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Critics and writers talk about Liu Xinglong's recent works and the development trend of new century literature
Source: China New Literature Society Published: 2019-07-17 Author: Chinese New Literature Society
From November 24th to 25th, 2018, the academic symposium of "Liu Xinglong's recent works and the development trend of new century literature" was held at the Yifu International Conference Center of Central China Normal University. The conference was co-sponsored by the first-class discipline of Chinese language and literature of Central China Normal University, the Chinese New Literature Society, the School of Chinese Literature of Central China Normal University, the Liu Xinglong Contemporary Literature Research Center, and the editorial department of the New Literature Review. Yan Jingming, secretary of the Chinese Writers Association, Shi Zhanjun, editor-in-chief of People 's Literature, and Li Xiuwen, chairman of the Hubei Writers Association; Yu Kexun, chairman of the Hubei Literary and Art Critics Association; professor at Wuhan University; More than 130 well-known experts and scholars from all over the country came to the meeting, including Wang Xianyu, former chairman of Hubei Provincial Writers Association, professor of Central China Normal University, He Zhongming, professor of Jinan University, vice president of Chinese New Literature Society, and professor Chen Meilan from Wuhan University. The meeting focused on the relationship between Liu Xinglong's recent works and the development trend of the new century literature, which helped promote the prosperity and development of Chinese contemporary literary creation and research.
The important speeches of this meeting were compiled and published in the 2nd issue of New Literature Review 2019.
Inspiration from Liu Xinglong
Sitting at this venue today I am very moved. This is not the first time I have come to participate in a seminar on Liu Xinglong's works. I have participated in the novel "Shengtianmenkou" seminar and the TV series "Shengtianmenkou" seminar. "Skywalker" won the Mao Dun Literature Award, and I was one of the judges at the time. But I can't say how familiar I am with Liu Xinglong's creation, let alone in-depth research. I mainly come to congratulate today. In today's meeting place, several generations of scholars gathered together, and everyone came from all over the country to participate in this seminar. First of all, I would like to extend my warm congratulations to the grand convening of this seminar. I also especially thank Hubei Province, the Wuhan Municipal Party Committee, the government, especially the propaganda department, the Federation of Literary and Art Federations for their literary career, for contemporary writers, and for Liu Xinglong himself It attaches great importance to and strong support, and special thanks to Central China Normal University, a comprehensive university for the recognition and appreciation of contemporary writers, especially Hubei writers.
Today's seminar is very important. Liu Xinglong's creative process can be said to have accompanied the growth of Chinese literature in the new era. He is a witness and an important participant. His creations for so many years are constantly seeking new and change, and at the same time have a lot of constant persistence. Next, we will spend a day and a half discussing these topics, which I find very valuable. Our seminar today is not about discussing Liu Xinglong himself, crowning him and celebrating him, but academic discussion of Liu Xinglong's recent works and the development trend of contemporary Chinese literature in the new century. This is both discussing Liu Xinglong and the development trend of Chinese literature in the new century. It should be said to be a valuable topic.
Regarding Liu Xinglong's creations in recent years, combined with the topics we are discussing today, I talk about three points of relationship or inspiration.
First, the revelation of Liu Xinglong's persistence in creation. Persistent creation is a very prominent feature of Liu Xinglong. This is not simply a peripheral issue. Liu Xinglong is also a rare writer of the Lu Xun Literature Award and Mao Dun Literature Award in Hubei and even in the country. He won the Lu Award very early, and later won the Mao Dun Literature Award after entering the new century. It should be said that his honor basically runs through his creative history, but one of the important advantages of Liu Xinglong is that he continues to win awards, but he did not loosen Taste and enjoy the cozy thoughts of honor. He insists on creation, and what needs to be emphasized is that the insistence on creation I said is not to maintain his reputation through speeches, creative talks, and interviews with reporters, but to continue to think deeply and continue to produce large works, especially Create novels. What we are discussing today is his recent works, which are mainly "蟠 虺" and "Huanggang Secret Volume". Actually, from "蟠 虺" to "Huanggang Secret Volume", it is the best proof that I just said that I insist on creating large works. . Of course, as an industrious writer, he also wrote many prose works at the same time, especially the "Upper Yangtze River", which has been published in recent years. This kind of action that adheres to the standard of fiction and the creation of new works and large works is, in my opinion, very commendable in the current Chinese literary and cultural atmosphere and atmosphere.
