Writer Pompeii
Scan the code to watch the lecture "Roundabout Between Documentary and Fiction", and Pompeii talk about "Wujiang Introduction".
On the evening of 4.23 World Reading, Pompeii, a national first-class writer and screenwriter, brought his new book "WujiangYin" to the Nandu Reading Month online sharing meeting, the main speaker was "Detour between Documentary and Fiction", Jiang Bing, deputy secretary general of the Chinese Novel Society and professor of Guangdong University of Finance and Economics, shared as a guest, and Nandu reporter Zhou Peiwen presided.
"Wujiang Yin" presents another legend of the Long March epic, a little-known secret force, which is the second bureau of the Central Revolutionary Military Commission with the "three masters of deciphering" Zeng Xisheng, Cao Xiangren and Zou Bizhao as the main force of deciphering. Using the signals of the enemy station detected by early wireless communication technology, they successfully deciphered almost all the cryptographic intelligence of the Kuomintang army, which played a crucial role in the Red Army breaking through the siege again and again and surviving in a desperate situation, while the Kuomintang army found nothing against the Red Army. This is an isolated case of intelligence warfare in the military history of mankind in which the weak prevail over the strong. The Second Bureau of the Central Revolutionary Military Commission, a secret existence. Even if they walk in their own ranks, their identities are unknown...
The main body of this novel is divided into two parts: "Sketch", "Silhouette", the former is the field notes of the anonymous person of the Second Bureau of the Central Military Commission, and the latter is the journey of the present people to remember this secret history. The novel uses this polyphonic brushwork between virtual reality to reproduce history, and cleverly connects the revolutionary history of the entire twentieth century, such as the Long March of the Red Army, the War of Resistance Against Japan, and the War of Liberation. In the context of this era, in the "sketch" narrative of the 25,000-mile intelligence war, in the painstaking search and salvage of memory fragments by posterity, a "silhouette" of a nameless person gradually appeared.
At the sharing meeting, Pompeii admitted that the creation of this work, in a sense, is also a review of his youth. Pompeii graduated from the People's Liberation Army Foreign Chinese College in his early years, and is now a national first-class writer, a member of the presidium of the Guangdong Writers Association, a professional writer of the Guangzhou Academy of Literature and Art Creation, and has published novels such as "Endless Collection" and "Unicorn", and has been shortlisted for the Ninth Mao Dun Literature Award. Based on his professional background and creative strength, after a large number of decryptions of the Long March secret telegram, Pompeii decided to create such a new text on the theme of the Long March.
Professor Jiang Bing believes that "Wujiang Yin" uses extraordinary language tone and work structure to resurrect the unsung hero of this special front. In the face of such a major theme as the Long March, the entry point of "Wujiang Introduction" is the "deciphering of the three masters" in the Long March of the Red Army. Our Party has two hidden battlefields: one is the underground party intelligence system; the other is the deciphering of codes in the air. Two hidden battlefields battle a group of people with top-secret missions. The first "Sketch" of "Wujiang Yin" is a depressing, forbearing, cruel narrative style, and when you read the second "Silhouette", you can better appreciate the author's good intentions.
Pompeii's lyrical depictions are quite restrained, and the tonal grasp of the novel's language, as well as the overall style, are closely related to the unsung hero temperament in the hidden battlefield. Mysterious, strange, stoic, restrained, secret, quietly arrived, behind the silent state is the Jingo iron horse, this contrast constitutes a huge tension. In terms of structural form, Pompeii is also ingenious, and this work has both large structures and small structures. The large structure is the main body of the work, "Sketch" plus "Silhouette". In "Sketch", he was restrained and restrained, and in "Silhouette", he was able to express catharsis. The most valuable value of "Wujiang Introduction" is that the soul of red literature and art has been found. The superficial story is the code-breaking war of the Second Bureau of the Central Revolutionary Military Commission, and behind it is the revolutionary strength and vigorous life of this group of people.
"Because I was a disciple of the army, I began to read works on the theme of the Long March when I was a child, and now that I have read 'Wujiang Yin', I feel that this kind of creation has improved another step." This is an improvement in two ways, one is that it has a poetic meaning, and the author expresses this poetic thing. The second is a very textured description. Some scenes in "Wujiang Yin" are impressive, such as crossing the meadow, a classic scene of the Red Army's Long March. This is no longer the traditional way of writing that we have been around for many years, but a textured return to the historical scene with a lot of details, and a strong feeling comes to the face. In a sense, it can be described as the 'pinnacle' of this scene depiction. Jiang Bing said.
The transcript of the lecture is the essence
The difficulty lies in the texture and beauty of writing a novel
Host: The Long March seems familiar to everyone, what kind of difficulty is it to write novels on the theme of the Long March?
