62-year-old Wang Shuo looked back on the first half of his life and said bluntly: I regret divorcing my ex-wife, and I have no face to attend my daughter's wedding
Everyone knows that Wang Shuo is a terrifying character, but they don't know that there is so much remorse and softness hidden in his heart. At the age of 62, this former representative of "Beijing ruffian literature" finally took off the disguise of many years and honestly faced his past.
Wang Shuo, who dominated the literary world and swept the film and television industry, is now regretting a decision. He was once glamorous, but he made mistakes in the most important life choice. Why does this once invincible "enfant terrible" in the literary world blame himself so much? And what caused him to be absent from his daughter's wedding? Wang Shuo, who once shouted "I'm a hooligan, who am I afraid of", what is he afraid of now?
Let's step into Wang Shuo's inner world and explore the true face of this complex character. What kind of inspiration can his life trajectory bring us?
In the 1980s, the Chinese literary scene was in a special historical period. The spring breeze of reform and opening up has blown all over the land of China, and literary creation has also ushered in a new situation in which a hundred flowers are blooming. In this era full of opportunities and challenges, a young man named Wang Shuo was born, and with his unique style and sharp pen, he quickly became a rookie in the literary world.
Wang Shuo was born in Nanjing in 1958 and grew up in Beijing. His father was a faculty member at the PLA Political Academy, and his mother was a doctor at the hospital. This family background gave Wang Shuo a relatively superior growth environment, and also gave him the opportunity to come into contact with various ideas and cultures. However, what really shaped Wang Shuo's literary style was his life experience in the courtyard of Beijing.
In 1978, after graduating from high school, Wang Shuo joined the Beijing Second Commercial Bureau. This experience allowed him to get in touch with the lives of ordinary people, and also accumulated rich materials for his future creations. In 1984, Wang Shuo published his first short story, "The Stewardess", which attracted widespread attention upon its publication. It reveals some social phenomena of the time with a humorous and witty tone, showing Wang Shuo's unique observation perspective and literary talent.
Subsequently, Wang Shuo's creation was like a blowout. "The Stubborn Master", "Playing is the Heartbeat", "Pain and Happiness" and other works have come out one after another, each of which has caused a strong response in the literary world. Set against the backdrop of the lives of Beijing's youth, these works portray a group of rebellious, mischievous, and uninhibited young people who are uninhibited and go their own way, in stark contrast to the characters portrayed in mainstream literature at the time.
In 1987, Wang Shuo wrote the novella "Animal Ferocious", which is considered one of his masterpieces. The novel is set in the life of teenagers in Beijing during the "Cultural Revolution", and shows the growth experience of teenagers in that special era through the perspective of the protagonist Milan. This work not only caused a sensation in the literary world, but was later adapted into the movie "Sunny Day", which extended Wang Shuo's influence to the film and television industry.
The reason why Wang Shuo's works were able to quickly become popular is largely due to his unique style of "Beijing ruffian literature". This style is based on the Beijing dialect, full of urban atmosphere and life-like expression, and at the same time there is no lack of sharp social criticism. In his works, there are often some "ruffian" figures, although these characters are philistine and sophisticated, but they have their own philosophy of life and survival wisdom.
Wang Shuo's literary creation does not stop at the field of fiction. He also dabbled in the creation of TV dramas, and the screenwriting work "Desire" set a record in the viewership of Chinese TV dramas after it aired in 1990. This drama focuses on the lives of ordinary people, showing people's living conditions and psychological changes in the early days of reform and opening up, which has resonated with audiences across the country.
However, Wang's success has not been without its challenges. His work has often sparked controversy, with some praising him for revealing social realities and others criticizing his work for being vulgar and vulgar. In the face of these controversies, Wang Shuo has always maintained his unique sharpness and uninhibitedness. He once said: "I admit that I am vulgar, who is not vulgar", this attitude of facing reality and not concealing it is the charm of his works.
The rise of Wang Shuo is not only the success of a writer, but also represents the voice of an era. In that era of gradual open-mindedness and cultural pluralism, Wang Shuo's works provided people with a new literary experience and injected new vitality into the development of contemporary Chinese literature.
As Wang Shuo's position in the literary world has become increasingly stable, his career has also ushered in a period of rapid rise. In 1990, the TV series "Desire" written by Wang Shuo was broadcast nationwide, setting a ratings record in the history of Chinese TV dramas in one fell swoop. This drama takes the lives of ordinary people as the main line, showing people's living conditions and psychological changes in the early days of reform and opening up, which has aroused strong resonance among audiences across the country.
