Ma Yuan's novel
The fascination with form is a marker of the existence of a pioneering novelist. But for other writers, does form not matter? For many years, our literature has always emphasized content, believing that form only serves content, and without content, form cannot exist independently. But in the ever-changing way of writing novels in the 20th century, form has often become content, or form is a kind of content. The vanguard is essentially a rejection of reality and the mainstream, the vanguard is a freedom, the vanguard is a spirit. The avant-garde novel's exploration of the structural laws and aesthetic attributes of modern Chinese has reached an unprecedented mature state. But an excessive fascination with language itself may also limit its attention to and expression of the transcendent world. It's a dilemma, but it's the true master who has the ability to walk freely in this dilemma. Writing is an adventure, the text of regular distance is resistant to the erosion of time, the beauty of heresy has been discovered by later generations in the long river of history, and the history of literature is also the history of discovery. Ma Yuan's 1984 publication of The Goddess of the Lhasa River confirmed his narrative style, while 1985's The Temptation of Gandhis showed that Ma Yuan's narrative trap was fully mature. Ma Yuan narrates three unrelated stories in "The Temptation of Ganges", but in the process of narration, Ma Yuan strives to create the illusion that these three stories are intrinsically interconnected, and it is obvious that this "connection" makes people feel that there is some kind of unknowable secret hidden in them. Ma Yuan's narration process is to create illusions, he describes the time of "heavenly burial", first writes about "death", and then goes around in a circle, making you feel how mysterious the "heavenly burial" is. In fact, Ma Yuan does not directly enter the "mystery" of the narrative object, and even he is not necessarily interested in the specific existence of the "object", he only cares about the way of narration. Compared with Ma Jian's criticized novel "Show Your Tongue or Emptiness", Ma Yuan's focus is on how to narrate, while Ma Jian is an exhibition-style curiosity, and his novel is a pure sexual theme to tear off the fig leaf of civilization hidden in human flesh. On the one hand, Ma Yuan focused on his "narrative trap", but on the other hand, he filled his trap with a lot of strange experience, resulting in an ironic effect. In fact, no matter how many years have passed, re-reading Ma Yuan, such as re-reading his series of "The Temptation of Gandhis", "No Sailboat in the West Sea", "Fiction", and "The Little Man in Lhasa". It is still unavoidable to say that they are among the most astonishing novels of our time. What is most amazing is the author's imagination, his writing skills, and the possibilities that his novels offer. Ma Yuan's most amazing thing is that he created a way of writing modern "Chinese novels" and established a form of modern "Chinese novels". Before that, this kind of writing and this form were not available in modern Chinese writing. But Ma Yuan was by no means the pioneer of a form of fiction, and his artistic breadth and richness were also unattainable by other novelists. Ma Yuan has a confident and profound understanding of his novel, and once in a seven-thousand-word article called "Novel", Ma Yuan expressed his novel concept and novel theory in unusually clear words, his evaluation of novelists in the modern world and his interpretation of his novel. "I'm a Han Chinese named Ma Yuan, and I write novels." (The first sentence in Ma Yuan's novel "Fiction") I still remember the simplicity and directness I felt when I first read such a sentence and the confidence to manipulate a story. At that time, I was sure that this was a good novelist. In Ma Yuan's novels, we see a powerful inquiry into the traditional empirical order. Usually novels contain stories, and to read a novel is to follow some kind of development. However, Ma Yuan rejected the traditional storytelling method, but instead used a painstakingly constructed narrative method and an unscrupulous poetic prayer to provide the sharpest artistic expression for our time.
