Editor's Note
Creation and criticism, such as the wings of a bird, the axle of a car. The development of literary creation is inseparable from the prosperity of literary criticism and the efforts of generations of literary critics. In 1998, the Southern Literary Circle launched the "Critics Today" column, which has introduced more than 100 critics so far. Critics of different personalities speak "my view of criticism" with their sharpness, talent, and agility, and hundreds of articles have accumulated to form a sensitive, vivid, and full of vitality and talent.
Now the China Writers Network has re-launched these articles to share with you, so stay tuned.
1 Critics today
Wang Qingfei (Filmed in 2017)
Born in 1980 in Sihong, Jiangsu Province. He holds a Bachelor of Science and a Doctor of Arts degree from Nanjing University, and is currently an associate professor at the School of Humanities of Hangzhou Normal University. Invited researcher of the Museum of Modern Chinese Literature. He has published a number of literary reviews and is the author of a collection of essays, "Wangtong Collection". His research interests include Republic of China literature and contemporary novel criticism.
My view of criticism
"Amateur" criticism and function of the tooth and stomach
Wang Qingfei
The so-called "amateur" criticism refers to maintaining an amateur mentality at all times when composing literary criticism. The amateur mentality in my understanding is that there is a little bit of game spirit, there is something to say, no words to hide, more words to long, less words to short. There should be a choice of who to comment on, and you don't have to force yourself to do all-around. Insisting on discussing the strengths of others based on one's own shortcomings is inevitably cowardly and nonsense. Such a hard interpretation will not only not enrich our feelings and cognition of literature, but will make literature narrow and cramped.
This also has to do with my personal experience. My earliest relationship with the literary profession began with the study of modern literature, when I dealt with the dead more often and less with the living. Naturally, theoretically, the study of literary history can be a generalized commentary, and criticism should also have a sense of literary history, and the two do not conflict. But theory is only theory after all, from the specific criticism practice, literary history research and instant literary criticism, there are still many differences, whether it is the style of writing or the form of the research object presented to us.
Literature differs from other disciplines in that it does not directly provide ideas and opinions, so literary criticism is also like catching the wind. This involves the borrowing of literary theory and literary terminology. Directly with the reality of the narrow road to meet, catch snakes with bare hands, although it is a skill, but put the ready-made bridge does not go, but to go to the water, but also inevitably pedantic, just like in today's science and technology, obviously there are modern drugs not to use, always want to rely on a few grass leaves to deal with the new virus, is nothing more than delusion.
Between us and the literary world, there is a gap in literary theory. These literary theories and literary terms have become the perspective from which we read and criticize literature. But just as the mad slave deceives the master, the tools will also be anti-customer-oriented, restricting the eyes of literary readers, as if the telescope is meant to be seen far away, the microscope is to observe finely, and only the telescope and the microscope are inevitably peeping, only to see. Literary theory and literary terminology will also become literary black words, limiting our view of the literary world first-hand. Comments that rely too much on literary nonsense can be presented by a functional formula:
f(x)=y
x is the work, f is the literary black language, and y is the review article. As long as the works are continuously put into the algorithm of literary and artistic black words, there will be a steady stream of literary criticism. Of course, sometimes f is not just a literary black talk, but also a specific value or ideology. Such comments are wholesale and immediately preferable.
With regard to criticism, I have not yet formed a fixed "view". All we can feel at the moment is some experience of reading and appreciating literary works, that is, how we enrich ourselves in the reading of literature and also enrich our understanding of literature and the world, or how we can make ourselves better by reading literature, rather than being tied to the cage of literature.
Zhu Xi taught people to read and said that humbly and implicitly swim. The so-called humility is not just blind humility, but first excludes established views. He quoted Zhuangzi as saying, "I am vain and i am a snake," saying that "if I am vain, I will go with his twists and turns," and "I will only weigh and stop him with a flat heart, and I will not be able to make up a single thing." Nowadays, when people read books, they mostly have a meaning in their hearts, but they make up the words of the sages. If there is a disagreement, it will be worn to make a fit. How can we see the original intention of the sages? "Sages, we can ignore it today, but first let go of the existing preconceptions, constantly use new feelings to impact the old system, and purify their knowledge and mentality, in order to truly understand the work as a whole, "mao away the old news, the new insight", and not no matter what book you read, all you see is yourself. This meaning is the same as ancient and modern. The "virtual" here, in Xunzi's words, is "not to suffer from what has been done." And "with the virtual snake", it is like climbing a mountain wading through the water, following the mountain flow, fully grasping its twists and turns. To change to our words today is to go deep into the context of the author and give a sympathetic understanding. Literary criticism certainly has to be judged, but this judgment should be after the "false and the snake". Believe and then doubt, doubt after letter.
