Douban score 3.8.
This is the result of the movie "August Weiyang" after its release on April 16.
Also adapted from an early work of Baby Anne, "July and Ansheng" was well received, but "August Weiyang" caused a scolding from the audience.
Among the overwhelmingly bad reviews, the most heartfelt is probably from Baby Anne's own complaint about the movie: "The choreography part has obvious weaknesses and flaws. The good parts that lead to the film are separated from it, and the flaws appear isolated and strong. Makes the film not strike a balance. The strong are stronger, the weak are weaker. ”
Mention Baby Anne, one label that everyone can think of is "youth pain literature."
Not everyone reads Baby Anne, but many people are familiar with her name.
After all, at that time, her fame was almost comparable to today's top love beans; at the same time, people's evaluation of her was like love beans, showing obvious polarization: love to madness, or depreciation to the extreme.
Today's Baby Anne has been renamed Gyeongsan.
From the age of 27 to publish her first book, to the age of 46, she has published her 16th book.
After 20 years of writing, Gyeongsan has long since ceased to be the object of everyone's discussion, but her work is still a regular on the best-seller list.
However, she does not care about the rights and wrongs of these outside worlds, but has been creating by herself.
For her, writing is the way she has always dissected herself and a channel of communication with the outside world. Whether the reader appreciates or criticizes, it does not matter in Qingshan's eyes.
From beginning to end, she has always been loyal to her heart, but she has always been obstinate.
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Baby Anne was born in Ningbo, Zhejiang In 1974.
As a girl who grew up in a water village, her upbringing was no different from most children: she went to school step by step, and after graduation, she entered a bank safely and became an ordinary clerk.
At the beginning of the century, the Internet entered China, and she began to publish works on the Internet, which was noticed by netizens at that time.
As a result, her thoughts about life began to change, and she stubbornly quit her bank job, went into the bustling big city, and started her own writing career.
Since then, the name "Baby Anne" has gradually appeared in the public eye, and with the rise of youth pain literature, Baby Anne has inevitably become one of its representative writers.
When it comes to Baby Anne, almost everyone can think of her description of the girl, which is very labeled and representative: sneakers, white skirts, long hair like seaweed, an untamed face, no powder, plain face, and no expression.
From "Farewell to Vivian" to "Rose Island", the women she writes about seem to have the same faces and similar emotional experiences.
This fixed character description and fixed emotional pattern constitutes the personalized label of Baby Anne.
This kind of labeled expression makes her more quickly known to the public, but at the same time, it also makes her the object of public criticism, and it has not been eliminated so far.
Many readers, after reading Baby Anne, feel hurt, because her decadence, world-weariness and death are like a sharp knife, straight into their hearts, impartial.
In fact, in her writing, she is not concerned with love, but with the young people who survive under the petty bourgeois culture in big cities, their survival status and loneliness and anxiety.
And these just cater to her era, which makes her, who was originally only writing marginal culture, inevitably pushed to the mainstream public opinion.
She said: "This is the fault line that Chinese literature has always had flaws and gaps, they write history, they write about wars, they write about the countryside, but few people pay attention to the anxiety and emptiness of the people who survive in industrialized cities." ”
The expression of young people's anxiety and uneasiness in the urban glitz is no longer new in today's literary works, but at that time it was a new and revealed gesture.
So much so that when people talk about Baby Anne, they don't just talk about a writer, but a cultural phenomenon behind her.
In 2009, Yang Qingxiang, a researcher at the School of Letters at Chinese Min University, made "Farewell to Vian" a selected part of his course when teaching the history of Chinese literature, and he felt that Baby Anne's works "have language and emotions rarely found in Chinese literature of that era."
Just as Dai Jinhua commented on Baby Anne at that time: "Between a materialism and narcissism that originated from Zhang Ailing," between a sad and decadent, Baby Anne's work shows a Chinese mainland version of the gorgeousness of the end of the century." ”
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All along, Baby Anne has been far from the media, her life has always been low-key and isolated, and most of the time, people can only see her work.
She wants readers to focus on her work rather than her life, saying, "Mature readers will pay more attention to the ideas that the author illustrates in a novel than to guessing about the other person's life." ”
From her works published in the past 20 years, we can also clearly see the growth of a writer's heart.
In 1998, she wrote under a banyan tree.
At first, Under the Banyan Tree was just a personal homepage, but it attracted many literature lovers to share their words here. It gave birth to a large number of well-known online writers such as He Zai, Han Han, Guo Jingming, Cai Jun, etc., and was the literary "utopia" at that time.