Second, Liu Xinglong's creation has an artistic consciousness, and strives to seek the integration of history and reality. Liu Xinglong's creations are rich and important in terms of subject matter, history and reality. In terms of expressing historical themes, I think that the development of novel creation in the past 40 years in China in the new era is actually somewhat changed. Let us talk about some superficial, superficial, or formal changes. The historical themes in the early and middle periods of the new era are directly into history, and the historical space is relatively specific. "The Great Qin Empire" is directly into history, and contemporary inspiration is an indirect response. Later, it slowly developed, and another creative situation emerged, which was to bring contemporary reality into the history of presentation, that is, to return to the scene of history from a contemporary perspective. This kind of subject matter creation is mostly modern historical subject matter, such as reflecting modern times, since the May 4th Movement, and since the War of Resistance, and so on. However, since the new century, the pattern of historical themes has undergone subversive changes. After the emergence of online literature, historical themes are not the two situations I just mentioned. There is a very important creation in online literature called crossing. After passing through, whether you write about the Tang Dynasty, the Warring States Period, or the Spring and Autumn Period, anyway, the distant history has some strange, absurd, or even bizarre collusion with contemporary people today. For example, a person can take a mobile phone back to the Tang Dynasty, which can be seen in novels and TV shows. In the performance of modern history, due to the enthusiasm for the creation of a hundred-year history and a family history, a writer must try to get through the historical clues when writing a family history and a hundred-year history. Linear extension. Of course, for each writer, the specific details of creation still differ.
What Liu Xinglong provided us is another situation. His "蟠 虺" and "Huang Gang Secret" have a common feature, that is, the linear division of history is melted. The history and reality in his writing are not an extension or extension, but It's a fusion. For example, "蟠 虺" writes about ancient Chu culture and Chu cultural relics, but the theme of the novel's expression does not focus on this point, and its moral is actually contemporary. Some critics say that the critique of this novel points directly at the present intellectuals, and I agree with this evaluation. "Huanggang Secret" is not the kind of common century-old writing style. In this novel, the historical narrative is completely crossed and intertwined. There is no modern and contemporary concept to determine. The narrator of the novel He is a descendant of a family. He has direct or indirect relationships and connections with many characters. The experiences, stories, emotions, and destinies of these characters are brought together by the narrator. The characteristics of Liu Xinglong's novels in history and reality in recent years are a sign of his increasingly mature personal creation, and he has also made enlightening explorations in his novel experience.
Third, Liu Xinglong has a clear sense of local history, and at the same time he has a conscious expression of the Chinese spirit. His creation has always had a clear geographical indication, and his awareness of Hubei and Jingchu cultures is very strong. However, the creation of "Huanggang Secret Volume" shows that in fact, Liu Xinglong's creative process has also changed. He more consciously and directly wrote the locality as a common character, and the regionality as a local history. He described the place very consciously Culture and even local character. This locale writing is a trendy change in the creation of contemporary Chinese novels in recent years. Many writers are willing to write their novels in a more explicit geographical position, and they want to make a difference in local aspirations. But I also have a kind of thinking, that is, too prominent and certain, excessively narrow locality or regional identification, as a novel, is it also restricted in the pattern at the same time, and the wide range of creative materials, creative ambitions, and theme patterns , Complexity, whether affected. I think Liu Xinglong did at least one thing when he created the "Huanggang Secret Scroll", that is, while highlighting the regionality, even while emphasizing the regional and historical features, he also worked hard and consciously to open the pattern and make breakthroughs. Local pattern. For example, the appearance of Shaochuan and his daughter Beitong at the beginning of the novel, as well as the subsequent entry of a series of characters and the development of the story, are from various angles and levels, using various perspectives to look at, observe, and evaluate the so-called Hometown, family. The image of the work is very specific and very local, including the introduction of dialects and slang that many outsiders can't feel at all. But as a novelist, he has a conscious openness in his attitudes and themes. If Liu Xinglong's recent works have any enlightenment on the development trend of contemporary literature, it is that in the convergence of this trend, there is also his own personality, and his own personality is actually also relevant to the creation of other writers, especially young writers. Very enlightening. Although the novel is written in a local and local style, it can be felt that the writer's efforts are actually an expression of the Chinese spirit, making it more concrete, and able to come in and out. This is a big writer and general The difference between writers. I think Liu Xinglong's creation will continue, he will also bring us big works, and it is worthy of our careful analysis.
The establishment of the Liu Xinglong Contemporary Literature Research Center in Central China Normal University is very necessary and of continuing value. It provides more inspiration for Liu Xinglong's personal creation and Hubei literature, including the development of Chinese contemporary literature, and provides more academically valuable results. Congratulations to Xinglong and congratulations on the success of this seminar.
Circumstances, Roots and Circles
I am a senior reader of Xinglong. From tracking his creations in the 90s to now being an editor, I don't need to say anything about his closeness and understanding. In my reading experience, Liu Xinglong's creation is first of all a sense of circumstance, that is, grounded and realistic. Very good works like "Phoenix", "Sharing Difficulty", and "Skywalker" all have realistic character. Exploring the order and grounds of reality and finding the clues of reality requires extraordinary eyesight. Facing the reality of collapse, more and more writers are hesitant, but Liu Xinglong did not choose to lame, but chose to take a step. This is his sense of situation.
