Liu Zhenyun and director Mou Sen appeared at tianjin style Pingyuan Art Space to guide the new drama. Photo by Zhang Daozheng
Close-up: Liu Zhenyun of "Nine Curves and Eighteen Bends"
Tianjin, June 27 (China News Network) Title: Liu Zhenyun of the "Nine Curves and Eighteen Bends."
China News Network reporter Zhang Daozheng
"Don't offend the media." In the discussion and interview for more than three hours a night, Liu Zhenyun seemed to have only said such a big sentence, which made the audience laugh, but still borrowed the "joke" of the story characters.
This is Liu Zhenyun's style. On the evening of June 26, Liu Zhenyun and director Mu Sen appeared in Tianjin Style Pingyuan Art Space to guide the new drama, and also let Tianjin readers see his "nine curves and eighteen bends" language.
The famous writer Liu Zhenyun communicated with readers. Photo by Zhang Daozheng
Talk and laugh, winding and meandering, cloud mountains and fog cover, but relish. Liu Zhenyun can see tricks and tricks on any topic, tell stories according to his own logic, and in the end, the guests and hosts forget their original intentions.
This is Liu Zhenyun's art of speaking. The talking Liu Zhenyun attaches great importance to "speaking", and his novels in recent years have shown a special attention to the phenomenon of human "talking" and have made it one of the themes of his works.
This is the case with the novel "Ten Thousand Sentences in One Sentence". In order to find his wife who eloped with someone, the protagonist lost the only adopted daughter who could "speak" on the road, and in order to find her, he had to go out of Yanjin.
"Speaking" and "not saying" are very important in Liu Zhenyun's view. He believes that due to the difference in environment, status and respective interests, there are not many friends between people who can speak intimately and warm their souls, and most people live in loneliness.
Perhaps based on this realization, he often sees "seeking" and "listening" as the meaning of life's existence in his novels. Liu Zhenyun himself and his characters speak as if they were hiding deep in the city government, full of twists and turns.
For the "don't offend media people" rhetoric, he also told a very roundabout story: one year his article became a college entrance examination question, 25 points, the media asked him to do it, the result was that he only took 5 points, the conclusion is "don't offend media people."
Some people think that his works are "magic realism", some people think that they are "surrealism", Liu Zhenyun has said: "Literary critics like to dissect works as specimens, extracting several qualities from the works, but these are not too important for the author." ”
"The figure in the work is like a butterfly flying on a twilight wheat field, it is alive, but when it is classified as ism, the butterfly is photographed to death, and more important than this is the communication with the characters in the work." Liu Zhenyun believes that external utilitarian thinking is the greatest harm to the author, "My works are works that make reviews slightly difficult to grasp, and sometimes the critic's yardstick fails, I think it is more important to write the works well." ”
Someone asked him "it seems that there are not many replies to comments", Liu Zhenyun said: "I rarely reply because I do not understand literary theory, never discuss things beyond my professional field, writing is an industry that requires learning." ”
Tongue in cheek. This is Liu Zhenyun. (End)