Pompeii: Almost all of us have been exposed to many Long March stories from our student days to today, but there are not many novels in this genre, it seems that only Wei Wei's "Red Streamers on Earth" and Wang Shuzeng's "Long March" are more familiar to everyone, while the former is of course a more traditional way of writing, and the latter is a documentary novel. "Wujiang Yin" is not a documentary novel. How to make a thing that should be a very documentary color into a novel text with literary purity, and the texture and beauty of writing a long novel, the difficulty is here, because the space for fiction is actually very small.
Host: Some commentators have commented that this work is "a return to the language scene of the Long March", and such an artistic pursuit is also difficult, right?
Pompeii: I read a lot of original literature in the early stages, and I also looked for feelings on the ground. For example, in terms of linguistic details, I did not use what is called "modern standard Chinese" today. For example, the quantifier, at that time, people said "a local tycoon", not the "one" that is now common; and they called "political commissar" "political commissar", and I have retained the statement at that time in the text. Sometimes the use of a word is behind the context and context of the entire era.
Historical sources and fictional spaces
Host: "Wujiang Yin" talks about the Long March secret electricity, which is actually a new decryption of the Long March secret electricity. To create this work, you need some special resources, right?
Pompeii: During the March, the only source of intelligence was the decipherment of the Second Bureau of the Central Military Commission. For reasons of confidentiality, these things have never been possible to say in the past. In 2017, the 90th anniversary of the founding of the army, there was a certain scale of declassification, including CCTV, when it interviewed the descendants of the "deciphering the three masters" of the Second Bureau of the Central Military Commission, and my creation also received their enthusiastic support.
Host: Many readers who read "Wujiang Introduction" will involuntarily sigh whether this text is true or false? Some critics believe that it is precisely this kind of fiction and non-fiction that breaks through the usual writing methods we have seen in the works and literary works about the Long March before, and calls it a "narrative experiment of very important genres."
Pompeii: This is a narrative technique, in fact, I have also used it in "Endless Collection", such as the use of first person, in the classical theme of "Endless Collection" is used "I", in "Wujiang Yin" is used in the revolutionary historical theme of "We". With the perspective of "we", the reader has a sense of substitution and scene, which is a tacit understanding between the author and the reader. "Sketch" is actually a "book in the book", and I assume that its author is a person in charge, and that he is a person from the Second Bureau of the Central Military Commission, and he must be present. In this way, the reader will feel credible, because outsiders cannot know all this, even a regimental commander like Lin Biao.
The great epic also has its chorus
Moderator: Readers familiar with Mr. Pang know that almost all of his works use three words, such as "Endless Treasure", "Unicorn", "Mr. Zhuang", "Guangling Jie", "Shanghai Wang", "Wujiang Yin" is no exception, and this title is very interesting, although the silhouette part explains "Wujiang", but the word "citation" is still imaginative. Why do you like the title of a book with a three-word title?
Pompeii: These three words may be related to my early reading of classical texts, and I may really have the feeling of "three lives and all things", so I am more sensitive to this "three". So much so that maybe subconsciously this obsessive-compulsive disorder, like a few years ago there was an opportunity for me to make a movie script. When I looked at the work, the final name was probably not three words, and I didn't pick it up, a bit obsessive-compulsive. I took the script of the movie "Shanghai King" because the title is three words.
Perhaps because of this obsessive-compulsive disorder, "Wujiang Yin" also uses three words. The word "citation" is more subtle, with some room for association. Mao Zedong said that the Second Bureau of the Central Military Commission was a "lantern" for the night march of the Long March, which was a kind of guidance. The Long March of the Central Red Army did not take the "bow string road" and took the "bow back road", as a hieroglyph, there was a "bow" in the "introduction". Of course, the word "citation" also has a classical sense of beauty and literary association space, such as the ancient poem "Zhen Zhen Yin", the ancient song has "Plum Blossom Quote", and the ancient Dragon novel also has "Lost Soul Introduction". The title of the novel cannot be too straightforward, which is also an aesthetic requirement.
Host: What does "Wujiang Yin" hope to present to readers?
Pompeii: The Long March is a great epic of mankind, then, a great epic also has a chorus and a sub-tune, and the main tone of our Long March must be the bloody struggle of the commanders and fighters of the Red Army, and it is the wise command of the head of the Central Committee and the Central Military Commission. "Wujiang Yin" is the secondary tune of this epic. This work presents a secret history that was little known in the past, but this is by no means just a "decryption". This is the chorus of the Long March epic, and the Long March narrative presented therefrom is a new text, and it has a literary sense of texture and beauty. Such a text is a work that can truly reach the reader, and it is also expected to become a work with long-term vitality.
Written by: Nandu reporter Xu Xiaolei Zhou Peiwen Intern Liang Xinwen Chen Yue