Second, Liu Xinglong's creation has roots. The revision just mentioned his "Mystery of Dabie Mountain". This novel has a certain avant-garde temperament and root-seeking temperament, but also has a mysterious and strong Chu culture atmosphere. In fact, he continued the greatness with this novel. Cultural traditions. We know that there is a text in "The Gate of Heaven" called "Darkness", and the source of the story like "蟠 虺" is a weapon of a country-Zeng Hou Yi Zun Pan, and "Huang Gang Secret Volume" is a volume with a volume The novel in which the book is "The Family of Liu Family". Both his imagination and fiction originate from the roots, so in each of his novels, there are the origins of imagination and the direction of his sorrow. At the same time, he could not help but be keen, this is his creation. The "Family of Liu Family", such as "Huang Gang Secret", is a root beard that connects recent history and reality. From this novel, he not only explores the coming and going of a family, but more importantly, he repairs it. The modern significance of Qi Zhiping.
Third, there is squareness. Fang Yuyuan can describe a person's character, as well as the composition of a work. Each of Liu Xinglong's works has individual edges, corners, and acute angles. When facing vast life, he chose to be mellow and tolerant. A square shape means a pattern. Liu Xinglong is a writer with a family in his heart, from small villages and elementary schools to the century-old "Shengtianmenkou", from small counties and small cultural centers to large groups of high-level intellectuals, from the irony and reflection of "The Big Tree Is Small" Solemn and Solemn on the Yangtze River. He is a writer with an overall structure. He is not only a novelist, but also a poet. The ideal poetic mind, the sincere prose sentiment, and his will to the novel of search, all of which keep him from being confused , Contented. He entered his work in his own footsteps. "Upper Yangtze River" is very moving. This is the text formed by his experience from the estuary to the source. I think few people in today's writers may have such patience and physical strength, but Liu Xinglong did it. It didn't just consume physical and mental strength. I know the whole process very well. The reach of his willpower makes a kingdom of intellectuals manifest in the rivers and rivers that swell on the shore, the grasses and the vast and wonderful rivers and mountains of the West Sea.
The height and width of Hubei literature
Dear Chairman Yan, good morning everyone! I just talked with our secretary Zhu, and our secretary Zhu expressed his respect to you on behalf of the Hubei Provincial Writers Association. Teacher Liu and I have been working under the same roof for twenty years, and it has been thirty years since I first read his work. Now I express my understanding and admiration of Mr. Liu from the perspective of a reader who has been witnessing and observing Mr. Liu's writing up close.
The first time I read about Mr. Liu's work was probably in high school. At that time I was standing in a bookstore and reading "Prestige". For this outstanding novel, I still think that to a certain extent, its interpretation and its unique significance to the literature of that era have not been fully explored and recognized. I became a colleague with Mr. Liu in 1999, and I have witnessed the formation of a huge, rich, and complicated literary system and literary world that belongs to Liu Xinglong himself. Because I live closer with Teacher Liu, I have witnessed his glorious childbirth and the weakness of his writing in many moments, especially in the process of writing "Shengtianmenkou". Finally, when this work came out, I did feel the victory and pride of Teacher Liu as a real writer.
After observing his writing for so many years, I think there are some very important revelations for me personally:
First, since each new period, and at every major historical moment, Mrs. Liu's work has always been able to penetrate deeply into this era, and can always record the most abundant and sensitive nerve at that time. Regardless of the fate of private teachers, the system of rural society in China, and how intellectuals and refined egoists conspired with the times in each era, major topics like this, Mr. Liu has extremely profound and precise performance And reveal.
Secondly, there is another topic that is very important to me but it is far from being fully revealed. In addition to being an outstanding realistic writer, Teacher Liu personally feels that from his "Mystery of the Dabie Mountains" to the most recent "Huanggang Volume", he is actually a typical Chu-style literary descendant. To this day, the novel still has a very typical Chudi-style cultural character. Of course, a considerable part of this depends on his unique, irreplaceable, personal, Hubei-style personality. In his series of works, it is fully reflected, but such an aesthetic mark that is very obvious to me, I personally think that it has not been fully expressed in his research.
Third, I feel that I really need to learn from Teacher Liu this "quietness" as a writer. When he was writing "The Gate of Heaven", I think it was almost a mental effort. In many moments spent with him, I did feel the difficulty of a writer fighting his own personal war. However, we can see that he has been constantly improving the art of the novel. Including the recent "Huang Gang Secret", whether it is his depth of thought or linguistic approach, or his narrative perspective, I think we have seen a life in which a writer never falls down and continues to advance The possibility and the possibility of will. So in this sense, I think that the development of Hubei literature to today's achievements, Teacher Liu, a writer who can typically represent the height and width of Hubei literature, should be said to have made a major contribution.
I personally feel that our theme is very good today! Such a seminar on the trend of literary development in the new era fully demonstrates that Mr. Liu has infinite possibilities for his creation and life in the future.