Jin Yong's novel
Twentieth-century Chinese novel, the first to promote Jin Yong. Jin Yong was not only the author of the fourteen martial arts novels that wrote "Flying Snow Shoots White Deer in the Sky, Laughing Book God Hero Leans on Bi Duck", he also made possible the emergence of new martial arts novels since the 1950s. Jin Yong established the richness and inclusiveness of the discourse of the new school of martial arts novels, and influenced almost all martial arts authors such as Gu Long, Wen Rui'an, Xiao Yi, WoLongsheng, and Zhuge Qingyun. In this regard, Jin Yong's role as an author goes beyond the limits of his work, circulating certain similarities and similar factors modeled in his work—a variety of unique symbols, figures, relationships, and structures that can be incorporated into other works." It is no wonder that the scholar Feng Qiyong praised Jin Yong's novels as "In the structure of novels from ancient times to the present, Jin Yong has reached the peak of perfection." Judging from the text of the novel, Jin Yong is indeed a martial arts novelist who consciously pursues ideology, and he himself has said: "The martial arts novel itself is an entertaining thing, but I hope that it has a little philosophy of life or personal thoughts, and through the novel can express some of his own views on society." Jin Yong's creation of this "ancient form" of martial arts novels is actually a rewriting of the contemporary situation and modern mentality. With the help of complex and chaotic timing, the costumes and characters of ancient characters, mixed with the loneliness, anxiety and longing of modern people, a nostalgic chivalrous state is constructed. Jin Yong's martial arts world is different from the Greek"epic world" that Lukács glorified, that is, the world with a "complete civilization", but a broken world with many disasters and difficulties, with the traumatic memory of modernity. The protagonist of the modern novel is a "problematic individual" who is a seeker. However, the protagonist of the novel can finally "glimpse" the light of meaning, but this light cannot penetrate reality and change reality. Specific to Jin Yong's works, it presents a "problematic individual" encountering a problematic world: "Shu Jian En Vengeance" is the mission of restoring han Dynasty Jiangshan and Chen Jialuo's personal feelings; in "Snow Mountain Flying Fox" and "Shooting Eagle Trilogy" is the difficult process of snow washing father's vendetta and personal growth. Scholar Chen Pingyuan believes that "the fundamental concept of wuxia novels lies in 'salvation', 'writing dreams' and 'fulfilling dreams' are only the superficial forms of wuxia novels, and the inner spirit is to pray for the salvation of others to obtain new life and transcend the limitations of life in saving others." Jin Yong's fourteen martial arts novels are often written in twists and turns and vent the anxiety and uneasiness hidden in the chaotic world complex, which constitute a complex political space and an emotional world of love and hate. This political space unfolds slowly as a jianghu, forming what Rimbaud calls "life elsewhere" and what Paul Lyco points out as "not just a dream outside reality", but "shaping a new reality" itself through literary works. However, as Miss Ren said: "The rivers and lakes are sinister", even if it is "life elsewhere", it still shines the bloody shadow of reality. As a result, Xiao Feng in "Tianlong Babu" is tired of the violence of the jianghu, Duan Yu is tired of the martial arts of killing, Ling Huchong in "Laughing proud of the jianghu" is tired of the worship and obsession with power, and Di Yun in "Liancheng Tips" is tired of the greed of gold and silver treasures. They escape from the wrapping of grand narratives, become spectators and outsiders who try to transcend history, nation, and nation, and ultimately choose individual freedom. As Mr. Ge Zhaoguang analyzed: "They pay more attention to the inner understanding of the ideal world and the pleasure obtained in the understanding, rather than the external ideal world of man itself." ”
The novel of residual snow
Re-reading Remnant's novel, I was still amazed by her reproduction of "disgusting, ugly, and obscene", in which we see "The Flower of Evil" and "The Beauty of the Poppy". However, "disgusting, ugly, obscene" is only the reader's own feelings, and the characters in the world of Residual Snow novels themselves have no sense of it, and they undergo a completely different experience: fear. Fear is at the heart of The Snow Novel. Everything is born of fear, everything is born of fear. The French thinker Montaigne said: "Fear is even more abominable and more unbearable than death itself." While showing the fear of aggression and denial, The Snow also describes the resistance and escape of the characters to fear. But everything is fate, and the doom of fate cannot be escaped. Whether it is Jiang Shuiying who does not come out of the cage ("Yellow Clay Street"), whether it is Xu Ruhua imprisoning himself in a hut with an iron fence to block the intrusion of others ("The Floating Clouds of the Old Man"), or "I" staying in a large wooden box with a lid on it ("My Things in That World"), it does not help, and it is impossible to obtain the sense of security that the heart desires. This boundless fear pervades the novel of residual snow, mysterious and dark. In November 1986, Remnant Snow's novella "Yellow Mud Street" was published, which became almost synonymous with the world of Residual Snow's novels in the future, and it was also her experimental field for observing human nature. The story of her debut novel, Yellow Clay Street, as