Wang Shuo was a writer who rose to prominence in the 1980s. "I Am Your Father", "Addiction is Death", "Love You Is Not Negotiable", "The Story of the Editorial Department" and so on are his masterpieces. In addition, there is the sitcom "I Love My Home" in which he participated, which was a sensation.
Wang Shuo worked in the navy, went through business, wrote novels (long, novella, and short stories), and wrote movie scripts. Of course, what makes people remember him the most is the novel.
Writers who came out at the same time as Wang Shuo, as well as Mo Yan and Yu Hua. The works of Wang Shuo and Mo Yan were then known as "Leper Literature".
But I never felt that Wang Shuo's writing had a "leper" taste. I have read almost all of Wang Shuo's novels. His writing is pure, no matter what he writes, it is pure and pure; faithful to the laws of literary creation, you don't look at him in interviews, blunt, open-mouthed, even nonsense, feel that this person seems to be really not good. But in the novel, he never refers to Mulberry, borrowed from the title, or metaphorically. This is a writer with a frank heart and a straight heart.
For most writers, yiye zhiqiu may be applicable, but for Wang Shuo, it may be an exception.
Wang Shuo's novels, what they write, are simple and unpretentious, neither pursuing the ornateness of the words, nor paying attention to the strange and exquisite sentences, which may also provide an excuse for some people to criticize his novels for not having much literary value. But I think this is exactly what makes Wang Shuo and his novels cute. Unlike some writers, although the language is gorgeous and the sentence form is wonderful, they like to fabricate social reality, which reflects the dark side of the writer's psychology.
What exactly is the literary work trying to express? Is it to show off literature to show off its talents, or to use literature to serve society? Is it to guide the social reality on the right path forward, or to blindly vilify and denigrate a certain period of social development? Is it the literary form that dominates the literary content, or does the literary content determine the literary form? It goes without saying that if the literary content is distorted, or even exaggerated and slanderous, no matter how beautiful the text is, how wonderful the sentence form is, and how talented the author is, will this kind of literary work still have social value? It can be said that the higher the literary level of the author, the greater its negative impact and destructive effect on society.
Like a gorgeous high-rise building, it looks wonderful, but if it is tofu residue that cannot withstand tossing, it will rot and collapse at any time.
Wang Shuo has always been known for his straight-talking and unguarded mouth. For example, he believes that Mr. Lu Xun is not a writer, based on the fact that Mr. Lu Xun has not written a novel. He commented that Zhang Yimou should have been destroyed long ago, that is, he was engaged in decoration. He commented that Jia Pingwa's "Waste Capital" is a toilet thing------ of course, he has commented on almost anyone, Jin Yong, Mo Yan, Yu Hua... Catch whoever he is, comment on it, in his eyes, most people do not get his praise.
Although I do not fully agree with his views, for example, Lu Xun is not a writer without novels. According to this argument, many literary scholars in history have had to re-evaluate. For example, Han Yu, Liu Zongyuan, Su Shi, Ouyang Xiu, etc., according to Wang Shuo, are not literary scholars. This is patently wrong.
But I don't think he's completely unreasonable. When Wang Shuo said these words, he might have just said them casually, thinking something in his heart, and his mouth slipped out as soon as it came out. Whether he was right or wrong, in fact he was just talking, what should be respected, he was still respected in his heart; what he should despise, he still despised in his heart. At least when he opened his mouth, he did not have a bad heart, and his heart did not grow crooked. As for his novels, I believe how to write them, he will certainly be careful, meticulous, serious, and never as casual as he is with interviews.
Unlike some writers, the writing is excellent, but the things they write make people feel uncomfortable, ethereal, full of lies, and say a sesame seed as a watermelon. Obviously, a clear sky, he had to say that it was rainy and dark clouds were rolling; originally the red sun was shining, he had to say that it was a long night.
So, in Wang Shuo's mind, who is the real good writer in today's era? There was a man who came into his sight, and he was Ah Cheng.
When Wang Shuo talked about Ah Cheng, he always said with such relish: Ah Cheng, this is not an ordinary person, Shi Tie Sheng put me and him (Ah Cheng) side by side, really exalting me. I thought that every few decades in Beijing, there must be a person who becomes a sperm, and it is Ah Cheng who has cultivated a fine spirit in these decades. I admire this person immensely, and if someone gives an order that everyone in the country must chase the stars, I will chase Acheng. Acheng is one of my favorite writers, not one.
It can be seen that Wang Shuo's admiration and admiration for Ah Cheng almost reached the level of madness.
So, who is Ah Cheng? Let's look at this person's resume.
