When literature is mentioned, people must think of the appearance of a beautiful scholar dressed in green cloth and holding a scroll, standing by the window, looking at the distant scenery, their eyes are deep and sad, they have an extraordinary meticulous mind, a brilliant literary brushstroke, and in the eyes of the world, they are even not stained with worldly customs.
But the writer introduced today is not a literary student, he hunched over, poor appearance, straightforward and simple writing, but he has a wise mind, and a wide range of subjects, can assemble his own cars, but also can be the art director of movies, he also has a literary person's unique tenacity, seriousness.
Who is this person? He is a generation of famous writers Acheng.
<h1 class = "pgc-h-arrow-right" >, the growth experience of Acheng</h1>
Acheng, formerly known as Acheng, born in 1949 in Jiangjin, Chongqing, is an important representative of contemporary "root-seeking" novels, in addition to novels, he also carried out creation and adaptation work.
His works mainly write about folk culture in a light-colored writing style, and his works reveal a strong and timeless interest in life, including reflections on life, nature, human beings and ways of living.
In the 1990s, he settled in the United States, and occasionally some miscellaneous prose was published, and his straightforward language style was still unchanged in the articles.
While other children around the age of twelve were still playing outside, Ah Cheng had already read all the books of major masters, including the excellent works of major Chinese and foreign masters such as Tolstoy.
Since childhood, he has read a lot of books, so that he has more transparent eyes and delicate hearts than others, and developed the habit of being good at observation and thinking, which has paved the way for his future writing career.
Acheng has a rich growth experience. At the beginning of the turmoil in 1968, he was sent to the Shanxi region, and his first year of high school was interrupted, and from then on, he began to learn to paint, and when he was transferred to Inner Mongolia to join the team, he often went to the grassland to sketch, and then he went to the farm of the Yunnan Construction Corps to settle down.
During this time, Ah Cheng became acquainted with the painter Fan Zeng, and the two became close friends. During this turbulent period, he continued to understand the local customs of various places, and also accumulated many precious life experiences for his writing.
Acheng became a representative of the "root-seeking movement". The idea of searching for roots came from the activities of Zhiqing going to the countryside that Ah Cheng participated in, and he gained many feelings in it.
At that time, the turmoil had just ended, and the reform and opening up had just begun, during this time, he used his experience as a young intellectual, visited various places in the mountains and the countryside, and discovered folk culture that had not been noticed before.
His keen sense of consciousness found that many traditional national cultures were not valued enough by people, and the so-called "four olds" in the past were the soil for feeding, and he felt that these things should be dug up again, and valuable things should be displayed to people, so that folk culture can return to literature and continue to feed culture as our "root".
<h1 class = "pgc-h-arrow-right" > second, Acheng's writing career</h1>
In 1984, Ah Cheng surprised the Chinese literary scene with his debut work "". The book was published in 1984 and attracted much attention.
In the article, he included his perception of life, and the heroic deeds of ordinary people were recorded by him, which reflected the epitome of history, from a personal point of view, starting from scratch and then returning to zero, and history was further advanced.
As a result, Ah Cheng has won the Fujian "Selected Novellas" Excellent Work Award and the Third National Excellent Novella Award. As a result, the novel won many honors such as "the best 100 novels of the 20th century".
After the release of "The King of Chess", Acheng's works came out one after another, after which he wrote a miscellaneous essay "Culture Restricts Mankind", followed by two novellas and six short stories. These works are also very popular with the public, and his writing remains as simple and straightforward as before.
When Ah Cheng writes novels, he will "ridicule" himself. The speeches included in "Gossip and Gossip" generally have an excellent sense of presence, and the text language in the article is also freewheeling, and when Ah Cheng says something, he often interjects from time to time, and sometimes jokes about himself.
This is a rare and valuable literati elegance, the average literati writer rarely has a self-deprecating way of writing, but Acheng is full of care, and this "ridicule" is still very in place. He once said that when he was a child, his family was poor, and he always went to the bookstore to stand and read books, so he "cultivated a hunchback and the appearance of a decadent literati."