Model of Chinese Writers
The implementation of the army does not require a microphone. It is me who needs the microphone most. I have a low voice, no microphone, and speechless. Xinglong and I are too familiar, and often have his meetings. But I still have a lot to say. I have no special preparation for this meeting, because Xinglong and his works are all familiar with the heart, in a word of love: He is in my heart. For so many years, other people have also installed in my heart, and the works have also been installed in my heart. Because his works have witnessed the history of literary development in the past 40 years. Our critics in Hubei, older generations like Teacher Wang and Teacher Chen, we have also witnessed the history of Xinglong's creation. So I remembered that I once wrote a book about Wang Meng, and someone wrote a book review titled "A Man's Literary History", which means that a literary development can be seen from the entire creation of a writer. History is coming. I think such a sentence can also be used in Xinglong's creation. Because Xinglong's entire creation also constitutes a literary history. He has not only witnessed a literary history, but he is also compiling a literary history for nearly 40 years. So after I received this announcement, I thought most of Liu Xinglong's creative experience.
I. The beginning of creation in the 1980s-warmth and tolerance
He started writing around the mid-1980s. Specifically, there are 84 years written in some resumes. It seems that I did some literature before 1984. At that time, I was a lover of literature, and it wasn't the formal creative experience of a writer. After Xinglong officially published his work, it basically avoided the trend of scar literature, so his works were warm and tolerant. There was no pain like scar literature. Although he himself experienced the Cultural Revolution, he will not be very deep. Compared to us, he was just a kid. I didn't dare to enlarge in front of Xinglong, but at that time we were all old red guards. Therefore, he did not experience the deep wounds of the Cultural Revolution. He did not have these things in his heart, so he had never written such works. Later works are generally warm and tolerant. I think this is an important starting point for Xinglong's literary creation.
2. Creation in the 90's: Drawing on Western Trends of Thought and the Basis of Realism
Before the 1990s, he caught up with the trend of Chinese contemporary literature and art innovation. At that time, everyone went to learn Western modernism, including postmodernism. Because we have misunderstood modernism for 40 years, many factions that do not actually belong to modernism are called modernism. In a classical sense, modernism only has novels of stream of consciousness in the novel, and only symbolism in the poems. The novels of magical realism and novels we talk about should belong to postmodernism. No matter what, Chinese writers were mainly chasing Western things at that time. Xinglong was affected a little by this, but his works still have a realistic foundation. His "Mystery of the Dabie Mountains" is a masterpiece of this complex influence, and I once wrote a long comment on this issue. Compared with other writers who were influenced by Western modern postmodern at that time, most of them like chasing the purely conceptual things in the West, such as the existential philosophy, the philosophy of life, and Freud's psychoanalytic theory, or Learning and imitating those technical things has left the foundation of reality. Xinglong is different. He has a realistic foundation. In the words of Shi Zhanjun, he has roots and is rooted in reality. It can be seen from many works in this period. Some works, such as those in "Women's War", I particularly appreciate, that group of short stories should be said to be the best of contemporary short stories. It is still very realistic inside, although it is a historical story written, it is very realistic. Therefore, like Xinglong's creation in this period, it is basically in line with the entire literary trend of the time, and it is consistent, but it avoids some extreme things in the trend. This is an important sign that Xinglong's creation was relatively robust from the beginning.
After entering the 90's, I noticed that 1992 was a very good year for him. This year, he published the "Phoenix Piano" and "Village Party Secretary" which attracted much attention. "Village Party Secretary" is a well-written work. Because everyone pays too much attention to "Phoenix Piano", they ignore "Village Party Secretary". Whether it is the intention, the depth of reflection on reality, or the performance of China's socio-political psychology in the transition period, it is very profound, the style is very concise, and a very good short story. There was also "Drunk in the Autumn Wind" this year. I also think it is a very poetic novel, but the attention may be less. Since these works, Xinglong has been regarded as an authentic realist writer, and he pays close attention to practical issues, especially the fate of rural teachers. It was not until later that Skywalker expanded and deepened the subject matter and theme that a work that won the "Mao Dun Literature Award" was produced. The Mao Award judge just happened to be a judge. I participated in the judging process. Six rounds of voting, "Skywalker" has always been among the best, and finally won the "Mao Dun Literature Award". It shows that everyone is very positive about his work, and has always been very appreciated.
By the mid-1990s, Mr. Rada had named some of his creations at that time, called "Realistic Shockwaves", and the authors referred to were Liu Xinglong. Xinglong himself does not seem to agree with the use of such a word and such a hat on his head, but the work "Sharing Difficulty" was published in the year that Mr. Leida named, that is, published in 1996. Although it is only a few years before the publication of the "Village Party Secretary" and "Phoenix Piano", it also belongs to the creation in this period, but in the realistic works, many new elements have been added to reach a considerable depth. It 's called a shock wave. What did it shock? Mr. Radar did not give a specific explanation when he was alive, but I feel that for a society in transition, the description of the image of grass-roots cadres in charge is unprecedented. deep. Because in the past, the image of grass-roots cadres was either purely praised, like Liang Shengbao, and led everyone on the socialist road. This is of course a typical example of that era. Later, more derogations were made. But Xinglong wrote that in a period of social transformation and in a very complex social environment, it is not only a moral responsibility, but also a rural grass-roots cadre. I think it's very difficult to write this thing. Xinglong's works have reached a considerable depth. Such figures are rare in contemporary literature. So no matter how the work is named, I think it is on the road of realism that it has reached a considerable depth and height.