a story of a past with or without certainty, no, is told as "a dream", intended to unearth a dirty and ugly world, like a gentle song in hell. In just two or three years, "The Old Floating Clouds", "The Cabin on the Mountain", "The Summer of the Beautiful South", "Dialogue in Heaven", and the novel "Breakout Performance" brought a strange and loud name into the literary world. "My mother turned into a basin of soapy water." This is the first sentence of the first work published by Remnant Snow. This work undoubtedly "has a strong expressionist style", foreshadowing the direction of the residual snow novel and the future writing process, and the hidden experience and unique writing expression of women make readers who are accustomed to the previous reading experience stunned. As a comment in the New York Times: "These wonderful and confusing novels written by Chinese women have almost nothing to do with the realism of Chinese literature of the same era." In fact, they are reminiscent of Eliot's fables, Kafka's delusions, and the nightmarish paintings of Matisse. "Remnant Xue's novel is a truly modernist work, unlike previous writers, she is not staying at the level of consciousness, but more of a writer's subconscious, her novels have no clumsy imitation, no superficial showmanship of pretentious attitude, everything is the truth and truth that gushes out from the bottom of her heart, she is relying on her innate temperament to throw herself into Surrealism. Reading The novels of Remnant Snow, you will always feel the "evil" of human nature. "Evil" is the constant theme of Residual Snow's novels. In fact, it is precisely in the face and dissection of evil that we will truly show our yearning for and admiration for "goodness", and through the floating clouds of old age, we will taste the excitement of youth.
Mo Yan's novel
Mo Yan's famous work "Transparent Carrot" (first published in "Chinese Writers", No. 2, 1985), is very well written. The novel presents real life in the countryside in the form of a description of "modern progression". The story, which can be summed up in almost one sentence, is colorfully written by the author, full of sound, light, color, and shadow, showing a strong personal style. He saw a strangely beautiful picture: a smooth anvil. Glowing with a blue and gloomy light. On the blue-blue anvil, there is a golden carrot. Carrots are shaped and sized like a large pear, and they also drag a long tail, and the roots on the tail must resemble golden wool. Carrots are crystal clear and exquisite. The transparent, golden shell is filled with a lively silvery liquid. The lines of carrots are smooth and graceful, and a circle of golden light shines from the beautiful arc. As Xie Youshun said: "His early novella "Transparent Carrot", I especially admire, I think this is a work of heavenly aliens, that kind of transparent feeling, remote angle, and the precision of observing children, is no longer available." The later "Red Sorghum" is also a rather wonderful work, recalling the story of "my grandfather" and "my grandmother" from a childish point of view, and the treatment of the subject matter reflects the rebellion against the narrative of traditional novels, and tells history with a retrospective posture. The success of "Red Sorghum" and its series of works "Sorghum Wine", "Sorghum Funeral", "Dog Road" and "Strange Death" made Mo Yan a spokesman for Gaomi Township in Shandong. With his vivid and wonderful brush to create a realistic and psychedelic countryside, his Shandong Gaomi actually only exists in his imagination, that is not the countryside in history or reality, but a hometown that he has reshaped with his own literary skills, a fictional hometown that is more brilliant, more complex, richer and more charming than the hometown in history or reality, a fantasy hometown that many people can understand and identify with. When it comes to the ability to write, many writers can write good works, but they can't continue to write good works. Mo Yan is an exception, from "Transparent Carrots", "Red Sorghum" and "Song of Heavenly Garlic" that began in 1985, to "Wine Country" in 1989, "Fat Buttocks" in 1995, "Sandalwood Punishment" in 2001, "Forty-one Cannons" in 2003, "Life and Death Fatigue" in 2006, and "Frog" in 2009. Step by step, Mo Yan wrote the history and destiny of native China for nearly 30 years, and the full "Chineseness" in his works made him the focus of attention in the world literary circle. Mo Yan's "Gaomi Northeast Township", like Faulkner's York Napatafa County and Márquez's Town of Macondo, is full of symbolism and allegory. Drawing on the creative experience of European and American literature was the only way for The Chinese writers of the 1980s. But more importantly, the collision of Chinese and Western literature has prompted Mo Yan to "smelt folk stories, history and contemporary current events into a furnace of magic realism", prompting him to write a tense and emotional rural "deep folk experience" with rich imagination, reaching a very high artistic realm. Mo Yan's high-density countryside has a touchy texture for us, like the brilliant red sorghum fields, which are unforgettable, and even can smell the earthy smell in them. Mo Yan built a completely different countryside from Lu Xun, Shen Congwen, and Zhao Shuli, Mo Yan's Gaomi Township is full of primitive vitality, wild thinking, and compassion for the impermanence of fate, which touches the huge psychological iceberg under consciousness; rediscovers and revives the Chinese folk cultural tradition, folk imagination and power, in a way that is close to deformation, debauchery, and full of atmosphere.
