Liu Qiong, Doctor of Arts, member of the Novel Committee of the China Writers Association, deputy director of the Literature and Art Department of People's Daily, has won the Excellent Criticism Award of "Literary Newspaper And New Criticism", the "Yuhua" Literary Award, the "Contemporary Writers Review" Excellent Criticism Award, and the China Newspaper People's Prose Award. He is the author of "Nie Er: Hurry but Eternity", "The Road to Chaji", "Outside the Words of the Flower" and other monographs.
Liu Yinuo, a student at Zhengzhou University, is a reporter for China Youth Daily and China Youth Network, Xie Wanfei
Coming from the mountains, rivers, lakes and seas in the northwest, Liu Qiong will have a panoramic view of the customs and customs along the way. She recalled, thought, recorded, intertwined perceptual narrative and rational discernment in the tip of the pen, and wrote the book "Gesang Flower Posture Posture". Behind the swaying Gesang flowers, the author Liu Qiong uses refined and sharp language to capture the world in the details of life, feel the power of life, explore the relationship between literary expression and humanistic and historical construction, hoping to bring comfort and tremor to the reader's heart.
The Northwest dialect carries emotions and carries warm family memories
"Posture" means "pretty" in Lanzhou dialect, and the Northwest dialect often uses overlapping words to enhance emotional colors such as love. Liu Qiong mixed the two together, and there was a "posture posture" in the title of the book. This habit of incorporating dialects into articles stems from Liu Qiong's early life experience in the northwest region. In the process of interviewing in Gansu, Ningxia and other places, she had a deeper feeling for this land. In Liu Qiong's eyes, the Kelsang flowers that grow in the cold land are like the epitome of the human geography of the northwest, and the flowers have become more and more vigorous in the harsh environment, blooming so brilliantly and persistently.
Together with the Northwest dialect, Kelsang flowers carry a rich history and also inspire Liu Qiong's thinking about multiculturalism. In this way, the three series of "Kelsang Flower Posture", "Narrative, Existence and History", and "Literature and Humanities" came into being. From writing scene chronicles, nostalgia, to literary criticism, from prose essays to theoretical analysis, from shallow to deep, the thoughts and feelings of more than 20 years of writing career are told.
The family members who get along day and night are the people who are most closely related to Liu Qiong's feelings, and they have also become the recurring protagonists in her articles. "It's the part I'm most interested in and the part that goes the hardest." Liu Qiong recalled. Family memories are like a bottle of mellow wine, a fortuitous opportunity to open the cork, the past is mixed with inspiration, a steady stream of gushing out, into "Aunt", "Grandfather's Youth" and other touching stories.
In Liu Qiong's impression, her grandfather has always been a very perfect person. It wasn't until a conversation with her father that she stumbled upon her grandfather's life pursuits and shortcomings. At that moment, she suddenly realized that "grandfather was also a living person, a person in life." The touch of her heart made her think of writing, she wrote about her grandfather, but also wrote about her grandmother, "They are one, it is difficult to separate." Based on the background of history, Liu Qiong uses delicate brushstrokes to outline the image of her grandfather's tenacity, bravery and tenderness, and also outlines the warm family memory of Liaoyuan.
Writing is a word to the lips, but also a meticulous craft
When I wrote "Just Examining the Past", thirty years had passed since that past. But the moment she sat in front of her computer and typed the first word, subtle, distant memories were reactivated—cars approaching from afar, sheepdogs on the side of the road, and even the font used in the name of the "Gangcha" station. Liu Qiong believes that if these stories are not written, as the years get older, the experience is richer, and the channels for receiving information increase, more and more memories will be permanently lost. Writing is the best way to retain memories.
"Writing is to put words to the lips, and it is comfortable to write them." For Liu Qiong, writing is a relaxing thing, she enjoys the beauty of it, and also thinks about how to convey feelings in different ways. Liu Qiong divides her writing into documentary writing and awakening writing, the former is mostly expected thought essays, mainly documentary; the latter in narrative prose to reminisce about the past, and strive to find unexpected joy.
Relaxation does not mean easy, and sometimes, Liu Qiong will also be distressed by not being able to find a suitable way of expression, and fall into the bottleneck period of writing. At this time, she often looks for inspiration from the film, changes her way of thinking, and uses visual art to stimulate her writing ideas. Or embark on a journey, while moving forward, while experiencing the unusual circumstances of life, injecting a fresh source of freshness into the mind and perception.
In Liu Qiong's eyes, the dramatization of life is no less than that of novels, even richer than novels, more incredible. Telling a story with the novel's storytelling structure and engaging narrative effects can also bring abstract emotions and spirits to life.
Non-fiction writing emphasizes the real relationship connection, and when writing articles about family memories, Liu Qiong has always adhered to the basic principle of "truth", not exaggeration, no virtualization, and no transformation. In "Aunt", the author's aunt has experienced vicissitudes, and her qualities and connotations have penetrated from life experience and become a spiritual force that moves readers.
She admits that writing a good article requires repeated attempts and meticulous craftsmanship. In the future, Liu Qiong hopes to continue to write family memories and explore innovative writing forms in this process. "Fiction writing is a charm, and non-fiction writing is also a charm, they each have their own strengths, and you can try both."
The choice between the new and the old should be based on the premise of expressing the need
Tradition and modernity have never been separate topics, they complement each other and rejuvenate each other. In the book, Liu Qiong pays attention to popular issues such as "non-fiction" and "new media era", and also focuses on traditional topics such as "May Fourth" and "Portrait Stone". "Literature is new and old, traditional and modern, all in relative terms." In her eyes, the so-called new and old, in terms of theme, refers more to the new and old in terms of experience, which needs to be judged in conjunction with specific historical stages.
From the perspective of writing methods, Liu Qiong believes that what is more important than the absolute new and old is whether the content and form of the article are appropriate. Heterogeneous content in memory, technology, and expression will bring readers a fresh experience. At the same time, everyone has their own language expression and text construction habits, whether it is traditional linear narrative, polyphonic writing or other various narrative methods, should adapt to the information the author wants to convey, express the ideas, and shape the character image. Therefore, the choice between the new and the old should also take the expression of needs as the premise of consideration.
"Culture is like a long river, if you want to have a long history, you must bring together the tributaries of various historical periods, so that it can become a big river and pass it on to this day." The coordinate system of tradition and modernity is interconnected, and Liu Qiong noted that traditional culture has been recognized, valued and vigorously promoted by more people through creative transformation and innovative development. Under modern culture, tradition and modern temperament are combined to present a new style.
Not only literary works, but in many modern and contemporary works in the East and the West, Liu Qiong can perceive the cultural context of their commonalities, which connect the laws of cultural integration and become the link between ancient and modern ideological dialogue. In this regard, she feels that she "did not write hard enough." In the future, Liu Qiong will continue to cultivate in the field of prose writing and non-fiction writing, so that more memories and cultures can blend between words and lines.
Source: China Youth Daily client