The success of "Desire" not only made Wang Shuo's reputation in the literary world to a higher level, but also made him stand out in the film and television industry. Immediately afterwards, he participated in the creation of the films "Big Names", "Party A and Party B" and other works, which attracted wide attention and discussion at that time. Wang Shuo's talent is no longer limited to words, but is spread more widely and farther through the medium of video.
In 1992, Wang Shuo's novel "Animal Fierceness" was adapted into the movie "Sunny Days", directed by Jiang Wen. The film not only caused a sensation in China, but also won several awards internationally, making Wang Shuo's name begin to be known in the international film world. The success of the film also boosted the sales of the original novel, making Wang Shuo's literary works once again widely concerned.
However, just as Wang Shuo's career was at its peak, cracks began to appear in his family life. In 1984, Wang Shuo met Shen Xujia at a dance, and the two fell in love at first sight. Three years later, they entered the palace of marriage and had a daughter. This marriage was supposed to be a strong backing for Wang Shuo's career and life, but the reality was not.
As Wang Shuo's fame grew, so did his lifestyle. Frequent socializing and a busy work schedule make it difficult for him to take care of his family. At the same time, Wang Shuo's image in the eyes of the outside world is becoming more and more controversial. He often makes unexpected remarks in public, which, although they increase his popularity, also put a lot of pressure on his family life.
In 1993, a sudden extramarital affair completely broke the balance of Wang Shuo's family. At that time, Wang Shuo had an affair with a young actress, and the news quickly spread throughout the entertainment industry. Although Wang Shuo denied the rumor in public, the incident caused an irreparable rift in his marriage.
Faced with her husband's cheating, Shen Xujia chose to remain silent. She didn't speak out openly like other celebrity wives, but endured it all silently. However, silence does not mean forgiveness. After a months-long cold war, Shen Xujia finally filed for divorce.
In 1994, Wang Shuo and Shen Xujia officially divorced. This divorce caused quite a stir in the cultural circle at that time. Many people didn't expect that Wang Shuo, who often described love in his works, couldn't keep his marriage in real life.
After the divorce, Wang Shuo's daughter Wang Mi lived with her mother. Although Wang Shuo did not owe his ex-wife and daughter financially, the long-term separation inevitably had an impact on the father-daughter relationship. When Wang Mi was growing up, she rarely saw her father. This sense of alienation deepened over time, eventually leading to Wang Shuo's regret that he could not attend his daughter's wedding.
The divorce also had a profound impact on Wang Shuo's creation. After that, more thoughts about marriage and family began to appear in his works. For example, in his later novel "I Am Your Father", the complexity of the father-daughter relationship is deeply explored. These works seem to be a kind of reflection and analysis of Wang Shuo's failed marriage.
Although his career is still thriving, the breakdown of his family has undoubtedly brought a huge blow to Wang Shuo. In the days that followed, he devoted himself more to his work, as if he wanted to fill the emptiness in his heart with busyness. However, the success of his career cannot completely make up for the lack of family, and this contradiction and regret have also become a lingering shadow for Wang Shuo in the second half of his life.
Wang Shuo's literary creation and attitude towards life have always been a special existence in the Chinese literary world. His works and rhetoric have often caused controversy, but it is precisely this controversy that has made him an iconic figure in the Chinese cultural scene in the late 80s and early 90s of the 20th century. Wang Shuo's literary outlook and philosophy of life embody his criticism of "elite culture", his dialectical view of "vulgarity" and "truth", and his unique insights into social phenomena.
First of all, Wang Shuo's criticism of "elite culture" is an important feature of his literary outlook. In the 80s of the 20th century, serious literature and high art were still widely admired in the Chinese literary world. However, Wang Shuo's work breaks with this tradition, focusing on the daily lives of ordinary people, depicting the various situations of the market in plain language. In 1989, Wang Shuo bluntly said in an interview: "I just want to write about lumpenproletarians, and I want to write about the bottom society." This attitude was undoubtedly a challenge to the mainstream of the literary world at that time.
Wang Shuo's view is fully reflected in many of his works. For example, in the novel "The Recalcitrant", he portrays a group of idle and idle young people in Beijing. These characters are in stark contrast to the "tall and complete" heroic images that were common in the literature of the time. Through the perspective of these "little people", Wang Shuo shows the changes in Chinese society and the living conditions of ordinary people in the early days of reform and opening up.
Secondly, Wang Shuo's dialectical view of "vulgarity" and "truth" is also an important part of his literary outlook. In the eyes of many people, Wang Shuo's works are full of "vulgar" elements, but Wang Shuo believes that this "vulgarity" is precisely the most realistic portrayal of life. In 1992, at a literary symposium, Wang Shuo said frankly: "I admit that I am vulgar, but who is not vulgar? I just said what everyone knew but didn't want to say. ＂
This view is also fully reflected in Wang Shuo's filmmaking. In 1997, the film "Party A and Party B" written by Wang Shuo was released, which showed the life of ordinary people in a humorous and witty way. Although the characters in the film are not "tall" enough, they truly reflect certain social phenomena at that time. The film was widely discussed at the time, with some criticizing it for being vulgar and others praising it for being real.
