Wang Yuewen's works: nostalgia in prose

(Writer Wang Yuewen)

I love to read Liu Yongxue's prose. His prose character has both the true feelings of the world and the graceful atmosphere of traditional Chinese culture, which is the harmony and harmony of the heart of a pure child and the cultivation of a scholar. At the end of the pen, there are hometown smoke clouds, green onions in the past, insight and ridicule of world affairs, and questioning and reflection on traditional culture. The most touching thing is the thick nostalgia that pervades Liu Yongxue's prose. The nostalgia in Liu Yongxue's prose is different from the sad and nostalgic hope of the wandering wanderer for his hometown, and it is also different from the old sentiments in the nostalgia of the old literati, but there is a big pattern and a big atmosphere, which is both bright and thick, and it is a different kind of nostalgia for finding personal life and cultural refuge.

The nostalgia in Liu Yongxue's prose is first of all in the regional sense, he was born in Yanzhao Ancient Land, but grew up in a place called Dapu Town on the Xiang River. Here, low adobe green tile houses creep along the Xiang River, and the smoke of the cooking smoke floods the Xiaoxiang water clouds. Young Liu Yongxue often sat on the bank of the river, and a leaf of sail shadow on the edge of the sky always floated in his heart. When he reached adulthood and became a family, he lived and worked in the south, and his career and life were also successful, but he "regarded his hometown as his hometown" and had a deep affection for the foreign land that raised him. With warm affection, his pen carefully describes the water and soil on that side, and imitates the stoic life of the group of ordinary people who grew up with him. He wrote about the red brick and red tiles laid on the barren mountains and ridges, about the "Martyrs' Mountain" where countless miners were buried, about the nameless river that flowed around the mining area, the small fish that grew like inches in the river, and the small fish swimming in the clear water and empty. He wrote about the bumpy fate of his childhood companion who dragged his nose clean, and wrote about the bruised breasts of a miserable young woman. He has deep love and compassion for life, because there is strength in his heart, and this love and compassion has no small family temperament, and appears calm and generous.

However, the sky is clear, the wilderness is vast, and the mountains are above, looking at the hometown. Liu Yongxue's hometown is at the foot of the Taihang Mountains, and what flows in his blood is after all the blood of Yan Zhao's son. His hometown is a hero, a hero. The old woman who stood solemnly like a wooden carving under the setting sun was once the heroic mother of her three sons who spilled blood on Taixing. The old woman who sat at the gate, holding a kitchen knife in her hand, and screaming and cursing for her own chicken and dish, was once the president of the women's rescue who made the enemy feel frightened during the years of the beacon fire. Liu Yongxue wrote that when he was 5 years old, he returned to the village where he was born with his father for the first time, and the children in the village were all naked, like the innocent and unchiswed meat balls when the heavens and the earth were first born, and he was dressed and pants alone, wrapped tightly. Civilization and barbarism have been ridiculously inverted here, and the villagers have regarded him as a monster, like hunters who hunt wild animals and boo him to drive him away. He had no choice but to climb to the fruitful jujube tree, and this time he was able to brake quietly, to defend as an attack, condescending, guarding with food and attacking weapons, until he was saved by a big sister with a numb face. This big sister with a numb face is also a good surprise soldier, using all kinds of stone-breaking smiles as weapons to unexpectedly win a handsome husband for herself. Liu Yongxue's nostalgia is full of good stories, he wrote this paragraph only with a novel brushwork, the characters are about to come out, and the vivid story has intriguing absurd meanings and mysteries of the art of war.

The deeper nostalgia in Liu Yongxue's prose is a kind of cultural nostalgia. Dong Qiao said: "The well of the heart without cultural nostalgia is destined to be a dry well. What Liu Yongxue writes in his prose is more about the taste, nostalgia, reflection and criticism of traditional Chinese culture. The cultural nostalgia in his pen is therefore new and vast. Liu Yongxue has a profound classical cultural accomplishment, and in his spare time, he is immersed in poetry, books, pianos, and words, allusions and anecdotes, and has knowledge, affection, and insight, and the slightest wisp of his attachment and affection for traditional Chinese culture.

However, liu Yongxue read Li Bai and Du Fu, read Xu Wenchang, Yuan Zhonglang, and what he read was not only aesthetic and leisurely, but also the "gusts of chill" between the lines of Xu Wei's characters, and the "sharp as a knife" of Yuan Hongdao's wenmo. He commented on the Water Margin characters one by one, laughing and scolding, and also zhuang and harmonious, but his eyes were unique and poisonous, and he saw through people behind his back. He commented on Wang Lun: "The biggest highlight in Wang Lun's life is that there is a little macro thinking and a little discovery vision. If you can't be a showman, you immediately become a robber. If you can't turn the pen holder, grab the handle of the knife. However, Wang Lun is only a show talent after all, and he can't understand that the knife is really fast, and there are only the survival rules of the weak and the strong, and the king and the king are defeated, and finally he has done the wrong under the knife." He commented that Song Jiang was a "pick-up handle," "first pick up the poor, then the rich, first the soft, then the hard, first the point, then the face, seek development in the process of deception, and then engage in a large number of deceptions after development." "Pickers, cheats also." Liu Yongxue also divided Song Jiang's "pinching" into three stages: "Wen Pinch, Wu Pinch, and God Pinch", and finally made a difference and pulled out the climate. Liu Yongxue uses modern popular slang to interpret classical literary figures, and one sentence pierces Song Jiang's so-called "loyalty", which is nothing more than a pseudo-ornamented deception. Liu Yongxue jumped out to make a cold reflection and examination of traditional Chinese culture, and it is also a kind of adherence to the soul of China's true traditional culture, and his cultural prose has a new perspective and height.

The German poet Novalis said: "Philosophy is actually nostalgia, the desire to be at home everywhere." Liu Yongxue's prose is nothing more than the human body and soul's desire for hometown and "home". Where is our "home"? Where can our souls be placed? In Liu Yongxue's prose, nostalgia is like a piece of ice heart, immersed in his curling pot carved with words.