Zhou Zuoren said in "Literary criticism and Miscellaneous" that literary criticism should be "the common appreciation of strange literature" rather than "doubt and analysis", the former is a comprehensive matter of interest, and the latter is part of the work of rational analysis. Zhou Zuoren's argument, which has the meaning of "judicial criticism", inevitably emphasizes the subjectivity of criticism too much, and ignores the relative stability of writers' expression and critics' interpretation activities. Regarding the ideal of literary criticism, I have another fallacy, that is, as a critic, we must strive to enrich ourselves, such as studying literature and not only reading literary books, and trying to achieve "good teeth and good stomach" in reading. Good teeth, can chew moving; Good stomach and can eat well. Only by dabbling extensively can we cultivate a robust physique, a sound personality, and an interesting synthesis and rational analysis.
The article was published in Southern Literature Journal, No. 6, 2017
Critic Impressions
Wang Qingfei's Zhuang and Harmony
Shen Xiayan
Wang Qingfei is fat, and I have a prejudice against fat people, although I know that many fat people have good tempers. When Wang Qingfei and I met at the Lu Xun Academy of Literature (hereinafter referred to as "Lu Yuan") more than two years ago, I reserved a three-eighth line in my heart. I remember the first dinner, it was a friend from out of town who came. I talked a lot with my friend, who sat across from me and smoked non-stop, rarely talked, smiled and smiled from time to time, and seemed to be used to being with women and listening to them pull the gourd. His expression did not show impatience, and silence and patience made up some of his image. In fact, these are all appearances, Wang Qingfei is not indifferent, nor is he a silent person, he has a warm heart.
In the spring of Luyuan, magnolia flowers, plum blossoms, and begonias bloom in the second place, showing the spring bit by bit. The feeling of the beginning of all things is truly infinitely surprising to me growing up in the south, as if life can really be repeated. When there was no class, we wandered around the courtyard, met plum blossoms, sighed that this night, and now only left vague and beautiful memories. Many students from other provinces have socialized a lot after coming to Beijing, and dinner in the canteen seems miserable. Wang Qingfei and I often met in the canteen, and after the meal, as usual, we walked and chatted, and found that some of our views on literature and life were similar, and the friendship slowly deepened. Wang Qingfei also looked good-looking, his eyes contained goodwill and innocence, reminiscent of Jin Sheng's lament that Li Kui was "naïve to the end."
I was very impressed by Wang Qingfei walking in the lobby on the first floor, the weather was not good that day, we walked in a circle in the lobby after dinner. The lobby is not large, but the decoration is quite distinctive, especially the photos and profiles of the great writers of the past and the present are hung on the walls, which is the most moving silent reminder. The wind and rain outside the window, the long river of history, and the tacit discussion, all of this is deeply imprinted on my heart. That day, Qingfei was about to talk about the evolution of Chinese popular literature and folklore stories and some views on real life, and I was impressed by his breadth. Later, everyone went to Xi'an and Yan'an to investigate, saw some museums, and listened to some tour guides. On the car, he added a lot of historical insights to me, and I was surprised by his strong knowledge, and in the past, praisers often said that "the upper knows the astronomy and the lower knows the geography", which is not exaggerated at all. He is simply a ready-made tour guide, where he goes, he can also go deep into the depths of history, ride the ancient and modern, ferry between China and the West, the ancient story is like yesterday, and the distant characters are vivid. I remember when I went to visit the Terracotta Warriors, considering that we were professionally engaged in literary criticism, the other side sent a senior tour guide to introduce. Qingfei can still comment on the tour guide next to him. Next to the Big Wild Goose Pagoda in Xi'an, he told us how Xuanzang learned the scriptures all the way; At the yanhe river, which was about to dry up, he told us how the Red Army reached northern Shaanxi... When I listen to him talk about these past events, I often have a trance of this night and night, and his stories can take people to infinite distances. The distance attracts Xuanzang, who travels westward, the Red Army who treks, and also attracts us who have adventured in literature.
