Acceptance speech
I'm a guy
Distinguished guests, judges, friends,
It's great to receive this award. The judges will let me say a few words of acceptance speech, of course, back to my hometown to receive this award, I must say my feelings, and I have a lot to say. Since it is a testimonial, I think it should include three meanings: moving, feeling, and most importantly, gratitude. First of all, I was touched and thanked. Touched by the love and acceptance of my hometown, thanks to the judges' insight and recognition, this will surely help me in the future writing motif and resources will continue to diligently absorb and excavate from the fertile square inches of my hometown, and build a more wonderful and affectionate "blind talk".
I am a local monk, as a teenager graduated from Yakou Maigang No. 1 Middle School and went out to travel in the clouds, I don't know what sutra I got, and now I have the opportunity to return to the original temple - hometown Maigang. And who is this person who asked me to go back to the temple and read the sutra? Of course, this swordsman named Jianghu is the great hero. This hero is the character I want to pin my thoughts on in the novel "Forgetting the Rivers and Lakes". This, of course, begins with a thank you to him. Without him, I would not be standing here today and chatting easily with the villagers, talking about my thoughts and heartfelt words. So let me start with this character and this novel.
Here in our dance steel, the popular storytelling is called "talking nonsense". I remember when I was a child, my mother used to nag: blind talk, a stomach rib. At that time, I was very envious of people with a belly (story). From a young age, the old man's "blind talk" level always haunts me. There are also many blind "storytellers" who wander the countryside, and they speak "blind words" very roundly, leaving no air holes, just like real people and real events, which make people fascinated and convincing. I think good novels and stories are like this.
And what is this novel? Let me first talk about my thoughts and intentions:
It is a martial arts novel, a pseudo-martial arts novel; there is no sword and light sword shadow, bloody tearing, some are just floating light and shadows, indifferent to a few strokes. In order to express my meaning and my thoughts, I found this form.
It is a historical novel, a pseudo-historical novel; it takes place in the late Qing Dynasty and the beginning of the People's Republic, and the story takes place in that era with credibility. In order to express my meaning and my thoughts, I found the history of that era.
It is a world love novel, a pseudo-world love novel; the lives of men and women who appear are all point to the end, and the fireworks in the world have only scales and claws, allowing the reader to gallop their imagination. In order to express my meaning and my thoughts, I found the character of jianghu.
It's a regional novel, a pseudo-regional novel. At the beginning of the novel, I told everyone where the story took place: Sow Gorge. This is a complex of mine, I want to push my hometown and the people out of my hometown. When I was studying at Lu Xun College of Literature, my mentor Mr. Li Jingze read my novel "Catching Pigs and Babies" and was very sure that I would continue to write according to the way of this hometown character and hometown story. In more than ten years, he only wrote eight or nine articles, and his response was good after publication. Ready to write a few more articles, put together into a collection, but also a thin gift of gratitude to the hometown. This novel is one of them.
But then again, in the end, whether the novel can convey my intentions or not, only the reader can say and understand. And in the end, what I construct is such a simple story, a story of revenge, a story of a vulgar but different weak woman completing revenge. In this jianghu in the human world, a swordsman named Jianghu, who abides by the rules of the jianghu on the jianghu road, perfectly realizes the other party's wish for revenge in a self-cutting way, and presents the positive energy that has been missing on the jianghu, completing his perfect life as a real jianghu person. Since then, the world has missed a jianghu, and many of the beautiful qualities and morality that should be in the world are missing. That's what I'm going to say.
Of course, I see the following words and agree with them:
"The narrator should not provide an interpretation of his work, otherwise there would be no need to write a novel, and the novel is a wonderful machine for producing interpretation."
"It's useless to say that now, the text is there, it produces its own semantic effect."
"The author may have died after writing the work, so as not to hinder the development of the text itself."
Of course, the author should not explain. But he can tell why he writes, how he writes. ”
"Just by telling how we write doesn't mean it proves we're 'good at writing.'"
Therefore, it is very valuable and very clever to talk about creation, and it is possible that they come from second-rate and third-rate writers and artists whose works are average but who are very good at thinking about their own creative process. Therefore, the words I have ventured to say above may be helpful in understanding the work, even though I am a writer who is not even a "stream".
Speaking of the main characters in the novel who are chivalrous, I have to talk about swords.
Throughout history, chivalry and swords are inseparable, and swordsmen are inseparable. The reputation of chivalry, such as chivalrous righteousness, chivalry, and the path of heaven, is also the meaning of the sword of justice. And we all know that the sword has become a culture - sword culture.