3. Creation in the New Century: Attention to Cultural Issues and the Future Development Trend of Chinese Literature
After the new century, in 2005, Xinglong published a very important work, "Shengtianmenkou", which involves the subject of revolutionary history. He and I are from the same place, not in the same county, but a big fellow. We are all from Edong. That place is old and revolutionary, because the place is very poor, and the folk customs are elegant. There are many teachers and scholars, but there are also many gangsters. They belong to folk customs. Revolution is easy in that place. As soon as he was poor, Mr. Teaching did not say anything. Those who were more ruthless went to revolution, so Chairman Li Xiannian said in his lifetime that what is revolution? Revolution is fierce. Professor Fan Xing is very familiar with this sentence. There are many such people in that place, so the foundation of the revolution is deep. Xinglong's writing of the revolution in that place may be different from writing other classic revolutions. Especially different from northern regions. It is not the same as the revolution in Shanxi, the revolution in northern Shaanxi, or even the revolution in Shandong and Hebei. The revolution in eastern Hubei has some characteristics of the eastern Hubei revolution. Human nature, folk customs, including the methods of revolution, these things are different from the northern revolution. There are also various ways of revolution. I think Xinglong is more comparable in this respect. It is profound and relatively historic, which fully reproduces a revolutionary climate like the southern region. Some scholars just said that they have a deep background of Chu culture. I think it can be said that it is related to Chu culture and has a strong southern atmosphere.
I think this work is a considerable novel in the history of contemporary literature. It's a pity that I think this work deserves a prize. After the new century, Xinglong's works began to shift to another aspect, paying more attention to cultural issues. I think it is also a trend according to the title of today's meeting. This is because most of the contemporary Chinese writers took materials or looked at problems from the perspective of political science and later from the perspective of sociology in a broader sense. After finding the roots, I started to pay attention to some cultural issues, but there are not too many such writers who really focus on cultural issues. Xinglong has been paying more attention to cultural issues since the beginning of "Hang" to the present "Huanggang Secret Volume". "Hao" is mainly concerned with a cultural personality, while "Huanggang Secret Volume" is mainly concerned with a local character. The formation of folk customs and human nature. I think in this respect, compared to the early days, his creations have obviously changed.
This change is also a trend of Chinese contemporary literature. Including his prose "Upward on the Yangtze River", it is not just a travel journal, nor is it the kind of big essay of Yu Qiuyu's style. It is a kind of thing that adds a little touch to the travel manual. It's really about exploring this mother river and some cultural implications on it. Including some people's sentiments, customs, customs, and humanity along the way. Xinglong's recent works herald a development trend for the future of Chinese literature, and it is also a direction for many writers. Earlier, Chairman Yan and Xinglong put pressure on him, saying that he believed that there would still be big works. I said it was forcing people to death, and our ordinary friends said that it didn't matter. We told Xinglong that you will still have a big work in Xinglong. He can smile and finish, it doesn't matter if he writes or not. But the vice-chairman of the Chinese Writers Association and the secretary of the Secretariat of the Chinese Writers Association came to this order. I think it is a pressing and deadly thing. But I believe Xinglong has something to squeeze. In recent years, he has been busy with a lot of things, writing calligraphy, doing other things, and writing so many works, which is also a model. We used to say that Zhang Wei is a model worker, and Xinglong may be another model worker for us in Hubei or Chinese writers. I believe that Xinglong's future creations will be better, and there will be more surprises and better works that appear to us. I'm finished. Okay, thank you all.
