When we were teenagers, we were all fierce animals, like small beasts, unformed, but with teeth and claws, seemingly fierce, and when we grew up, we were domesticated by life and became weak and docile. - "Animal Fierce"
In the Chinese literary scene of the late 1980s and early 1990s, Wang Shuo was almost alone. The novels "Stubborn Lord", "I Am Your Father", "Animal Fierceness", and "Addiction to Death" came out of nowhere, quickly occupying the literary world with a unique style of "leper literature" and announcing to the world the advent of the era of mass literature.
Some people say that contemporary Chinese literature is divided into two eras, one is the era without Wang Shuo, and the other is the era with Wang Shuo. In China's cultural circle, Wang Shuo is a very special existence. He's a peak, a legend, a rogue, and an asshole. He created a new style of writing, full of ridicule of the poor mouth style of "Wang's humor", the surface is particularly unorthodox, but the inside is full of spicy irony. It is undeniable that the emergence of Wang Shuo has made the long-standing intellectual language style of the Chinese literary circle begin to come to an end.
Most of Wang Shuo's characters are cadres and children of the Beijing compound, and in that chaotic era, they skipped class, picked up girls, fought in groups, gagded, and ganged up, and roared and whistled away, which was almost a common experience of that generation in adolescence. In the eyes of most people, these children are little bastards and little hooligans, but Wang Shuo successfully changed this seemingly "unrighteous" atmosphere into a romance novel full of blood and youth, which has become the eternal memory of a generation.
In "Animal Fierceness", the teenagers in the Beijing compound represented by Ma Xiaojun, in that chaotic era, they did not have to learn the useless knowledge that was destined to be forgotten in the future, nor did they have to worry about their future prospects. Therefore, in reality, they are only left with the energy to vent nowhere to rest, let their desires grow wildly, and look around for stimulation.
They like to play pranks in class, sneak out of the door to pry the lock after class, and spy on the privacy of each family, just to satisfy their curiosity and voyeurism. They will also "take the sheep by the hand", but they will never take more than 10 yuan of items.
In Ma Xiaojun's world, the Gao brothers are the king of the mountains, Wang Ruohai is the second minister, Yu Beibei is the fox spirit, and Milan is the courtesan flower. He envied the Gao brothers for being so mature and powerful that they could do many things beyond the scope of children. He has a primitive affection for the mature and sexy Milan, which seems to be love, and it seems that the little beast of the body is at work, making him tormented.
As Wang Shuo wrote in the novel: "Maybe nothing happened that summer." I saw a teenage girl and had some thrilling imaginations. I'm dead and alive here, and she doesn't know anything about it. Then she disappeared along her own trajectory, and I added an unforgettable experience to myself. ”
As young people, we long for love, do our own heroic dreams, rebel, disobedience. In Wang Shuo's pen, adolescence is the traces left by human beings from animals, and when we fade our original animal nature and are domesticated by life, we will grow up.
The emergence of Wang Shuo announced the end of a literary era, and from then on, the literature of needlework and preaching life was no longer the mainstream, but was replaced by popular literature that was closer to the lives of the citizens. He took the lead in grafting literature onto the film market, creating a glorious period in the history of Chinese cinema.
At the peak of the fire, four films adapted from Wang Shuo's novels were released at the same time a year. Jiang Wen entered the directorial world by relying on Wang Shuo's "Animal Fierceness" to make "Sunny Day", won eight best awards at the Golden Horse Awards that year, and was also named the first of the "Top Ten Best Movies in the World in 1995" by Time Magazine, creating an indelible myth of Chinese films. Director Feng Xiaogang, who was later known as China's "box office champion", was only a small artist under Wang Shuo at that time, looking at Feng Shuo's famous works, almost every one of them had Wang Shuo's personal control participation.
The screenwriter behind every TV series, film and television drama was him, and in that era, young people across the country were imitating him. Liu Zhenyun, winner of the Mao Dun Literature Prize, once said: "Wang Shuo's influence on the language and expression of the Chinese people is not inferior to that of Lu Xun. And Wang Shuo himself has never shied away from it, openly calling himself a "genius of language", no one alive today can teach him, as far as the beauty of writing is concerned, only the Tao Te Ching can be compared with himself.
Reading Wang Shuo's novels, the biggest feeling is the truth, just like Wang Shuo himself, "don't pretend" is his life motto, he opposes all pretense, sublime hypocrisy. Being able to make readers enjoy it without losing its artistry is unmatched by any contemporary Chinese writer.
The English novelist Lawrence said: "The greatest advantage of the novel is that we do not become dead people in life." "Reading classic literary works can broaden the breadth and depth of our lives and find ourselves that we yearn for." Recommend Wang Shuo's classic novel collection, a timeless masterpiece in contemporary literary classics, if you also like it, click below to take a look at it to buy.
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Wang Shuo Anthology Full Set of 6 Volumes Looks Beautiful To Daughter Books, etc. [Shiyu Bookstore] ¥38 Purchase