Thirdly, Wang Shuo's unique views on social phenomena are also an important embodiment of his literary outlook and philosophy of life. He often dissects social issues with sharp brushstrokes, and this critical spirit is reflected in many of his works. For example, in the novel "Playing is the Heartbeat", Wang Shuo reveals the changes in social values and people's mentality in the early days of reform and opening up through the perspective of a group of young people.
In 1994, Wang Shuo said in a public speech: "We should face up to social problems, not avoid them. The role of literature and art is to reflect reality, even if it is not pretty. This view caused a lot of controversy at the time, but it was precisely this attitude of daring to face reality that gave Wang Shuo's works a unique social value.
Wang Shuo's literary outlook and philosophy of life are also reflected in his attitude towards life. Although his works are often labelled as "rebellious" and "uninhibited", Wang Shuo himself has his own way of life. In 1996, in a media interview, Wang Shuo said: "I don't believe in the so-called successology, I only believe that life is for experience." Both happiness and pain are part of life. ＂
This attitude to life is fully reflected in Wang Shuo's creations. In his works, there are often characters who seem to have "nothing to do" but are actually "living transparently". Although these characters do not necessarily conform to mainstream values, they have their own philosophies of life. For example, in the novel "Half Flame and Half Sea", the protagonist Ma Xiaojun is such a complex and realistic image.
In general, Wang Shuo's literary outlook and philosophy of life reflect his unique understanding and thinking about life. Through his creations, he provides people with a different perspective from the mainstream and allows people to see another side of life. Although this view is often controversial, it undoubtedly enriches the connotation of contemporary Chinese literature and provides people with new perspectives for thinking about society and life.
Wang Shuo's literary career has never been far from controversy, which is often inextricably linked to the challenges he faces. Since the early 90s of the 20th century, Wang Shuo's works and remarks have frequently sparked public discussion, sometimes even turning into a heated debate in the cultural world.
In 1992, in an interview with Beijing Youth Daily, Wang Shuo publicly said, "I am a rogue writer." This sentence immediately caused an uproar in the literary world. Many traditional literary critics expressed strong dissatisfaction with this, believing that Wang Shuo's remarks undermined the dignity of literature. However, some young critics defended Wang Shuo, arguing that he was simply expressing his dissatisfaction with the current state of the literary world in a self-deprecating way. The controversy lasted for months and even sparked a big debate about what real literature is.
In 1994, Wang Shuo's novel "Animal Fierceness" was adapted into the movie "Sunny Day". The film caused a huge controversy upon its release. The film's depiction of teenage life during the Cultural Revolution was seen by some as disrespectful to history. In particular, the sexual consciousness awakening scene of teenagers in the film is regarded as "immoral" by some conservatives. Despite this, the film won several international awards and became an important milestone in the history of Chinese cinema.
In 1996, Wang Shuo criticized the current state of contemporary Chinese literature in a public speech, saying: "How can Chinese literature attract readers because it lacks a sense of humor and is always serious and preachy?" The remarks sparked controversy again. Some writers and critics accuse Wang Shuo of belittlement of serious literature, while others argue that Wang Shuo points out an important issue in the development of Chinese literature.
In 1998, Wang Shuo participated in the creation of the TV series "The Story of the Editorial Department" broadcast. This drama shows the daily work and interpersonal relationships of a magazine in a humorous and witty way. However, the satire and criticism of certain social phenomena in the play caused dissatisfaction among some people. Some even accused the show of being "low-styled" and "misleading young people". In response to these criticisms, Wang Shuo responded in an interview: "I'm just depicting the reality as I see it, and if the reality is uncomfortable, then the problem is with the reality, not the person who is depicting it." ＂
In 2000, Wang Shuo's article "I Am a Rogue Who am I Afraid of" was published in Beijing Literature, which caused an uproar again. In this article, Wang Shuo sharply criticized the current state of the literary world at the time, and he pointed out the hypocrisy and hypocrisy of some writers and critics. As soon as the article was published, it immediately attracted many criticisms. Some accused Wang Shuo of "vulgar language" and "uncharacterizing a literati." But others defended Wang Shuo, arguing that his criticism, while sharp, was to the point.