Han Shaogong's novel
The writer Mr. Han Shaogong once said of the novel in an essay entitled "The Voice of the Soul": "The novel only means a kind of spiritual freedom, providing modern people with a variety of possibilities and spaces for protecting the spirit. Literature, including fiction, brings people closer to God. So much for. Han Shaogong is one of the very few writers who can navigate between the originality of novels and theoretical ideas, as the French sinologist Ms. Anne Klein put it: "Han Shaogong is both local and cosmopolitan." "People who have no homeland have nothing behind them. Han Shaogong's novel world begins by searching for roots, imagining a complex and strange text space of human nature. For example, in his early award-winning novel Looking West thatched meadow. The author tries to write about the complexity of life and the multifaceted characters. When Han Shaogong continuously threw out novel masterpieces such as "Homecoming", "Daddy and Daddy", and "Daughter and Daughter", a mature writer stood in front of the reader. "Daddy" is an allegory that recounts the history of the failure of a tribe, a call to the lost fatherhood, masculinity, and a curse on "motherhood", revealing desolation in humor, to which the Japanese literary critic Naoko Kondo said: "This is a terrifying novel". "Women and Girls" is a call to natural humanity, an exploration of the female spirit, and a creepy spiritual journey for the reader. Writer Jiang Zidan has this to say: "Whether it is "Daddy and Daddy" paying attention to the inferiority of the people, or "Female Daughters" examining the meaning of life, or "Returning" to the uncertain feelings of life and events, all of them are saturated with rebellious emotions against the traditional spiritual tradition and the traditional way of thinking. In fact, in Han Shaogong's early novel narratives, there is an inherent fear that inbreeding in Chinese agricultural civilization may produce mental retardation, and he finds that Chinese peasants in the context of "modernity" have double necrosis of spirit and body (such as the C-cub in "Daddy and Daddy", until the later "Maqiao Dictionary", he is still concerned with the problem of the chaotic symbolic order of agricultural civilization in the context of modernity). Beginning in 1985, Han Shaogong's reconstructed world of fiction consisted of two levels: implicit and explicit. The dominant level is strange and confusing, and it is difficult to grasp. The solution must go deep into the hidden level, and at this moment, the unique skepticism of the writer is revealed. In Han Shaogong's world, explicitness is sometimes manifested as a cover-up of hidden desires and instincts, and more often it is a repressed desire and instinctive perverted appearance, which explains from one angle why the image created by Han Shaogong is mostly "deformed". The strong concern for the fate of the "deformed" makes the novel detach from the simple realism level and enter the mutilated and rich inner world of human nature; from the initial simple concern for the weak to the compassion and torture of human nature. Mr. Wang Dewei, a professor of literature at Columbia University in the United States, believes that "Han Shaogong's world is a gloomy and eccentric abyss, and this imaginary resource is not so much from Western literature as it is from the zhiwei and Chu mythological traditions." Most of Han Shaogong's best works are based on the Theme of the Cultural Revolution, but he transcends the narrow historical horizon of scar literature and injects an apocalyptic landscape into post-disaster China. He saw the past from China's present, and he saw the present from China's past. ”
Su Tong's novel
For Su Tong, I have a rare good feeling. There are very few contemporary Chinese writers who can get into my eyes, and Su Tong is one of them. Once in Tianya, Guangzhou, I did a live interview with Su Tong, and my impression was very good. Su Tong won fame in his early years for his short and medium stories, such as his "Red Pink", "Flock of Wives and Concubines", "Escape in 1934", "The Completion of the Ceremony", and "Married Man Yang Bo". "The Completion of the Ritual" is wonderful, showing Su Tong's strength in short stories. The unexpected death of a folklorist completes the ritual, the irresistible nature of fate is revealed to the reader, and in the darkness, the impermanence and strangeness of life make us confused. This is the final effect of "completion of the ritual", which is meaningful. "Married Man Yang Bo" has the shadow of a later new realistic novel, but it clearly carries Su Tong's narrative style - strong poetry and flowing language. As for "Red Pink", "A Flock of Wives and Concubines", and "The Escape of 1934", Su Tong's unstoppable fictional talent and amazing imagination of the decadent past. "Flocks of wives and concubines" exquisitely reproduce