Slowly learned about Wang Qingfei's daily life, he worked alone in the Anhui Academy of Social Sciences, his wife and children settled in Nanjing, and only returned home on weekends to reunite. At home in Nanjing, he had a small attic, which could be described as hiding in a small building. I remember that Zhang Hexhui hid in the attic to write when he was young, and in order to avoid disturbing the stairs, he pumped up the stairs. I don't know what Qingfei's attic looks like, but imagine hiding in the attic in the middle of summer in Nanjing. During the summer vacation in Guangzhou, I often comforted myself with the fact that good men do not earn June tin. More time Qingfei lives in Hefei, he does not have his own attic, the unit dormitory is too simple, often read in the office until late at night, sometimes in order to catch up with the article on the office couch to spend the night. The wife is not around, living an irregular life, sometimes reading fascinated, sometimes being urged by the editor to pay debts, it is inevitable to be hungry and full, which is probably the culprit of today's obesity.
Qingfei is a frank person, drinking with friends and colleagues, and opening up when he is happy. I remember we had a conversation about the mantra after drinking, and he said that he didn't want to talk to others through alcohol, and that the behavior of digging his heart out after drinking was irrational, stemming from the illusion that alcohol made people brothers all over the world. But wine is such a thing, slowly drinking will create a psychedelic atmosphere, glowing with pride in people's hearts, making people unable to control themselves. The past does not need to be considered, the future seems to exist, and the heavens and the earth are gathered in this moment. I have observed several drunks, and the most critical cups are often poured into their own cups and poured into their own mouths. For the matter of drunkenness, on the one hand, of course, it is not rational enough, on the other hand, what is the meaning of people acting rationally all their lives? People have no fetish and cannot be intercourse. Most of the drunks are spontaneous people, and the drunkards and the people who use alcohol to dispel their sorrows are another matter. When we were studying in Luyuan, Qingfei had friends from other places who rushed over to drink, which made me very moved. I remember that many years ago, there was a liquor bureau, someone toasted and was resigned, and another friend advised the toasted person to say: "This cup is poison, you can also drink it, people are so long and long and far away." "At that moment, I was also touched by this atmosphere, and the love and righteousness rippled with the wine. Wine has the magical power of sharpening knives and seeing everyone's temperament and interests. Talking about wine and putting a cup on it is a joy in life.
Tobacco is often a companion to alcohol. In Luyuan, Wang Qingfei and Zhou Mingquan, two smokers, happened to live in the upper and lower rooms, and the two rooms were full of smoke all day long, almost igniting the alarm. I often laughed at the fact that they should stick their heads out of the window to smoke and chat with each other, and if a person's cigarette was gone, they could practice aerial smoking. If the two of them were in the same room, we would have lost sight. Qingfei also has a sense of form, prepared a cigarette mouthpiece, from time to time to take it out and wipe it carefully, fooling himself into saying that he can filter out a few toxins. I think he came to be funny, to consider the problem of toxins should not smoke or smoke less, the mouthpiece is probably psychological comfort. But the pleasure that smokers get from cigarettes is probably something that others can't experience. Smoking and writing are twins, and I've always suspected that my poor writing is because I don't smoke. From the ordinary desires of smoking and drinking, it can be seen that Qingfei is not a resolute person, he values friendship and is willing to pay for his friends. Several times Zhou Mingquan asked Wang Qingfei for an emergency, and he always generously gave up his work to start a new stove for Mingquan. Qingfei did not learn to cope, the writing was very slow, and the research plan was often disrupted. Afterwards, Qingfei inevitably regretted it a little, and I had to say a few cool words, but the next time I met the editor who needed to find him urgently, he promised to come down again.
Wang Qingfei is a very good friend, he is knowledgeable, the sea and the sky are wide, and he is also willing to laugh at himself. Chatting to the realm of everyone's heart needs to be grasped, too serious and tiring, too homely and boring. Laughing at each other in a deep topic can bring the atmosphere to life, and inserting philosophical sentences in everyday small talk can help people think. Life needs to be sublimated, it also needs a little cold humor, and a good life needs to be equipped with several friend-losing adjustments to loneliness. I remember going to sing I ordered "Breaking the Dock", and he grabbed the handle and laughed at it a few times. After a long time, he went for a walk and heard the square dance playing "Breaking into the Dock" and quickly called to ridicule, which shows how important identity is to individual image. In fact, when I was a student, I sang a few songs for wandering artists at the subway entrance. In the KTV hall, Qingfei's temperament is revealed, drinking a cool beer, indulging in singing career, and not forgetting to create a real stage atmosphere. After each song, they bowed very gracefully to thank you, and others sang as usual to wish the performance a success. There was him in the KTV hall, and we all had a star addiction, frequently touching glasses, and repeatedly offering a bouquet of fake flowers to different singers. What surprised me was that he had many folk songs, mixed with many dialect versions, and was really a lover of life. Folk has become an academic hot word in recent years, literary history is relatively less concerned about the folk, folk is easy to be misread as a few legends, a few paragraphs, in fact, folk should be rich and mixed, from Qingfei's remarks to the songs he sang I can feel a folk where all things grow, this vibrant folk has bred literature.