Acheng, formerly known as Zhong Acheng, born in 1949 in Beijing, his ancestral home is Jiangjin District, Chongqing, and Chinese mainland writer and screenwriter.
In 1984, he published his first short story "The King of Chess".
In 1985, he started his screenwriting career as a screenwriter for the movie "Big Star".
In 1986, he was nominated for the Best Screenplay Award at the 7th Golden Rooster Awards for his film "Furong Town".
In 1991, he worked as a screenwriter for the movie "Chess King".
In 1993, he co-wrote the screenplay for the mythological horror film "The Yin and Yang Dharma King of painted skins" with Hu Jinquan.
In 1997, he published the essay "The Venetian Diary".
In 2002, the film "Spring in a Small Town" written by him was released.
In 2006, he served as the screenwriter of the biographical film "Wu Qingyuan".
In 2010, he published the essay "Good Talk And Bad Talk".
In 2015, he worked as the screenwriter of the costume action film "Assassin Nie Yinniang", which was nominated for the Best Adapted Screenplay Award at the 52nd Golden Horse Awards.
In 2016, he published the collection of works "Acheng Anthology".
Above, is the basic trajectory and experience of Ah Cheng's creation. After going abroad, he lost track.
In the contemporary Chinese cultural circle, the writer Ah Cheng is indeed a very peculiar figure. It is said that he has no door, no faction, no circle, no occupation, and no trimming, but when the "cultural celebrities" see Acheng, they are all respectful.
We know that the characteristics of cultural people are poor and high, no money and arrogant, looking at anyone, they all feel "but so", all are not as good as themselves. Curiously, however, many literati regard Acheng as a tall being. Among them were celebrities such as Wang Shuo, Chen Danqing, and Ma Weidu, who seemed to be immediately shorter as soon as they saw Ah Cheng.
Why? The reasons are, of course, manifold. Some people paranoidly believe that this is because of the "cultural fault line" of the early eighties. This author does not dare to agree, in order not to provoke right and wrong, inconvenient to comment, everyone speculates on their own.
In 1984, Acheng's short story "The King of Chess" landed in the famous magazine "Shanghai Literature" at that time. Later, he wrote "Child King", "Tree King", "Everywhere Wind" and other popular works at home and abroad.
This may also be an important reason why Wang Shuo, Mo Yan, Yu Hua and others admired Ah Cheng. Because Ah Cheng seemed to have opened a way for them in the wilderness, the literati understood the fact that writing could make a fortune.
In the eyes of these literati who emerged in the 1980s and 1990s, Acheng was their example. The power and appeal of example is always infinite.
However, when the stars were holding the moon, Acheng said: "If your manuscript is selected by the Writer, you need to be extremely sober. If only the name could appear on The Writer, it would be a writer. One of my essays, "The Meal," won the Writer's Fiction Award, and there was no reason to be unhappy, but I knew that I was still just an author and was far from being able to become a 'home'. ”
That's kind of interesting! Talented, hardworking, accomplished, humble and sober, I didn't feel anything remarkable about myself! Who can not admire such a person? Such a person should indeed be respected by people, and even more should become a model for all literati.
Since ancient times, mutual contempt and arrogance have become a label that most literati have attached but can no longer be removed. But Ah Cheng's confession is indeed like a clear spring, which should often flow through the hearts of the literati who are indispensable; Ah Cheng's confession is more like a slap on the head, beating those literati with three views of injustice to the head and bleeding, and making them remember that there are people outside the people, there are days outside the sky, and they know how many pounds they have. Perhaps only in this way, the environment in which the literati worked every day might be less filthy and smelly.
It is said that Wang Shuo admired Ah Cheng, and it was by no means more than the above. He also admired what Ah Cheng did, what he was like; what he did, he had to do to the end; whatever he did, he could do.
Acheng is not a carpenter, but Acheng can make furniture; Acheng is not a car mechanic, but Acheng will modify cars------ in short, Acheng seems to be able to do anything, anything can be done, anything can be done to the extreme.
However, if Wang Shuo therefore regards Ah Cheng as the writer and idol he most admires, it seems to be biased.
Because Wang Shuo admired not only ah cheng's literary works. For example, Acheng can make its own furniture, Acheng can modify cars...
Therefore, I personally feel that Wang Shuo himself liked Ah Cheng, and perhaps he himself seemed a little confused later. Obviously, what he admired was not only Ah Cheng's literature, but Ah Cheng's brilliant, perseverance, talent, and omnipotence, which obviously had nothing to do with literature.
If Wang Shuo therefore thinks that Ah Cheng is the writer he most admires, and there is no one, this conclusion is obviously a little early, hasty, and really unconvincing.