However, utopia is only a flash in the pan after all, and what the real world needs is still chai rice oil salt and real money and silver.
In 2002, Banyan Tree was acquired by Bertelsmann, and its commercialization path began, and money began to devour the utopia little by little.
Xu has long been aware of this commercial atmosphere, in 2001, after the publication of "The Other Side of the Flower", Baby Anne quietly quit online writing and turned to traditional paper publishing and writing.
However, the online world can be kept away, but the changes in life cannot be escaped.
Leaving the Internet to write, she experienced the separation of life and death with her relatives, and witnessed the growth of a new life, she began to be a wife, a mother, and also began a meditative life.
Perhaps, because of this, her works are also quietly changing: from the original gloom and loneliness, to a little clarity and gentleness.
In 2004, "Two three things" and "Sober Age" were published one after another, and her works began to have a hint of Buddha's spirit; and by the time of "Lotus" in 2006, she had left the city and entered the Brahmaputra Grand Canyon to find the meaning of life.
In 2014, Baby Anne posted on Weibo, announcing that it had changed its name to "Qingshan".
Her explanation for the new name is: "Qing has a joyful and praise meaning, it has an attitude of praise and admiration for things and the world around them, not negative and gray, so I like the word qing." The mountain is divine, connected with heaven and earth, and there is a word called 'Jingshan Ruru' that I like very much, so I combine the two favorite words into one name. ”
Joy, praise, divinity and jingshan are connected one by one, so that the reader can truly feel that this is Qingshan, not Baby Anne.
Over the years, she began to advocate the concept of minimalist life: meditation, raising flowers, and accompanying her daughter are all she has to live. Travel and seclusion have become long-standing motifs in her work, and they also constitute the practice of life as she understands it.
"Never Before" records the dialogue between photographers, young monks and old virtuosos who have returned to the countryside during a long journey; "Moon Boy Crossing the River" is about the perception of emotions and fragments of life in reading, writing, traveling and self-cultivation, and "Shamo Valley" is still around the theme of meditation and qingming.
For her, writing is about expressing and expressing her heart—as long as you want to write, you should write, you write it, that's all.
She felt that just as everyone would have their own destiny, books would have their own destiny. In a work, the essence of an author's perception of life for a certain period of time is concentrated.
When these feelings are appealed to the pen and fall on the paper, it will eventually resonate and connect with the reader, and naturally there will be readers to follow these works.
As she puts it: "The reader picks the book, and the book automatically filters its readers." ”
She doesn't shy away from talking about her work during Anne's baby years, but she doesn't feel that the works of that time are mature.
She says she just sees all of these works as writing exercises. In the process of practicing, the author's mentality, experience and writing skills will gradually mature.
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From Baby Anne to Qingshan, from "Farewell to Vian" to "Shamo Valley", from the pain of youth to the current Buddhist Qingxiu.
No matter what she writes, there has always been a polarized evaluation and controversy in her works: some people say that her words are pretentious and petty bourgeois fetish literature; others say that the plot of her novels is unchanged, and the character depictions are symbolic.
But no matter what she says, no one can deny that in Gyeongsan's works, she has always paid attention to the depiction of the individual's heart.
As a generation of writers at the turn of the century, Baby Anne used her writing to record a certain group in the process of China's urbanization transformation, becoming the emotional recorder representing them, which is the companionship of a generation and the deep memory of a generation.
But no matter in which work, she has downplayed the background of the times and society, and what she has excavated has always been the deepest complexity of human nature.
She said: "I'm not interested in this era. It's not an era that belongs to me, I'm interested in human nature, which is the source of my writing. ”
She feels that the existence of individuals will first have the emergence of the collective, and the states of individuals are added one by one to form the era in which each person lives.
However, she did not resist this society; on the contrary, she fully accepted and tolerated all the people and things in secular society.
"Everything has a kind of equality, in fact there is not so clear right and wrong, beauty and ugliness," she said. It seems to me that the world has a tendency to be very transparent and silent, and all opposites can melt away or disappear. ”
Today, Gyeongsan's life is still far from the hustle and bustle of the world, but she will occasionally share her thoughts and lives on the Internet, and also show her thoughts and ideas in front of everyone through interviews, courses, questions and answers, so that others can see another form of life unfolding.
At the same time, this fragment of daily life and thinking is also subtly affecting those who now pay attention to her and resonate with her.
As Gyeongsan said, "The world has realities that we cannot imagine at will and that are easily accessible, and we must be humble, to believe, to explore." ”
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