Literary Diners Getting Better
I am very happy to attend this seminar. I just listened to the leaders, especially Chairman Yan Jingming and Chairman Li Xiuwen. The evaluation of Xinglong from the perspective of comments and creation was very good, including the speeches of the two experts, which have inspired me a lot. Regarding the topic of "Liu Xinglong's recent works and New Century Literature", I have the following thoughts:
First, after entering the new era, Liu Xinglong changed the attitude and appearance of our traditional pure literature writers with his own creation. Since the 1980s, literature has really been high. Everyone like Xinglong is basically completely standing, at least they think they have a special identity and status. But since the new century, I feel that Xinglong has changed his image as a traditional writer. He was no longer carrying, and he dropped his body. An important sign of putting down his body is that he no longer attempts, or that he no longer clings to what he has achieved. He also does not think that, at least from the perspective of creation, he no longer thinks of his past achievements, the relatively solidified style that he has formed must be adhered to, and he must continue to add bricks and tiles. After letting it go, Xinglong became very relaxed. It seemed as if he had neglected his literary achievements, but actually let go of his burden. So in my recent discussion of Xinglong, I have repeatedly said something like this: Xinglong has now reached a state of freedom with ease, put down those iconic achievements of the past, and built the style of self Putting it down, not trying to add to it, is actually a relief to myself. Once the burden was relieved, Xinglong opened up one after another and its own new art world. So for Liu Xinglong after the new century, you can hardly say that he is unified. "Shengtianmenkou" is one look, "Skywalker" is another look, and "Politics Class" is another look. Especially when "蟠 虺" came out, not only me, but I think many readers were surprised. People who comment on it, if they follow a writer for a long time and are familiar with it, they generally like to follow the new works of the commentary to previous works and previous styles according to inertial thinking. For example, for Xinglong, we will lean on "Shengtianmenkou" first, then "Politics Class" and "Skywalker", then "Puppet" and "Politics Class", and finally, The "Huanggang Secret Volume" and the "蟠 虺" again, the results were completely wrong. What does this indicate? It shows that Liu Xinglong changed his image and the aesthetic image he created. He changed his attitude and strategy of creative style and personality construction, so he could open up different worlds.
Second, Chairman Jingming said just now that his novel opened up the relationship with reality and continued the vertical chain of history and reality. In my opinion, this continuity made him no longer a writer walking on paper, he reconstructed the practical relationship between literature and reality, and Liu Xinglong became an action writer. So from his "蟠 虺" to "Upper Yangtze River" to "Huanggang Secret Volume", we see not only a writer in a study and a page, but a writer in the earth and in the depths of history. A writer of numerous classic actions and thoughts in volume Yi. He walks, learns, and thinks in one strange field after another. I once asked Liu Xinglong, and how many books did he read when he wrote "蟠 虺"? How much homework did you do? He only said one thing, the museums would n't say it, and the archeological sites would n't say it. Look at his study, and thousands of books on the bookshelf are professional books about bronzes. I invited Xinglong to give a lecture in Jiangsu, and he said that I would definitely come. After I came, I asked him how he came? He said that it happened that an evening newspaper in Wuhan hosted an event with the theme of walking the Yangtze River. He walked along the Yangtze River to Nanjing to teach the lesson to the writers in Jiangsu. As for the "Huanggang Secret Volume" this time, it was the result of his deepening into his hometown, into the hinterland of his hometown, and into the dark place of the history of his hometown.
Third, from this perspective, Liu Xinglong has rebuilt or updated his relationship with readers since the new century. In terms of the theme of "蟠 虺", it corresponds to the current situation of intellectuals, the culture of intellectuals in our society, and also the "antique" of national interest. As for "Upper Yangtze River", it is an agreement with the reader and works. To this end, he has eliminated many activities, and his reason is that the reader is waiting. The relevance of this "Huanggang Secret Volume" to reality fits well with readers' excitement. Such as education, such as anti-corruption. Although Shao Chuan and her children in Huanggang Secret Volume, including the production process of Huanggang Secret Volume, are not the main thread of this work, Xinglong paid attention to education and the "Huanggang phenomenon" in the examination. In terms of sub-themes, it is also a response to readers and the hotspots that current people care about.
Fourth and last point, what I want to say is that since the new century, Liu Xinglong has gradually entered a good situation. The sea and the sky are wide and omnipotent. For example, he has many innovations in style. Liu Xinglong no longer adheres to the resources of our traditional pure literature, he no longer clings to the resources of pure literature that began with the May Fourth New Literature and more recently with literature in the new period. Once no longer obsessed, Chu Xinglong felt that the available resources became very rich and vast. In an inappropriate analogy, if you used "Shengtianmenkou" as an example, Liu Xinglong is a very discerning, very refined and very noble diner in terms of ingredients, taste. Since Xun Long, Liu Xinglong's taste has become heavier, more broad-spectrum, and more and more ingredients. His adaptability and his stomach became stronger and stronger. When I commented on "蟠 虺", I said that popular stuff, pure literature stuff, and internet literature stuff have become the equipment that Liu Xinglong can use, transform, and give him new nourishment. While writing the commentary on "Huanggang Secret Volume", I was fortunate to have read a short essay by Teacher Yu. Teacher Yu also talked about such problems in this short essay. If it is said that "蟠 虺" has broken the limitation of the elite equipment library of traditional novels, then to "Huang Gang Secret", Liu Xinglong has broken the stylistic boundaries of traditional novels and incorporated history, legends and so on. In terms of big types and narrative methods, "Huanggang Secret Volume" is what Teacher Yu said, it is actually a "legend". Everything about the father, including much of the work, was not heard or witnessed as a narrator, but was written through legend. This is exactly the tradition of our Chinese novels including historical narratives, but it has been abolished for many years, but it has been resurrected successfully at Xinglong.