Wang Qingfei majored in physics and later specialized in modern and contemporary Chinese literature because he studied literature. When our generation grew up, we were planted with tricks - "learn mathematics, physics and chemistry well, and walk all over the world without fear", and later learned that the first thing to really go all over the world is to learn language well, and language is the most magical tool. But once this trick is planted, it will have a faint attack, we girls more or less take Marie Curie as an idol, and the boys who are majoring in mathematics, physics and chemistry are both sympathetic and a little admired, and to this day they still encounter science students with awe. I know several of my peers who have transferred from science and engineering to literary research, and they have made great achievements. In any case, some professional training in science is equally effective for literary studies, and many people write articles that go around and around without clarity that may be related to the lack of training in rational thinking. More importantly, this kind of professional change in adulthood is often well thought out, and science is generally more practical and more suitable for making a living, and giving up practical interests is to listen to the deepest call of the heart. I remember that for more than a decade of criticism, I often spent a lot of time thinking about the meaning of my work, and whenever I read a good article, I felt that I was just making garbage and wasting trees. A friend who changed majors said that he almost never wasted time on this issue, and had repeatedly and carefully considered what his life was before changing majors. In fact, the questioning and doubting of meaning is not just a matter of time, but a question of "to be or not to be", and the fundamental problem is the most energy and mind. Cao Pi said that "literature is mainly based on qi", and those articles with full vitality can move people's hearts.
Contemporary criticism has many problems. Some people are confused and some people ignore the style of criticism, thinking that contemporary criticism is either a negative character or a gold for others. Such misunderstandings do not only exist in laymen, many insiders do not take criticism seriously, but with the university system concerned about how many words they write in a year, competing for how many articles are published in publications at what level in a year, which is even more so in the young generation who are plagued by job titles. There are also some people like me who are confined to the study, only care about their own acres and three points of land, and have nothing to talk about when they leave the garden; Moreover, it is easy to separate life from work, and it is difficult to integrate learning with life and mission into an organism.
Wang Qingfei is one of the few sober people, and this sobriety is manifested in his position, methods and kung fu. This is thanks to the marginal position of Anhui and the Academy of Social Sciences, and the edge can often see clearly the things obscured by the center. Going to Work in Hefei from Nanjing will be a bit of a grievance, one is to suffer losses on salary, the other is to have many inconveniences in life, and the Academy of Social Sciences is also marginal relative to universities. Qingfei can treat his work calmly and cherish the relatively relaxed atmosphere of the Academy of Social Sciences. For the Anhui literary community, Qingfei is an outsider and can avoid many unnecessary social gatherings and meetings. Comment or academic, it is good to have three or five confidants to discuss together, but the accumulation of knowledge comes more from individuals reading alone, thinking desperately, and writing unremittingly, and the problems encountered in writing must rely on writing to solve. Many meetings, studies and styles of contemporary criticism are gathered together to say some innocuous gossip or even praise against the heart, and such an intersection may be better than nothing, but sometimes it is counterproductive. Many scholars have been in colleges and universities for a long time, and they have cultivated a sharp mouth like a gushing river, and they can speak instantly on any occasion and on any topic, but we cannot ignore the accumulation of ideas because we can speak eloquently. Qingfei has not yet developed the habit of idleness, and he takes every meeting and every signed article seriously, just like a farmer treats every seed with caution. Qingfei said that he couldn't control what others were doing, but he had to be worthy of his own time, and his words should match his name, so whether it was a large-scale forum or a small-scale meeting, whether it was a large-scale magazine or a newspaper appointment, he took it seriously. I remember that there were many discussions held in our class in Luyuan, and he participated very little, but every time he participated, he always had to carefully prepare the speech. Once we participated in the Zhuhai Forum together, because the number of people was particularly large, and the time was very limited, everyone casually reported a few words about what they had been doing recently, Quan was a member, Wang Qingfei was holding his laptop, and when it was his turn to speak, he was very cautious about his research on Tai Jingnong, and this long article was subsequently revised and published. After the meeting, he exchanged with me the remarks, gestures and problem awareness of the participating scholars, which shows that people with hearts are in the learning process at any time, and it is no wonder that his skills can grow day by day.