the tragedy of youth in the ancient mansion and the human struggle of women to hurt each other, and use fictional pen and ink to provide us with the lifelike secret world of Jiangnan women, and it is not easy for him to do this by the power of imagination. "The Flock of Wives and Concubines" is an allegory about the decadence of history, which conveys a sense of historical ruin, a typical feeling of the end of the century. "Flocks of Wives and Concubines" uses "sex" to metaphorically describe the decline and fall of a family, and delicately describes the family life of the old society in an extremely sentimental tone. The beautiful sadness behind the novel, the wetness and femininity of Jiangnan writing emanate from the deep mansion and old courtyard, confusing and trance, making people stunning and sad. Reading such fiction is reminiscent of a quote by Foucault: "What matters is not the age of discourse, but the age of discourse." "Fiction is a force that borrows Su Tong's pen and ink to return us to 1934, back to before liberation. Later, Su Tong launched "My Imperial Career", "Bodhisattva Man", "Binu", and "Yellow Bird" in the field of long-form writing. "My Imperial Career" fictionalizes the life of an emperor in beautiful words, and in the life of this emperor, it condenses the experiences of many emperors in history, writes a light and spiritual leap, and has a strong sense of contrast and nothingness. The author also specifically tells us not to read it as a historical novel. The twisty story hides deep mysteries to complete the ultimate purpose of imagining history with the dissolution of itself and the fiction of history. Many of Su Tong's novels focus on Toon Tree Street, and the stories that happen on this street are written by Su Tong in his brushstrokes, revealing the wildness of life in despair. Those men and women, with their fateful destiny, walked step by step into the abyss. Providence is so, but the author writes it in a beautiful language, and the strong contrast advances the weight of the tragedy. Even though the sun is shining, reading Su Tong's novels, there is still a kind of gloomy cold immersion into the skin.
Murong Xuecun's novel
When The first intimate contact with Pi Zi Cai was regarded as a masterpiece of online literature, Murong Xuecun, the moderator of the Tianya community, posted the novel "Chengdu, Please Forget Me Tonight" in Wuwen in April 2002, which was quickly sought after by netizens and was extremely popular, almost all forums reposted this novel, and the number of readers quickly exceeded 200,000 times, creating a miracle in the history of online literature. "Chengdu, Please Forget Me Tonight" has gradually become a classic of online literature in the future, and Murong Xuecun himself has become an iconic figure in the Tianya community. "Chengdu, please forget me tonight", seemingly popular, but in the original state of writing to express the truth of life, write unscrupulously, the cruelty of survival, the darkness of reality, the ugliness of human nature are fully revealed, vividly. As an outsider master of fiction. Brother Xuecun's language is as sharp as a razor, and he is very happy to solve the cattle. His narrative goes straight into the depths of human nature, and in the purgatory of money and love, he glimpses a solid sense of truth. "I rolled down from the high mountain of carnal desire, and my expression was as sacred and vicissitudes as a saint's. The world was empty, and I lay quietly, damp underneath, my heart at peace, and my eyes sad. "This sense of nothingness, the desperate struggle is thrilling. "Forgive Me for The Upside Down of Red Dust" is still the consistent style of Murong Xuecun, writing the joys and sorrows of the men and women in the red dust under the flow of materialism, and the pen and ink are painfully dripping, implying the author's strong cynical compassion. The author paints a colorful picture of a group of dog-like lawyers and civil servants of the political and legal organs, whose actions show the decay of this society that has penetrated deep into the bones. There is no clean hand, there is no so-called justice, everything is nothing more than a struggle for interests. Just so-called: hate water Xiao Xiao west wind cold, full of clothes and animals. Murong Xuecun's writing departs from the fast-food problems common in online writing and is reduced to an inner criticism of life and society. Whether it is "Chengdu, Please Forget Me Tonight" or "Forgive Me for Being Upside Down in Red Dust", they are not written in commercial online texts, with pain, with traumatic memories, and with personal criticism. Therefore, there was a non-fiction work that later went undercover and wrote "China Is Missing a Taste of Medicine". It can be said that Murong Xuecun's writing has restored the dignity of online literature and restored the original value of literature.
