"I dare not forget that I am a peasant boy from there." That was the last sentence in Liu Zhenyun's short story "Tapu" 34 years ago. He always remembered.
Among Chinese writers, Liu Zhenyun is the most electrocuted. Not only has the work been adapted a lot, but he has also played roles himself. Although there are not many shots, Liu Zhenyun's biggest gain is to find the fun of the film dialogue, and also contact different people, directors, actors, photographers, young men who move props...
Liu Zhenyun laughed and said that everyone around them is actually a philosopher, and their perspective on the world has a lot of inspiration for themselves.
Liu Zhenyun and the new book "Three Autumns in One Day"
Some people commented on his new work "One Day and Three Autumns": Liu Zhenyun is first and foremost a philosopher, which is the fundamental reason why his literature is different.
The power of listening
Once, Liu Zhenyun was communicating in a library in the Netherlands, and a reader stood up and said that she was laughing from beginning to end reading "I Am Not Pan Jinlian", and there was only one place where she cried, that is, when the protagonist Li Xuelian spoke to everyone in the world and was not believed, she began to say to a cow. Everyone was making fun of her, and she could only tell the cow: Do you believe that I am not a bad woman, and whether this complaint is filed or not? When Liu Zhenyun told this story, he added a sentence: There is a second cow beside her who is also listening, and his name is Liu Zhenyun.
I believe this is the norm for Liu Zhenyun, listening with a cow's posture and loyalty. When Li Xuelian's hearts have nowhere to tell, he listens; when he tells the reader the heartfelt words he hears through literature, he wins more listening. This is the power of literature and the power of listening.
Liu Zhenyun has many friends and has nothing to do with his profession. He became friends with the fat man who sold fruit, and the fat man could help him move the fruit box, and would also invite him to the big tent behind the fruit stall to taste the dumplings that had just come out of the pot; he became friends with the Hubei master who nailed shoes, the master used to wear gloves and nail shoes, and after sewing the zipper, he would repeatedly polish it with soap, especially seriously, so that the job looked like a sense of dignity; renovating the house, he became friends with Old Zhao who sold stones, and Old Zhao only spoke to him in his heart: "Like me, a stone seller, what can I have, I am left with my heart." ”
This made Liu Zhenyun extremely moved, and at that moment, he felt that he was the richest person in the world. Just like the new work "Three Autumns in One Day", Uncle Six told "me" the stories of those paintings. After uncle Six's death, all the paintings were burned by Aunt Six. In order to commemorate the past of Uncle Six, "I" used the painting of Uncle Six as the mother and used the story to describe the Yanjin in the painting.
A message for evening newspaper readers
In the past, when writing, I felt that I had something to say before I wrote; now, Liu Zhenyun gradually discovered that what the characters in the work had to say was the most important. Therefore, his daily writing is actually listening, and listening gives him great freedom in writing.
The absurd is more real than the real
Early novels have already hinted at Liu Zhenyun's later creative purpose: to depict real life in white, and to pay attention to the life situation of small people with realistic pen and ink. This is probably inevitable in Liu Zhenyun. For example, taking the high-speed rail, he especially likes to sit in the second class seat, many people think it is too noisy, some passengers will put the mobile phone sound very loud, children run around, but Liu Zhenyun feels warm, he also likes to enjoy the aroma of instant noodles full of carriages.
However, in the later period, Liu Zhenyun's works were labeled "realistic magic". In fact, the characters in the work live in a real and "magical" world. In "One Day and Three Autumns", Bright said to Hua Erniang: "People often cry wet pillows in their dreams, do you say that this crying is true? People often laugh out loud in their dreams, do you say that this laughter is true? Sometimes this is more true than the cries and laughter in life. In "Hometown Noodles and Flowers", the author borrowed Guo Laosan's mouth and said: "The world is changing with each passing day, and the patterns of relationships are endless, but if you think about it, everything is a drama, just the protagonist, in the blink of an eye, it is the problem of others taking you to play or not..." "One Day, Three Autumns" simply let the actors play directly. In the Yu opera "The Legend of the White Snake", the three people who play Xu Xian, the White Lady and the Fahai are entangled in reality, and the legend of the fairy flower erniang is shuttled in the painting, in the legend, and in the dream, which makes "one day and three autumns" have the meaning of "three lives and three lives". It's a rare absurd drama; however, the greatest absurdity is probably the greatest truth. Sometimes the absurd is more real than the real.
A lifetime of living has become a joke
"Being able to speak" is a realm that can be encountered and cannot be sought. As Liu Zhenyun said in "Ten Thousand Sentences in One Sentence": "A person's loneliness is not lonely, a person looking for another person, a sentence to find another sentence, is the real loneliness." Liu Zhenyun once used the analogy of going to Bieliang with a companion, and the two met at an intersection, "Big brother, where to go?" "It turned out that they were all going to Bieliang. Smoking, talking, and throwing tantrums, they walked together. As I walked, I became more familiar and began to say some of my troubles and words that were pressing down on my heart. When I got to Bieliang, one to the east and one to the west, I waved my hands and said goodbye. After many years, and then remembering each other, the man probably bumped his cigarette bag and thought, "Old Liu doesn't know what happened?" ”
"One Sentence Top 10,000 Sentences" is divided into two parts. The upper part of the "Record of Exiting Yanjin" tells that the peasant Wu Moses lost the only adopted daughter who could "speak" on the road in order to find a wife who eloped with people, and had to go out of Yanjin in order to find an adopted daughter; the lower part of the "Book of Return to Yanjin" tells that Niu Aiguo, the son of Wu Moses' adopted daughter Qiaoling, also went to Yanjin in order to find a wife who eloped with others. In "Nineteen Forty-Two", the cook played by Fan Wei is good at the carp baking noodles made by Yanjin; in the movie "One Sentence Top 10,000 Sentences", Fan Wei plays the old Song who is still the cook of Yanjin. The new work "One Day and Three Autumns" also records the story of Chen Liangming's father and son walking out of Yanjin and returning to Yanjin.