<h1 class="pgc-h-arrow-right" > third, Acheng's text is simple and timeless, and resolutely refuses to have any "tone" in the text</h1>
Ah Cheng insists on refusing to be contaminated with the "tone" of writing, and the "tone" of this thing can often be seen in daily life, and many people write something to start with some clichés.
Perhaps sometimes when reading newspapers and magazines, I also find some, and there are many official clichés that are still used, mostly in the official documents of some companies and departments. These "tones" have no practical significance, which makes Ah Cheng disgusted.
Ah Cheng said in his self-statement that what he was most afraid of was to contaminate any "tone". He said that some people unconsciously carry a certain novel when writing novels, which is what he feels is the most third-rate tone, but many writers cannot get rid of a certain special tone, including literary and artistic style, novel style, and so on.
He once said that as a typical representative of the "root-seeking" movement, some people arbitrarily put him in the "root-seeking literature", which cannot be said to be problematic, but he is really afraid of the tone of it.
The reason why Acheng's works are different is due to his insistence on authenticity. His skill in writing novels is that there is no skill, there is no trick to win. The style of writing not only stays in classical art, but also has its own unique experience, and the foundation is always real.
He often used short, concise sentences that read so timelessly and flavorfully. He wrote little stories in his own right. There is no lesson to be pursued, nor to convey any hard-hitting ideas in it, everything is so casual and authentic, it seems that there is no deliberate structural arrangement, but all this makes people feel clever and deep.
<h1 class = "pgc-h-arrow-right" > four, Ah Cheng has not written novels for more than thirty years, which is a huge loss to the Chinese literary world</h1>
Ah Cheng has not "written" novels for more than thirty years, not really no longer, he just does not publish anymore. Once the "Lookout Oriental Weekly" interviewed Ah Cheng and asked, "Will you continue to write novels now?" "
Ah Cheng replied: "Naturally I will write, but I will not publish, writing a novel and publishing are two different things, no one said that writing an article must be shown to others, I am now writing and playing." As for whether they will be published in the future, it still depends on whether the relevant system has improved. "
It is not that Ah Cheng did not write, but did not publish his works for the world to see. The reason why Acheng did not publish the article was that he did not want his article to be deleted and changed. In an interview with Lookout Oriental Weekly, Acheng said that now the essay is no longer written much, and the columns that were previously in Harvest were many years ago, and the sensitive information in it has been deleted.
The previously published "Common Sense and General Knowledge" also deleted many parts that he was very concerned about. He also said with a little complaint: "It is okay to delete it, but at least it should be typed in the upper box, 'how many words are deleted here', don't make it look like I wrote it like this."
In the "Harvest" article is also, if they are responsible, they should put the upper box and mark the deletion clearly. Now that I am this age, I want to write happily, so I simply do not publish. Why can Jia Pingwo frame the article, but I can't? This is also a kind of final insistence on the fidelity of ah cheng's works.
Ah Cheng's failure to publish novels is a major loss to the Chinese literary world, Ah Cheng's works are the best works of ancient Chinese notebook novels, reading his words, it will make people cry and laugh, both embarrassing and embarrassing, each of which contains various flavors of life, that is, a feeling of listening to others face to face to tell stories.
In such a secular world, there were originally many such stories, but in China in the long river of history, so that these secular words are about to disappear, Ah Cheng just wants to present the stories of the world through his works, and now he no longer publishes novels, which is a pity.
Ah Cheng's most perfect and pure writing comes from his insight into the world, from his clean and clear heart, he is unique in the literary world, insisting on his own writing style.
What he has is a writer's sincere heart for his own works, has his own faith pride, has his own bottom line, and what he hopes is that his works can be completely presented to everyone and can not be arbitrarily changed.
Although Acheng no longer publishes novels at present, he still insists on writing, believing that one day, his works will come out again, let us look forward to the day when his works will be published.