Acheng novel
His earliest reading of Acheng's works was his collection of novels, The Chess King, one of the Literary Rising Stars series launched by Writers Press in the 1980s. "The King of Chess" contains several masterpieces of Acheng's novels, such as "Chess King", "Child King", and "Tree King". Among them, the "Tree King" is slightly weaker, and the "Chess King" and the "Child King" are definitely divine products, close to the world, close to the earth, and cannot be easily seen. The first sentence of the opening chapter of "The King of Chess" is: "The station is too chaotic to be chaotic, and thousands of people are talking." "Point out the background of the times, and tell the meaning of life through the chess path of Wang's life." This is actually on the one hand, on the other hand, the novel borrows "eating" to write the cultural connotation of the people's food for heaven. Wang's solemn attitude towards "eating" originated from the ancient memory of hunger, and the novel secretly conveyed the past memory of a nation. The narrative of "The King of Chess" obviously has the narrative skills of ancient texts, with Zhang Youchi, wonderful words and sentences, regional color and transcending regional color, rising to the realm of "Tao". "The Child King" is the spring wind and rain of "education begins with literacy", but in the special era, it shows far-reaching value. In the novel, Wang Fu's composition "My Father" vaguely conveys the meaning of "Child King". The late critic Hu Heqing was very recognized by the "Three Kings" of Acheng, believing that the "Chess King" carried the Taoist cultural wisdom while implicitly pursuing the beauty of personality, based on the traditional culture of the East and endowed with a modern spirit. Ah Cheng's later "Everywhere Winds" series is like a note-taking novel, and the words and sentences have flavor. For example, "Canyon" wrote that the eagle "The eagle appeared again, slowly moving around." "The word shift is excellent. These novels, the words are short, the meaning is strong, ethereal and ethereal, you can taste it carefully. As for his collections of essays such as "The Venetian Diary", "Common Sense and General Knowledge", "Gossip: Chinese Secularism and Chinese Novels", the meaning is still there, and it can be seen that the original talent is faintly revealed. However, after all, it is much worse than the value of the novel, and the variegated color is also a color, but it is not as bright as the pure color. For example, some people can write the meanings in common sense and general knowledge. However, there is only one novel "Chess King", and no one else can write it. Another writer, Wang Xiaobo, is also common sense, his essays are also common sense, written very well, but not unique, others can write it, and some of Wang Xiaobo's novels are truly unique, their own soul. Reading Ah Cheng's interview, I think he is really a good person. Talking to the reporter about another writer, Wang Shuo, there was no bad problem of the literati being light, and he praised Wang Shuo's people and Wen Man. It's just a pity why Ah Cheng doesn't write novels, even if it is for rice sorghum, he doesn't have to completely abandon fiction. However, everyone has their own choices and destinies. Even if ah cheng only has one "Chess King", it is enough to pass it on to the world.