Liu Zhenyun in his youth
His hometown was his literary mecca. Starting from "Tapu" and "New Soldier Company" in the 1980s, Liu Zhenyun, a representative writer of neo-realism, has walked all the way along his hometown, and in works such as "Yellow Flowers in the Hometown World" and "Hometown Together and Circulating", distant hometowns can be seen, and "Mobile Phone" and "My Name is Liu Yuejin" are also set in Yanjin. This background color is becoming clearer in "One Day and Three Autumns". The door plaque where Chen Liangzhong's heavy gold is looking for the heart of the jujube tree is also the complex of Yanjin, which is bright and also the homesickness complex of the writer's heart. Three thousand years ago, the fairy flower Erniang of the Lengyou clan wandered into Yanjin, Henan, and every night she entered people's dreams to beg for jokes, and those who could tell jokes rewarded tomatoes; those who had no fun jokes would carry erniang to drink peppery soup. As everyone knows, Hua Erniang has turned into a mountain, and the people on the back of the mountain have a dream. Unbeknownst to Hua Erniang, her husband had already been stuck in the throat by a fish thorn while listening to jokes, and was thrown into the Yellow River to drown; Chen Liangliang's mother Cherry drifted down the Yangtze River to Jiujiang after her death, suddenly returned to the Song Dynasty, and the jokes found in the Song Dynasty saved her life, because Yan Wangye also liked to listen to jokes - everyone finally suddenly realized that she seemed to have lived a joke for a lifetime.
Liu Zhenyun told the simplest life with jokes: there is nothing wrong with living as a joke. And between jokes and jokes, between people's jokes and finding jokes, it is the art of structure. In Liu Zhenyun's works, the focus of structure is better than the story, and how the story is told is more important than the story itself. "One Day, Three Autumns" breaks down the barriers of life. Inside and outside the play, ghosts and gods in the world, heaven into the earth, outside the painting, outside the dream, reverse and straight, the structure is rigorous and extremely tense. In addition to the storyline and dialogue language, the secret and rigorous structure of "Three Autumns in One Day" shows the writer's ability to lift weights. His writing is a serial set, a screw turn, a screw twist, a screw of a screw.
"Screwba" is Liu Zhenyun's saying. He tried to correct the "twisting" that emanated from the cracks in his bones through writing. Therefore, many times, his language is entangled, but it is simple and easy, what is what is, no showmanship, no exaggeration, using simple language to build a wonderful artistic structure, but reflecting the profound truth behind the story.
Insight is the yardstick by which the author is tested
Liu Zhenyun liked to read the Analects, repeatedly studied dozens of times, he concluded that Confucius had three major characteristics: First, Confucius was a mean person. "Do you have friends from afar?" It was because Confucius and the people around him had nothing to say. Mean people have insight, and behind the meanness, there is compassion for all people. Second, Confucius was a great writer and a great thinker, and he did not speak deeply about things, but about profound things in the home, and this realm was also remarkable. Third, Confucius spoke and went around, and after half a day, he didn't know where to go.
Liu Zhenyun speaks and writes novels very around. In his concise and witty narrative, the simple story becomes endless and addictive. He boiled down his unique way of thinking and language to the ability to think deeply and persistently, and the direct influence was his grandmother. The bright grandmother in "One Day and Three Autumns" may have pinned on the writer's thoughts, and the previous "Hometown Yellow Flowers" simply wrote "Dedicated to My Grandmother".
My grandmother was only 1.55 meters tall, and when she was young, she was a particularly big name "star" in the local area. In Liu Zhenyun's eyes, her grandmother's fame is equivalent to Julia Roberts, and it is not surprising that Julia has become a star, because she is an actress. It was not easy for my grandmother to become a star, she was a long-term worker. At that time she was cutting wheat in the field, and the wheat that was three miles long was cut to the head and did not straighten her waist. Her "transfer fee" is very high, like Ronaldo's. My grandmother said, "Why do I cut faster than others?" I know not to straighten up. Straight the first time, I want to be straight for the second time, and the second time straight has a twentieth time. I knew I had to bend down and not straighten up for everything, so I 'cut faster than others'. Liu Zhenyun said that his writing learned a lot from his grandmother's philosophy.
"My writing is just getting started. This is not hypocrisy, it is just a matter of writing, I have just tasted something new. "Liu Zhenyun said that insight is the most fundamental yardstick for testing authors." The author's writing methods are all the same, and the real test is not in the writing, but before writing, whether you can find different things from the same life. That is, whether the author's insight is unique, and all good authors must have different insights from others. "It's also especially important to think deeply before and during writing, and to forget quickly after writing. It's like climbing another hill again, starting from scratch. Constantly returning to zero is Liu Zhenyun's habit. (Shu Jinyu)