In a sense, the writer is a natural "voyeur" who has been given a privilege similar to an "amateur detective" by God. A good writer will always carry a cold observation and examination of reality, and may even be a kind of hidden ridicule or offense. He used the magnifying glass of language to investigate and explore the first scene of life, looking for clues and doubts in it, and even went deep into his own inner dark room and the "private domain" of others.
The small building in the book
I'm not sure he was the first writer to write about the tenant community, but it is perhaps not an exaggeration to say that he was the first of the contemporary writers to write intensively about the tenant community. In his self-prologue, he expresses a certain ambition to glimpse the times through the tenant community. I have no doubt about his sincerity and his initial ability to challenge. The only thing I want to remind him is that in implementing this Balzac-like encyclopedic writing, he may need to appropriately discard some traces of "non-fiction" and then question the marginal state and paradoxical survival of the tenant community, and finally reach the nature and absurd nature of the times. That said, I hope he wrote a broadly defined "Metamorphosis" and "Revelation" of marginal people. After all, that kind of full-perspective, photorealistic realist novel can no longer encompass and present this multi-meaning, rich, complex, fragmented, and absurd "post-epidemic" era.
Jiang Libo, pen name Chen Jianong, is currently the supplementary editor of Fuyang Daily. He began poetry writing in the late 1980s and won the first prize in the Poetry Live Competition of the First College Student Arts Festival in Zhejiang Province. He is the author of the poetry collections "The Folding Moon" and "The Unnamed Lamp", and some poems have been translated into English and Greek and disseminated.
Buck, real name Ge Wengao, is a member of the Hangzhou Writers Association and a native of Fuyang, Zhejiang. He published about 300,000 words in "October", "Shanghai Literature", "The Great Wall", "Mountain Flower", "Qingming" and other short stories. The novel "Dear Tenants" was selected as the Hangzhou Literary and Art Fine Arts Project and included in the Zhejiang Provincial Literature and Art Fund Fund.