In the field of poverty alleviation, a large number of reportage works have recently been born. As a reportage literature that is both journalistic and literary, it seems to be very suitable for writing about typical people and deeds in this field. Poverty alleviation pays attention to adapting measures to local conditions and implementing policies according to households, and the key to "pulling out the roots of poverty" lies in finding the right way to get rich, cultivating advantageous industries, and developing the local economy. This is the fundamental strategy for poverty alleviation, and it is also the focus of many reportage literature. When we see more of these kinds of works, we can't help but ask: "After getting rid of poverty, will the countryside be better?" ”
Xu Jingeng's long-form reportage "Spring Dawn in JianXi" (People's Literature Publishing House, July 2020 edition) has taken a unique approach, extending the pen to the "post-poverty alleviation era" of rural governance: how to transform the villagers' ideological concepts, how to shape the civilized style of the countryside, and how to solve complex governance problems. It can be said that Xu Jingeng used a delicate and refined pen to take the process of Gao Shuzhen, secretary of the village party branch, leading The Sanjian Xi Village in Zhangqiu, Shandong Province, from "rich pockets" to "rich heads" as an example, dissecting sparrows, providing us with a vivid "sample" of rural governance, and writing out the thousands of weather of rural life after poverty alleviation.
After "material poverty alleviation", "spiritual poverty alleviation" still has a long way to go. At that time, Xun Weng's characters of treachery, trickery, cowardice and laziness still exist in today's Sanjian Xi Village- Han Hexiang, an elderly village woman written by Xu Jingeng, was abandoned by her husband in her later years, and the three girls could not settle in the village, and they were coldly looked at and ridiculed by the villagers. It is difficult for the children to grow up and live a good life, but they encounter unexpected storms, they are hit and killed by the driver of the drunk van, and after their deaths, the children are still arguing over compensation. Villager Yao Yuhua died in the hospital because of the brain tumor surgery, the family was dissatisfied with the hospital, and even ignored the body, placed it in the hospital morgue, and finally Gao Shuzhen was kind enough to carry it back... Through the exposure and amplification of rural personnel defects, the author lets us face the problem squarely, and also solves the problem for Gao Shuzhen from the side with courage, wisdom, and super action and execution, laying a line of grass snake gray line that is either bright or dark, looming, intermittent. Xu Jingeng's rural story not only writes about the inheritance and change of China's closed small-scale peasant mentality since ancient times, but also points out the hardships of "becoming a weathered person, from chaos to governance".
Structurally, the author is good at mixing "novel techniques" into reportage writing, so that the text presents a lively and lively scene on the basis of respecting the truth of newsworthiness. Looking at today's literary creation, there are more and more gimmicks and concepts, and it is more and more difficult to patiently tell a story well and write a solid text of a character with heart. Xu Jingeng is a journalist, and has many years of experience in reportage creation, writing stories without making fancy whistles, not playing strange tricks, one thing after another honestly, one person follows the rules and regulations of one person. There are ten chapters in the book, each focusing on a head scratch. Cut into three or four subsections, dismantle the needles and threads in the scratching matter, and dismantle the drip and purr one by one, and the origin, development, climax, and ending are written in a diachronic way. In the story, you sing and I appear: the village cadre who gave Gao Shuzhen a horse, the business owner who instigated the villagers to petition, the bad person who secretly sued the black, the old lady who did not take a bath once a year... After one thing is over, start and talk about it again; one person retreats, turns his face and pushes another person. The whole book takes Gao Shuzhen as the center of the villagers to break through the difficulties and relieve difficulties, going around and over and over again, presenting the rural story of a thousand streams competing and ten thousand mountains standing side by side.
In fact, this narrative strategy of focusing on reality, combining virtual and real, coherent plots, and complete stories stems from the narrative paradigm of classical Chinese vernacular novels. It seems to be monotonous and repetitive, and it is easy to become a flowing account if it is not written well, but in fact, it is interlocked inside and out, and there is tension and relaxation on the outside, which is a test of the author's ability to control the rhythm of the story and the texture of the structure of the text. For example, the book wrote that there was a burst of Gao Shuzhen found that the electricity consumption in the village had surged, and every household checked the meter and did not find cat grease. One day, she toured the village and found that there was an extra wire in the distribution room of the villager Wang Sankui's house, which led directly to the pig farm. She thought more and asked the electrician to check carefully, which led to the wonderful story of Gao Shuzhen discovering and attacking Wang Sankui with the pig farm as a cover, privately building wires, stealing coal mines, and stealing electricity and stealing water. The section "Building a Bathhouse" is also very exciting. There is no public bathhouse in the village, and the villagers have a problem bathing, and some do not wash once a year. Gao Shuzhen coordinated the relations between all parties and informed the villagers of the importance of hygiene, so that the first bathhouse in the history of the village was built. Such small stories are gathered together to form a history of Gao Shuzhen's personal struggle of courage and strategy, understanding people and judging cases, fighting openly and secretly, and breaking through all difficulties, and it is also a contemporary village history of Sanjian Xi Village that "went from poor to rich" and "from chaos to governance".
From a linguistic point of view, "Spring Dawn in The Stream" is also a solid work. There is no nonsense, no gags, no gags, sentences provide information, and every word is dry goods. The Ming Dynasty music theorist Wang Jide said in his "Qu Law" volume 3 "On Drama and Drama No. 30" that opera should be "expensive tailoring, expensive exercise" In the Qing Dynasty, Li Yu's "Idle Love, Songwriting Department, Structure First" also emphasized that opera creation should be "reduced". Why not other literary genres? Xu Jingeng melted the writing method of report communication, prose narrative, and novel white painting in one furnace, and made a repair and breakthrough in reportage writing. His white painting technique, with only a few strokes, outlines the contours of the characters and the customs and customs of the rural areas of Shandong; the lens narrative, a few paragraphs, the cause, circulation, and ending of the event jump on the paper; the addition of dialects and native languages not only increases the sense of realistic scene, but also makes the character image more prominent; throughout the book, less European long sentences, short sentences short and horizontal, just like the pivot plucking strings, large beads and small beads, noisy and cut, the flow of the land, the poetry is full.
Author: Kang Yan
Editor: Qian Yutong