In waves
——Commenting on Wu Junling's short story "Big Water"
Text/Wang Yuhong
(Web Photo)
Recently, reading the literary monthly magazine "Coconut City" No. 4 in 2022, I was overjoyed: one writer Wu Junling bravely went forward to expand the territory and projected the background of the novel on the "big water" with open weather; the second was victorious, the show was new, and the new work "Dashui" won the "strength list".
The grass shakes the leaves to know the deer, and the pine wind knows the tiger to come. "Silver dollar", "green brick", "Zhang Laocai", "concubine" and other words scattered between the text, indicating that this is a story of a long time ago.
When the water suddenly arrived, Chunsheng pulled up several door panels and other daily necessities to an old elm tree that was 200 years old, and took refuge in the tree with his wife Qiao Yun and his one-year-old son. Later, Chunsheng and Qiao Yun took in the girl Lotus floating on the door panel, and the living space became more and more cramped. Spring lotus flowers love each other. The candles in Qiaoyun Cave are faint, and the trick is to prompt them to worship their brothers and sisters and resolve the crisis. The water receded, and the Chunsheng family sent lotus flowers home to reunite with their relatives.
The text changes the previous flatness to promote the plot mode, and constructs a three-dimensional literary geospatial field, providing basic support for the greater production capacity of text output.
When the flood arrives, the average person will panic, and the spring life is good at taking a vacation, building a house and stacking beds on the old elm tree to open a new mode of life. The family shouldered the wind and rain together and survived the difficulties together. The Spring Trees run in the water to collect and buy living materials. Encounter lotus flowers, generate conflicts, and then resolve dilemmas, and so on. The unfolding of the plot of the novel, the shaping of the character, the perspective of human nature, and the unveiling of the theme of the text are all calmly completed in this three-dimensional and unique field between the trees on the water.
The three characters portrayed in the novel enrich the long character gallery of Chinese literature.
Chunsheng is twenty-six or seventeen years old, young and strong, responsible for the family, flexible in mind, encountering difficulties, and solving them with heart. What seems real and makes his image jump out is that he envies Zhang Yuanwai to be able to take a concubine, his thoughts are like fluffy spring grass growing wildly, and when he sees the lotus flower close at hand, the breath is touchable, and he wants to get the moon first near the water tower. After the ceremony, the tide of feelings closes to the embankment of reason.
The green and astringent girl Lotus, who is pregnant with spring and the beginning of her love sinus, is saved in the water, deep and considerate among the trees, and Chunsheng's covetousness is in line with her heart, almost igniting the flame of love. After a ceremony arranged by Qiao Yun, she completed the role of dry sister. She knows gratitude, family affection, and affection.
Qiao Yun, who is as beautiful as a peony, as a housewife, is in difficulty, she is not anxious, not afraid, resonates with chunsheng on the same frequency, creates a better life, has love, has compassion, and the mental journey seems to be perfect, wise, decent, taking care of everyone's face, not embarrassing, twisting, embarrassing anyone. Undoubtedly, she is the main character of the novel - she is Haruhi's wife and mother of a one-year-old child, and in the face of the rapid rise of the flood, it is her presence that makes Haruhi take the initiative to take the initiative to make a countermeasure to make a tree. His personality deeply impressed Chunsheng, and Chunsheng did not hesitate to rescue the fallen girl Lotus. Qiao Yun is the responsible producer of the topic, and the judge and publisher of the major events in the plot. Especially importantly, she is responsible for planning and designing the specific direction of the storyline, she is the helmsman of the boat in the plot river, and the key node of planning to worship the brothers and sisters is proof of this.
When depicting and writing this group of portraits, the writer does not simply label their respective personalities, but pays more attention to the "intersubjectivity" that dynamically changes in the interactive situation, and they are pitched and developed between them, benefiting from each other, forming a group of vigorous and rhythmic life like water.
Their image characteristics do not only stem from their smiles and hands, but also from the power of traditional culture.
Chunsheng's family responsibility embodies "responsibility", their husband and wife rescue lotus embody "benevolence", Chunsheng uses "pinching" silence and timely descending the tree to create a convenient space for the two women to embody "etiquette", Qiaoyun faces unavoidable conflicts, plans the worship ceremony for the "wisdom" of the anxious middle students, respectfully invites Guan Gong to be present to be sincere and solemn to worship as a borrowing "righteousness", the flood is raging, the situation is full of emotion, Qiaoyun has achieved a "peace" of beauty and commonality with the heart of orchid, so that the seeds of cultural spirit can be home in the four seas in the flowing water... When the writer uses cultural charm to empower each character, he does not show the so-called cultural content, but appears careless, does not care, is simply an antelope hanging horns, there is no trace to seek. There are no flowers full of trees, and the mountains are full of clear and fragrant; there is no injection pill, and the torso limbs are stretched, which is indeed a way of white and black, which really attracts people to exclaim and marvel.
Novels may be trivialized, and must not be ignored to trivialize emotional aesthetics. Spring life, lotus flowers, hair, stop etiquette, harmonious harmony and enlightenment and emotional aesthetics of the two elements of resistance, for the solution of such themes to provide a model for the solution of such themes can be used as a reference.
The text takes the keywords of "heaven", "earth", "water", "god" and "man" as the pillar, and constructs the text, especially the ingenuity. The object of "water", in addition to its natural properties, can still melt all things, turn out new situations, the text has made valuable exploration attempts, buying items again and again, borrowing different water potentials without appearing the same; because of the sudden flood, the lotus flower has been doomed, the spring life is rescued, the qiaoyun planning ceremony, etc., the cocoon is continuous, the links are involved, and it is logical. The old elm tree, which has a rather "divine" nature, has been protecting the clan for two hundred years, and now it has stretched out its branches for its home, offering elm leaves for food and bringing down blessings; the "righteous" god Guan Gong, who worships the jade brothers and sisters on the spiritual old elm tree, supervises the people of the world to abide by the great righteousness of the people, and the thousand autumns are still awe-inspiring. The entry of "God" makes the text full of strong mystery.
A sudden flood of water, its water has a source, its flow has a potential, its direction has a direction. A novel with rich meaning, its plot has a beginning, a development, a climax, an ending, a leisurely journey like a cloud flowing water, and the flood rushing, its momentum is similar, and it is indeed similar to the same work.
A good short story is a big water with blue waves, which is too clear and contains infinite. The writer skillfully planted the local elements and cultural elements in the text, and the two intersected, blended, combined, not separated but water and milk, and did not see the axe chisel attached, which is already valuable.
【About the Author】Wang Yuhong, a teacher at the No. 2 Senior High School in Shangqiu City, Henan Province, a member of the Henan Reportage Literature Society, a director of the Shangqiu People's Association, and the vice chairman of the Suiyang District Writers Association of Shangqiu City. The novel essay collections "Dancing" and "Red Clothes Stripped" were published by China Publishing Group Modern Publishing House and China Literary Association Publishing House. His works have been published in newspapers and magazines such as "Running Current", "China Land and Resources Newspaper", "Education Times", "Shangqiu Daily" and so on.