Wang Qingfei is wary of power and the illusion of power. He does not conform to the crowd or rely on astonishing words, which may be traced back to Nanjing University's pursuit of an independent academic tradition. In 20th-century China, there was much discussion about the real issues of literature and politics and literature, but the independent tradition of intellectuals was not really established. Pure literature, avant-garde literature, does not bring us to the ideal state, we even walk into the opposite of the pre-conceived. Due to the convenience of WeChat, we often communicate in the process of writing articles, and we reach some consensus in the process of small talk and communication. Commenting on a writer first still has to look at the big section, the so-called text as its person; Of course, the commentators themselves must first have a clear mind, and their own selfishness cannot exist. He collected his works into "Wangtong Collection", "non-sycamores do not stop, non-practice does not eat, non-liquan does not drink", good birds choose trees and perch, although they can not reach, the heart yearns for it.
We often exchange what we have read on WeChat and agree on our views on contemporary new works such as "Polar Flower" and "Blue Bird Story Collection". Do not be confused in criticism, there is no general direction, and entanglement in the details will only make criticism lose its dignity. Whenever I try to summarize a person or a work in terms of generation, region, ethnicity, gender, etc., Qingfei will remind me at the right time that each person is a unique and specific individual, and writing a review is to write the uniqueness of this writer or work. The writer's individuality and the significance of this work in this era, the ideological flow behind the writer is particularly vigilant by Qingfei, but he writes with a peaceful mind, and does not rely on harsh words and pretentious remarks. Qingfei's sharpness is not in the dazzling title but hidden between the lines, the still water is deep, and in his dialogue with the subject of the comment, we can hear the sound of the strings, endlessly.
Wang Qingfei was willing to work hard, he came out of the countryside, with his own efforts to enter Nanjing University, changed majors to study literature from scratch, and emerged in the academic community. He worked the modern university system and Lu Xun's research, which became a measure of criticism that he later engaged in. In fact, contemporary writers are more or less influenced by Lu Xun and the May Fourth New Literature, and Lu Xun is still a clear mirror that can make the soul of contemporary writers manifest. Studying Lu Xun and then attacking contemporary commentary is handy. Qingfei's theory of writers often teases out the problems of the times related to this writer, so he writes slower and less. He has fun reading, thinking, and then passes it on to the reader through writing.
Many people who engage in contemporary criticism rely on talent, fight skills, and build flower stands. Even for very young writers, Qingfei must insist on reading the entire work, to find out the trajectory and changes of the writer's writing, the inheritance of the writer and literary history, and the relationship with the times. Reading the work is the basic training we have when writing our doctoral dissertation, but as soon as we graduate, we think that our wings are hardened and leave this rule behind. Many contemporary critical articles are in a hurry, using whatever materials are at hand, and then using their own set of jargon. As for which work is the representative work of the research object, the transformation work, the critic does not delve into it. As soon as the famous artist's new work came out, everyone rushed to set gold on it, no matter the artistic level of this work, just like Wang Xiaobo said, chewing gum for two hours can chew the taste of beef jerky. Many critics have gradually lost their reading ability and aesthetic ability in the process of following the trend in the process of speaking and acting, and they are willing to accept the failures of famous artists. There are also some review articles, and it is still true after you replace the object of the comment with another, and the critic seems to have found a cure for all diseases. Once in a chat, Qingfei casually listed some common clichés in literary reviews as academic black words, and I laughed because one of them had just been seen in the journal that day. Indeed, this seemingly academic nonsense can be applied to any writer's theory, and this is a cliché. Compared with luxurious vocabulary, plain language can touch people's hearts more.
Due to the dual identity of editor and teacher, I have a lot of WeChat friends, in order to make myself not addicted, I set up the go to the circle of friends function. Although we can't patronize Qingfei's circle of friends, we often communicate, discuss each other's reading lists, writing topics, and more small talk, and he always has a few words that will make you reminisce for a long time. Discussing issues with Qingfei often prompts me to think about fundamental issues such as the position, responsibilities, and even mission of a contemporary critic. WeChat updated our understanding of friends and time and space distance, and WeChat also realized "the end of the world is like a neighbor" while opening the friendship of likes.
The article was published in Southern Literature Journal, No. 6, 2017
(Shen Xiayan, Department of Chinese, College of Liberal Arts, Jinan University)
1 Further reading
Impressions of a Critic
Zhang Yanling, Zhang Ping, editor-in-chief
Writer's Publishing House Sep 2019
My View of Criticism
Zhang Yanling, Zhang Ping, editor-in-chief
Guangxi Normal University Press, January 2016
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Editor: Deng Jiefeng
Second instance: Liu Ya
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