Liu Cixin's novel
Re-reading Liu Cixin's "Three-Body" trilogy, the previous view has changed slightly. The first time I read "The Three-Body Problem", I felt that my imagination was rich, and the setting of the survival rules of its cosmic civilization was also in line with my imagination. However, as a hard science fiction, readability is still somewhat lacking. For example, the writing of the Cultural Revolution, on the one hand, deepens the historical thickness and criticality of the novel, but at the same time it is also an alienation from science fiction. However, after re-reading "The Three-Body Problem", my understanding deepened, and I felt that there were also some points in readability that could not be ignored. The three novels must be read together and merged into one, in order to see the city government in the author's heart, and the plot is great. From the specific history of the Cultural Revolution, it brings out the space competition between the three-body world and human beings, the pen is within the reach of the pen, and even the universe and the interstellar, the imagination is extremely rich, and the sweat is endless. Human beings have always looked forward to alien civilizations, but in fact, alien civilizations have really descended on Earth, which may be a devastating disaster. Under the gaze of a higher civilization, human beings on Earth may be equivalent to ants in our human eyes, and their survival and death are not worth mentioning at all. "The Three-Body Problem" is brilliant, but many of Liu Cixin's short stories are also rare masterpieces in science fiction. The first thing I read was Liu Cixin's "2018", in recent years, Liu Liu has risen in the water in science fiction creation, and the limelight has been the same. "2018" belongs to the collection of short stories, with thirteen articles. The latest "2018" was written in 2010 and the earliest "Whale Song" was written in 1999. In Liu Cixin's "Three-Body Problem", there are more or less traces of his short stories, of which the "Supernova Era" has also been rewritten as a long novel. After reading it, I felt that "poetry cloud" was the best, and it put forward a very interesting proposition: Can the ultimate technology create everything, including art? As far as the process of reading is concerned, after reading "The Three-Body Problem" and then reading the short story collection "2018", it is somewhat lost. After all, the thick "Three-Body Problem" shows the glory of local science fiction and raises the level of Chinese science fiction. And "2018" is doomed to be an interstellar legend that cannot be written as a swinging intestine due to the limitations of the short story itself. What is interesting is that while Showing the imagination of science fiction, Da Liu does not forget to explore the social changes that technology may bring, as well as the more far-reaching touch on the spiritual fields of human nature and morality. Perhaps, his previous short stories were written in order to achieve the phoenix nirvana of "The Three-Body Problem". Science fiction literature has always been very poor in China, and in the 1980s, science fiction was even officially defined as a "poisonous weed", which made the budding science fiction creation falter, and the survivors survived in the folk. Such misery is particularly stifling for China, which has advocated science and democracy since May Fourth.
Sun Ganlu's novel
Re-reading Sun Ganlu's novels will still be shocked by his writing style. His self-talk, his insistence, is the most radical challenger to contemporary language. Sun Ganlu turned writing into an "anti-fiction" rhetorical game. His story has neither origin nor development, nor no result, and the narrative is nothing more than a self-regulatory reaction process in which words are laissez-faire. But the words are beautiful, as if reading a poem or a prose, with the author's pen and ink all the way forward, all the way forward, and finally reach the void of words. His famous work is "Visiting dreams", as if destined, Sun Ganlu's novel is really an access to dreams, giving people the confusion and fragmentation of dreams. Look at the titles of his novels, such as "Please Woman Guess the Riddle", "Messenger Letter", "I Am a Teenager's Wine Jar", "As if", "The Language of the Night", the faint poetic flow, if there is no fragment of memory, reminiscent of the poet Dante's words: "The illusion I saw almost completely disappeared, but the fragrance born from it still fell in my heart bit by bit." At the beginning of the "Messenger Letter", Sun Ganlu quotes a passage from Kafka: of course, he is only a messenger and does not know the content of the letter he transmits, but his eyes, smile, and demeanor seem to reveal a message, although he may not know anything about it. In this regard, the late genius critic Hu Heqing believes that "maybe this is Sun Ganlu's self-portrait." The Messenger came from far away in reality. From a moment in time that cannot be described in detail. At this moment, the initial impression has moved from a distance to the near end of my memory. All the walks that preceded me have become one with my walking trickle (The Messenger). In fact, in Sun Ganlu's novels, there are no typical characters or even ordinary characters in traditional realism, and his novel characters exist almost as if they exist in a mirrored way of survival, without a certain personality, without a complete image, without a definite psychological and stable behavioral motivation, and their biological and social characteristics are lost outside the nature of language. They become an excuse for language, a temporary anchorage for words, a passage between words. In a sense, Sun Ganlu's writing is a kind of fingerless fiction, a carnival of words. Its spiritual basis is the materialized writing of the french new novel narrative, which is in line with the fashion of the times in the 1990s and is proudly independent in a large forest of traditional writing.