The nature of the writer's "migrant workers"
When Comrade Huang Xiaomei delivered a speech on behalf of the school just now, I mentioned that we had held a discussion meeting on Liu Xinglong many years ago. It was 1992, when the physical conditions were very poor, and only a dozen people attended, but the meeting was of high quality. The older participants were the revered teacher Mr. Feng Mu, and the younger was the young critic Ding Fan who was now a well-known scholar. The meeting was serious. At the meeting, Comrade Feng Mu made a careful analysis of novels such as "The Village Party Secretary." We believe that Mr. Feng Mu's precise aesthetic judgment is not limited to one province, but he evaluates Liu Xinglong's works from the background of national literature. At that time, we had a judgment and confidence in Liu Xinglong. That meeting also invited Comrade Liu Fudao, one of the actual directors of the Hubei Writers Association at the time. At that time, some comrades in the literary circles in Hubei Province had a basic expectation and judgment on Liu Xinglong's creation. Twenty-six years from 1992 to the present, Liu Xinglong's creation proves the judgment and expectations of Mr. Feng Mu and many comrades in the critics at that time. So, why is Liu Xinglong able to launch works that have a major impact on a long-term and continuous basis? I think this is a question that our seminar should answer. I didn't have time to think deeply about it, just to read the book sent to us by the conference. For example, "Upper Yangtze River", its opening and postscript, repeatedly mentioned that some people say that he is a "news laborer." This "someone" is his wife. His wife gave him a very important praise in a complaint tone, which was also in line with the facts. He spent forty days down the river to the estuary of the Yangtze River, and traced it up to the Jinsha River, besides many tributaries of the Yangtze River, conducted inspections, wrote articles and published them in a newspaper in time. Everyone understands how nervous, laborious and stressful it is to do this, and willing to do so, there must be a spiritual pursuit to support it. Therefore, I think we can explore the spirit of "news migrant workers".
Seeing "Upper Yangtze River", I remembered that in 1998, the Yangtze River flooded, and Hubei was a severely affected area. At the time, I was working at a school publishing house, and I consulted with Comrade Jiang Lin, the secretary of the Provincial Writers Association, to produce a book on flood resistance. Comrade Jiang Lin worked very efficiently. It took only one month to determine the idea and publish the book. This book is called "Days, Nights, and Nights in a Stormy Sea", and some articles are quite beautiful, such as one by Yue Hengshou, which is brilliantly written and later published in "People's Literature". The most precious thing is that writers write with a strong passion. Liu Xinglong also has a short article in it, titled "Great Gong." At that time, I also saw a photo of Liu Xinglong wearing camouflage clothes on the river embankment. He went to Weizhou Bay, Jiayu County. The 630-meter gap in the breach of the bank of Weizhou Bay caused the national concern and attention. Liu Xinglong went to interview, wearing camouflage uniforms, and stood side by side with the anti-flood soldiers and civilians. He was used as a PLA soldier several times by journalists. What he wrote inside was mistakenly recognized and made him feel very proud, and I think it is also worth being proud. The article is very short, and it is estimated that it is about three thousand words, a very short article. When Liu Xinglong was interviewing, he happened to meet Guan Yong, who was very scary. On the edge of the Yangtze River, he suddenly came out of a field more than 1,000 meters away from the Yangtze River. Fang emerged from the hole. In that critical situation, Liu Xinglong followed the PLA soldiers and the local people. I also visited that place later. When fighting floods, the secretary of the Jiayu County Party Committee was our alumni. He told me that the front line was really born and died at any time, and it was always dangerous. The civil and military resistance to the flood can sing and weep. Liu Xinglong's short article is not simply a tribute, but there is also a writer's review and critique of the society, and a pinch on the inaccuracies in news reports. At this time, the writer can have a critical vision, which is also valuable. When I mention this past story, I think it is helpful for us to think and answer why Liu Xinglong can continue to achieve success. I can find the reason from this. We in Hubei literature, the literature of New China, the spirit of "news migrant workers", older writers have examples. Teacher Xu Chi is a "news migrant worker". He had been to the front line of the Anti-Japanese War during the War of Resistance Against Japan, and had been to North Korea during the War of Resistance against the United States. He had made many appointments as a special reporter for People 's Daily and a special reporter for People 's China. The family moved to Hubei to write the Three Gorges Project. The reason why his reportage is so well written is the burst of the spirit of "news migrant workers". Journalism workers, or what we call "news volunteers", is that a writer is willing to step out of his study and devote himself to the hotspots of life that hundreds of millions of people pay attention to, and greet historic events and characters with everyone and let his artistic thinking Keep pace with social development. With such a spirit, no matter what subject matter is written, whether it is history or legend, there will be a spirit of the times, and his creation will follow the society.
