I wrote and published "Long Shihui's Editorial Career - The Editorial Process from "Lin Hai Xueyuan" to "Furong Town" with simple feelings and thin knowledge. At the beginning of the book, I seriously and frankly expressed my confusion about writing: "I wrote this book carefully, and I wrote this book without presumptuousness. I don't know what to say about this choice and this form of writing. I don't know if the reader will be as skeptical as Mr. Long Shihui himself: 'Is it worth it?', 'Is this necessary?'' Will it be smiling and generous?'' Will it cause trouble?' With an inexorable sense of apprehension, I dedicate it to the reader. ”
I'm worried that the fear of misreadings and misunderstandings won't come out in the end. Finally, a stone fell to the ground.
The book was published by Henan University Press in December 1992. Since its inception more than half a year ago, the social response has been enthusiastic and positive. More than 10 newspapers and periodicals, including Guangming Daily, Literary Daily, Henan Daily, Henan Press and Publication Daily, Literary Story Newspaper, and Editor's Friend, published book reviews, book news, and book excerpts. On January 16, 1993, the front page of Wenyi Bao said, "Henan Publishing the First Literary Editor's Biography on the Mainland," said: "Relevant experts believe that this commentary not only provides little-known information and discloses the process of writing a number of famous works, but is also of great significance for reminding people to attach importance to the profession of editors and to understand the joys and sorrows of editors and their important contributions to the literary cause." On June 25, at a symposium on "Long Shihui's Editorial Career", well-known editors and writers in the capital who participated in the meeting also affirmed that "it is an important achievement in the study of editing in the mainland in recent years, and it is of positive significance to the history of editing, the biography of editors, and the study of editing." ”
What is even more gratifying and touching to me is that I have received dozens of letters from friends and teachers who I know and I don't know. An editing professor in Shanghai wrote 4 large sheets densely. Liu Lanshan, an old poet who has made great achievements in the editing of modern and contemporary literature, wrote to him: "After returning from a trip, I saw such a good book, and I hurriedly put aside the book I was reading and read it, and for three consecutive days, I was moved by this 160,000-word novella, and several times, I read it with tears in my eyes, and once I cried. ”
An old newspaper man who had a relationship with Mr. Long Shihui in the 50s, but I had never met, wrote to me and said: "Lao Long is very fortunate to have made your young friend, and your feelings for him are very sincere, which is the characteristic of your book. "If it is really written with emotion as many friends say, I think it is not only my personal feelings for Mr. Long Shihui. As a latecomer to the editorial team, I respect and even admire every editor who has made outstanding contributions. As a young researcher of editing, I am eager to possess the first-hand materials of their editorial careers, to understand in detail the causes and consequences of their successful editing and publication of contemporary cultural masterpieces, and of course, to support and understand my pragmatic editorial theory based on this. Long Shihui faced a young offspring with no hair on his mouth, and gave his life with trust.
Mr. Long Shihui is a career-oriented editor, who has been down-to-earth and conscientious all his life, and has adhered to the editorial position of the People's Literature Publishing House and the Writers Publishing House. I have creative talent, but I am willing to dedicate myself to the review and revision. The contemporary literary works he edited and published are all influential, and most of them are masterpieces in the history of contemporary literature. In recent years, most of the editors have studied influential cultural masters such as Lu Xun, Mao Dun, and Ye Shengtao. For them, their careers as editors are just a small episode in their life's journey, and they have established their place in cultural history with their intellectual achievements and creative achievements. This is also a form of the editor, which deserves in-depth study. However, focusing on this and ignoring career-oriented editors who have not made much creative achievements and outstanding editorial achievements, the research of editors will shoot themselves in the foot, aggravate the sorrow of "editors have no education", and even lead contemporary young editors into the misunderstanding of "regardless of the field of editorial responsibility, only cultivate the land for creation". With this in mind, I corrected the perspective of editor research from a big writer-type sideline editor to a small writer-type career editor, and persistently pushed Long Shihui and his colleagues from behind the scenes to the forefront.