In 2002, Wang Shuo participated in the screenwriting of the film "Mobile Phone". The film explores the impact of technological developments on human relationships, especially how mobile phones have changed the way people live and interact. However, the film's depiction of an extramarital affair caused some viewers to be dissatisfied. Some argue that the film is morally questionable, and some even call for a boycott. In the face of these doubts, Wang Shuo said at a press conference: "The purpose of artistic creation is not to educate, but to reflect reality. If such a problem exists in reality, then we should face it head-on, not avoid it. ＂
In 2005, Wang Shuo delivered a speech at a literary symposium entitled "Literature Should Return to Entertainment." In this speech, Wang Shuo proposed that literature should consider the needs of readers more, rather than blindly pursuing the so-called "elegance". This point of view immediately sparked a heated discussion. Some lovers of traditional literature believe that Wang Shuo is advocating "vulgar literature", while others believe that Wang Shuo raises a question worth pondering: how can literature maintain its vitality in the era of market economy.
These controversies and challenges are not only an important part of Wang Shuo's literary career, but also reflect the cultural changes in Chinese society from the 90s to the early 21st century. Wang Shuo's works and remarks, whether criticized or praised, have promoted people's thinking about literature, art, and social issues to a certain extent. Despite the many challenges, Wang Shuo has always adhered to his creative style and literary philosophy, and this persistence has made him an important figure in the history of contemporary Chinese literature.
Wang Shuo's literary creation and unique style have had a profound and lasting impact on the Chinese literary scene. Since the late 80s of the 20th century, Wang Shuo's works have become an important topic in the Chinese literary world, and his creative ideas and writing style have also had a significant impact on many later writers.
First of all, Wang Shuo's works have changed people's traditional perception of literature. Before Wang Shuo, the Chinese literary community generally believed that "serious literature" was the real literature. However, Wang Shuo's work shatters this notion. In 1989, Wang Shuo's novel The Recalcitrant Lord was published, which depicted the lives of a group of young people in Beijing in a light-hearted and humorous tone, which immediately attracted widespread attention. The success of this book proves that books that are easy to understand and full of market flavor can also be loved by readers. This phenomenon is known as the "Wang Shuo phenomenon", and it opens a new stage in the diversified development of Chinese literature.
Second, Wang Shuo's creation has injected new vitality into Chinese literature. In 1992, Wang Shuo said in an interview: "I believe that literature should reflect real life, not a fictional ideal world." This view caused quite a stir in the literary world at the time. Subsequently, more and more writers began to pay attention to the daily life of ordinary people and describe the real face of society. For example, the writer Chi Li's novel "A Troubled Life" was clearly influenced by Wang Shuo, which depicted the lives of ordinary workers in plain language and received widespread acclaim.
Wang Shuo's influence is also reflected in his innovative use of language. In 1995, Wang Shuo's novel "Playing is the Heartbeat" was published, which made extensive use of the Beijing dialect and slang, which caused great repercussions in the literary world at the time. Some critics considered this style of writing "vulgar", but more readers were drawn to the lively language. This style of language came to be known as "Wang Shuo style" and was imitated and borrowed by many young writers.
Wang Shuo has also had an important impact on the Chinese film industry. In 1997, the film "Party A and Party B", written by Wang Shuo, was released, which reflected the changes in Chinese society in a humorous and witty way, and was a great success. The success of the film has inspired many filmmakers to try to create films in a more realistic and humorous way. For example, many of director Feng Xiaogang's works are clearly influenced by Wang Shuo.
In the field of literary criticism, the emergence of Wang Shuo has also triggered new thinking. In 2000, Wang Shuo criticized certain phenomena in the literary world at that time, saying: "Some literary critics nowadays always like to use some obscure terms to comment on their works, which will only make ordinary readers further away from literature." This remark sparked a wide discussion in the literary world, prompting people to rethink the way and role of literary criticism.
Wang Shuo's influence on young writers is particularly significant. In 2005, writer Han Han openly stated in an interview: "Wang Shuo is one of my favorite writers, and his works have taught me how to express serious themes in a humorous way." Similar statements are not uncommon among the younger generation of writers, and many post-80s and post-90s writers have admitted to being influenced by Wang Shuo.
Wang Shuo's influence extends even beyond the realm of literature. In 2010, Wang Shuo was in the top 10 in a survey of "important figures influencing Chinese popular culture." This shows that Wang Shuo's influence has expanded from literature to a wider range of cultural fields.
However, Wang Shuo's influence has also sparked some controversy. Some critics have argued that Mr. Wang's writing style is too frivolous and may mislead young readers. In 2015, at a literary symposium, a prominent critic noted: "Wang Shuo's influence is a double-edged sword, and we should look critically at his work." ＂
Despite the controversy, Wang Shuo's influence on the Chinese literary scene is undeniable. His works and creative ideas have changed people's perception of literature, injected new vitality into Chinese literature, and influenced generations of writers. Both supporters and opponents have to admit Wang Shuo's important position in the history of contemporary Chinese literature.