Since the sword is a culture, it is not just a weapon for death. Although it is the standard of chivalry, the supreme of weapons. It belongs more to generals and kings and is a symbol of power. Therefore, the quality requirements for the sword are mentioned in the absolute height.
Casting swords like writing poetry, such as literary creation, is a highly personal undertaking, and we don't know who cast those chimes and giant dings, but we remember the cadres, the hammers, and their sons, the eyebrow rulers, which is a mythical family of craftsmen. The sword transcends the limits of ancient smelting technology, and beyond the limits, the most experienced craftsmen can only entrust their success or failure to fate, and copper and iron are refined in the fire as bright as autumn water, cutting gold and jade. It's a mysterious, lonely and anxious process in which a certain craftsman may really throw himself into the furnace and gamble with his life.
Therefore, the sword cannot be copied, and a sword is a creation, which is unique. Early smelting techniques were extremely unstable, which made the sword belong not only to generals and kings, but also to poets, writers, and individual beings in a metaphorical sense. Such as Qu Yuan's high crown and long sword, in his time, a "Lu Li Chang Zhen" was hanging from his waist, and he used the long sword to draw the boundary between himself and others. Walking with a sword became a sign that later poets walked into a certain kind of brazen and wild. With the sword in hand, the poet's imagination is bolder: in Li Bai's "Chivalrous Journey", "ten steps to kill a person, a thousand miles do not stay." The thing whisked away, hiding deep with the name. "Let the violence become pure beauty from this sentence, and the shot is like the wind, and it floats away." It is difficult to imagine that at this time, the chivalrous guest has a clumsy and worldly sword in his hand, but it can only be a sword, light and noble, and never bloody.
The sword makes the poet a chivalrous man, wandering through a world full of hostility. The poet Jia Dao's sword, which has been sharpened for ten years and has not yet been tried, in the poem "Swordsman", implies the poet's anger: "Who has an unfair affair when he shows the king today?" It can be seen that the use of the sword is not to kill, the sword is a gesture, an expression, a guarantee of freedom in and out of the world. Both the poets and the kings and generals understood this, but they achieved it from a completely different standpoint.
In classical times, poets profoundly experienced the grand loneliness of life when they looked at the sword. They look at the sword as if they were reading a poem, "Drunkenly picking up a lamp to look at the sword, dreaming of blowing back the horn and camp." (Southern Song Dynasty poet Xin Renjie, "Breaking the Line, Giving Chen Tongfu a Strong Word to Send"), the sword should be drunk to see, under the lamp, alone." An ancient water (figurative sword) flowed into the palm of my hand. When you are about to give gifts to the king, do not break the vengeance thinly. (Tang Dynasty poet Liu Cha", "Yao Xiucai Loves to Give the Small Sword because of the Gift"), at this moment, the parting gift was quiet and warm, and the lonely and noble quality of the sword was elevated to a height of being a man.
Quoting and recounting the above, it is not difficult to find that the so-called sword and sword culture are all related to poetry and are related to literature. Literature and history are not distinguished, historical swords, and sword-related data are left and disseminated by literature, so written records are very important, and effective written records spread them more important. Literature is the most effective form of communication that is more graphic and easily accepted and disseminated by people. Therefore, this move of Longquan Sword Factory will surely contribute to the spread and retention of their refined "Longquan Sword" in contemporary times, and write a strong stroke for Chinese sword culture. Of course, I believe that the quality of the Longquan swords they produce will be left behind, because of the heavy iron smelting culture of wugang in the capital of iron smelting.
Thank you!
Friday Night, September 17, 2021 in Zhengzhou
About the Author:
Yin Yu, whose real name is Yin Shunguo, is a native of Wugang City, Henan, a member of the Chinese Writers Association, a director of the Henan Poetry Society, a member of the Zhengzhou Municipal Federation of Literature and Literature, the vice chairman of the Writers Association, and the chairman of the Henan Petroleum Writers Association. He is a student of the 14th Senior Seminar for Young and Middle-Aged Writers of Lu Xun Literature Institute. He has won poetry and fiction awards such as the China Iron Man Literature Award and the Tianjin Dongli Luli Poetry Award. He is the author of the poetry collection "Dressed in The Night", the novel collection "In Fact, We Didn't Meet", the essay collection "Read and Write", and "I want to give my eyes to you". He currently lives in Zhengzhou.
In the exhibition area of Yin Yu's works, click below to read
"Night, God-like Existence" by Yin Yu
Poems of Yin Shunguo (seven poems)
"In, Not in" by Yin Shunguo
"Staying overnight" (Hexi Town Style Series No. 3) Author: Yin Shunguo (novel)