As early as 1988, when I first began to collect editorial materials about Long Shihui, the writer Chen Guokai wrote a letter: "Long Shihui is a character, a character worthy of writing a biography. "After many interactions with him and in-depth understanding, I deeply felt that he was a father, a husband, and a teacher, and he was as enthusiastic as a fire, and his personality was very distinct. But what I show is only one aspect of Long Shihui as an outstanding literary editor. Based on the original written materials, Long Shihui's editing practice is based on the rational observation of communication, cultural studies, and editing studies, and strives to show in detail the editing and publishing process of contemporary literary masterpieces such as "Lin Hai Xueyuan", "General Yin", "Furong Town" and "Price". It not only sublimates the rational sublimation of its successful experience in editing, but also does not shy away from criticizing and discarding its editorial mistakes. At the same time, he also pays attention to taking Long Shihui as the starting point to reflect on the development trajectory of the history of contemporary Chinese literary editing along his nearly 40-year editorial process.
When writing a book about a character, the harvest is naturally not in the book publication itself. Tracing back the long mental journey of the preacher, chewing on the life before and after, the cold and warm world, can urge people to mature, understand society, and comprehend life. This is what I accidentally wrote this book, and I am afraid it is also the biggest takeaway. Friends who knew each other laughed and talked about it, accumulating materials for literary creation. I admit that I am not a material for creation, and I will not and cannot use these materials to create. But I did think about giving a book to a friend who said, "Writing a book is a long, long story."
Behind every successful book must be a discerning editor, a successful group of editors. It is true that a humble book is not among the successes. However, because of this book, my interaction with the editor has enriched my understanding of editorial work and editing science. The collection of materials for this book was almost ready in 1988. Because he was worried that no publisher would be willing to lose money to publish, he only wrote three articles intermittently and submitted them to the relevant journals for publication. In the summer of 1991, Mr. Long Shihui was dying, and I wanted to publish this book before his death, so I asked my alma mater, Henan University Press, for help. The new president, Professor Song Yingli, was one of my mentors when I was a graduate student in editing, and he fully affirmed this topic. It took me less than a year to sort out my thoughts over the past few years. If it weren't for the publisher's full promise, the manuscript would have been stillborn.
Mr. Wu Fuhui, who is engaged in the research and academic editing of modern literature in Beijing, wrote to him: "The editorial circles in Beijing welcome your magnum opus. The status of editors is too low, and it is even more of a creation to write editors into books. I think this is mainly out of encouragement and encouragement for young students. When it comes to creation, it is first of all the creation of the editors themselves. The writing of "Long Shihui's Editorial Career" is nothing more than a follow-up to the editor's creativity to record, organize, and disclose. Of course, I also hope that my second editor's biography will be more substantial, more complete, and somewhat creative, so as to live up to the expectations of my teachers.
(Originally published in China Publishing, No. 9, 1993, and later included in Li Pin's Publishing: Renxue Whispering, Henan University Press, 2012.) ）
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About the Author
Li Pin, born in 1962, is a native of Xinhua County, Hunan. He is currently a professor and doctoral supervisor of the Institute of Communication Studies, Communication University of China. His main research areas include editorial and publishing theory, journal history, and reading theory for publishing professionals. His main works include "Long Shihui's Editorial Career", "Editor Mao Dun's Biography", "Introduction to Periodical Planning", "Operation of Popular Periodicals", "Publishing: Renxue Language", "History of Chinese Periodicals (Volume 4, 1978~2015)", "Periodicals: The Logic of Serial Publishing", etc. Editor-in-chief of "Mao Dun Research and Me", "China Periodical Industry Development Report: NO.1 Market Analysis and Method Exploration", "China Periodical Development Report: NO.2 Regional Development and Taxon Analysis", "60 Years of Republic Periodicals", "Hongzheng: People and Books", etc.
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