Taiwanese literary scholar zhu Xining's classic short story collection "Breaking Dawn" Chinese Simplified edition, which was recently planned and published by the Republic of China. This is the first time the book has been published in the mainland.
Zhu Xining is the father of the writers Zhu Tianxin and Zhu Tiantian, and his works are often compared with Lu Xun and Shen Congwen, but his focus is not only criticism, but sympathetic exploration. Mo Yan called him a "real pioneer" and said that he was "glad to see "Dryad" now, otherwise he would have lost the courage to write "Red Sorghum". He had a deep friendship with Zhang Ailing and was evaluated by Zhang as "a small soldier in Shen Congwen's best story". Don Nuo called him Taiwan's finest novelist from 1949 to the present. Zhu Xining's "Iron Pulp" and "Dryad" have previously been published on the mainland.
Zhu Xining (1926-1998) was a Taiwanese novelist, writer Zhu Tiantian and the father of Zhu Tianxin. Born in Suqian, Jiangsu Province, his ancestral home is Linqu, Shandong. His real name is Zhu Qinghai, and he graduated from Hangzhou Art College. In 1949, he went to Taiwan with the army and served as the editor-in-chief of the monthly magazine "New Literature and Art", the editor-in-chief of Liming Culture Company, and an adjunct professor of the Department of Chinese Literature of the Chinese Culture University. He devoted his life to writing, focusing on novels, as well as essays and reviews. He is the author of the short story collection "Wolf", "Iron Pulp", "Breaking Dawn", "Metallurgist", "What Time Is It Now", "Snake", etc.; the long novels "Cat", "Dryad", "Painting Dream", "Eighty-Two Three Notes", "Fox Hunting", "Hua Taiping Family Biography"; essay collections "Micro Speech", "Qu Li Chapter", "Sun and Moon Long New Flower Immortality" and so on.
The short story collection "Breaking Dawn" contains thirteen classics, the characters expand from the flesh heroes in "Iron Pulp" to ordinary citizens, the legends of the countryside in the Northland and the customs of Taiwan's towns, and the ancient Greek tragedy evolves into the trivial daily life and inner battlefield of ordinary people, presenting a more modern and profound landscape.
"Spring Goes Also" writes about the gentle sentiments of Master Silk in the spring, "White Grave" commemorates the fall of heroes, "Thief of the Valley" mourns the decline of integrity, and "Taste" writes about the stream of consciousness reverie of married men. "Fucheng White Iron" tells the daily life and tiredness of life from the perspective of a family of four. The short story of the same name, "Breaking Dawn", was rewritten from the Song Dynasty novel "Wrong Chop Cui Ning" and was adapted into a film of the same name. Pointing to the entanglement between man and the absurd fate, a shocking tragedy, asking" How did the process of depravity begin in each of us?" ”
Zhu Xining has been called "the metallurgist of modern novel art" and "Taiwan's first new novelist". As a pioneer of Taiwanese modernist writing, he first showed multi-dimensional modern writing exploration in "Breaking Dawn", the endless interest in exhausting language and pleasure, and the highly mature modern consciousness.
Wang Dewei commented, "The reason why 'Breaking Dawn' shocked us is even more because of Zhu Xining's ruthless analysis of why people are human, the entanglement between people and the absurd fate of desolation. At dawn, the heavens and the earth are underworld, and an official who misjudges life and death repeats the most primitive scapegoating ceremony. What this story ultimately asks is man's limited understanding of life and the infinite confusion that follows in a vague focus of time. Zhu Xining has shown that he is a writer with a strong sense of modernity. Words are his last place. ”
At dawn, the heavens and the earth are unkind, and desire and repentance, sin and iniquity, are entangled and dissipated, revealing man's existence, man's desires, and human spirit. In "Breaking Dawn", the healthy and tragic Northern Style still exists, and at the same time, it explores the modernist narrative with rich aspects, and opens the experiment of Taiwanese modernist writing.
"How did the process of the Fall begin in each of us?" This is the heaviest subject that any literary work can bear. At dawn, the heavens and the earth are underworld, and an official who misjudges life and death repeats the most primitive scapegoating ceremony. Zhu Xining rewrites classic tragedies in a modern way, pointing directly to the entanglement between human beings and absurd fates, and shocking people's hearts.