Liu Xinglong is a person with a sense of social responsibility. He not only insists on creating new works by himself, but also does some very effective public welfare undertakings in literature. He has given practical help to amateur authors, young authors, old and retired writers, and writers who need support in creation. This is also a manifestation of his sense of social responsibility. I very much hope that Liu Xinglong will continue to achieve achievements in literature, continue to carry forward the spirit of "news migrant workers", and carry forward the spirit of "cultural migrant workers" in the posts of the provincial Federation of Literary and Art Federations, and do a good job of serving writers, artists and readers. . Thank you!
How to break the winning spell
Just now, several teachers, such as Teacher Yu and Teacher Wang Zheng, reviewed all aspects of Liu Xinglong's creative history and their academic contacts. I am concerned that Teacher Xinglong's time must not be compared with them. However, it should be said that I have read his works relatively well. From his early works to his recent works, I have read them carefully. So I also have some feelings about his entire creation, especially his creations in recent years. Because we know that in the literary world, there is a saying that there is an award-winning curse. That is to say, there may be various pressures or other factors after winning a prize, especially after receiving a grand prize. Many of these writers will go downhill after winning the prize, and they will fall into an obvious trough of creation. Back to the peak. So, what will happen to Teacher Xinglong's creation after he receives the Mao Dun Literature Award? I think he avoided this spell. In the following, I would like to make a few comments on the "Huang Gang Secret Volume" he recently wrote.
In my opinion, from "Shengtianmenkou" to the recent "Huanggang Secret Volume", Teacher Xinglong's creation can be said to have developed more abundantly, and it also shows his talents in many aspects. Works such as "Shengtianmenkou" are a kind of heavy, ideological, can penetrate the mind, have independent judgments on history, including thinking about human nature. This is how everyone compares it Consistent evaluation. Well, his recent works like "蟠 虺" are more dexterous and resourceful. As for "Huanggang Secret Volume", it has some combination of these two aspects. In the first aspect, it is a combination of depth of thought and storytelling. "Huanggang Secret Volume" still maintains Xinglong's deep interest in history, showing the exploration of historical truth and thinking about the human nature in history. At the same time, the structure of this novel is also very characteristic. It is a double line, interspersing a historical story with a realistic story. It shows that the author's strong storytelling ability-of course, this ability is not accidental in his works, but consistent-there are some outstanding pursuits in narrative ability, such as strong storytelling effects, and quite attractive Suspense of force. Therefore, from "Huanggang Secret Volume", it reflects the combination of depth of thought and narrative ability, which is a good combination of history, reality, thought and narration.
In the second aspect, I think he is a combination of realism and romance, that is to say, as the secretary of Jingming just said, he thinks that the creation of Mr. Xinglong has a inheritance of the romantic tradition. Strong romantic color. Xinglong's works, those of the "Phoenix Piano" written in the early days, are known for their realism, so they were known as "realistic shock waves" at that time. However, many of his later works have romantic, spiritual, and light aspects, including many factors of mysterious culture. This reflects his multifaceted creative talents and also constitutes a relatively significant creative feature of him. "Huang Gang Secret" is also a good combination of these two aspects. It has both a very detailed realism and a light-hearted imagination, and it is also interspersed with some mysterious cultural atmosphere-this is combined with its pursuit of narrative art, and it combines the heavy and light-hearted.
In another aspect, I also feel that "Huanggang Secret Volume" shows Teacher Xinglong's strong interest in local history and a conscious awareness of moving closer to local history and culture. In other words, I hope to achieve a combination of local historical inquiry and realistic care. When a writer reaches a certain age, he should have less and less contact with reality. This is very natural, the contact of older people with society will be reduced. Well, a writer's creation depends more on his own accumulation of thoughts and life. His thinking on history and life may be a deeper resource for his literary creation and also his creative potential. Xinglong's creation has been patrolling in these two aspects, and his achievements have been outstanding. But I still look forward to his thinking and creation in history, because I have a feeling that our local history and culture have not yet been expressed by the writers, so I always have very strong expectations. The local consciousness also includes one aspect. In terms of narrative, I think the "Huanggang Secret Volume" shows something different from previous works, which is to absorb some characteristics of traditional Chinese novels, especially to move closer to the story and pursue narrative Aspects of refinement and complexity. This work can be seen as a way for Xinglong to pay tribute to traditional art.
Personally, it may have something to do with my reading habits and aesthetic taste. I prefer the thicker novels like "Shengtianmenkou", which have a stronger impact on our thinking. Of course, this may be because my aesthetic taste is relatively narrow. Today, literary aesthetics should be more abundant, as are literary tastes and creative trends. Therefore, Teacher Xinglong can not only have the heavy works like "Shengtianmenkou", but also the more spiritual works like "Huanggang Secret Scroll", which combined the thick and spiritual works, which reflects a writer's rich personality and powerful Artistic creativity.
So in general, I feel that in so many years of reading and reading of Teacher Xinglong, I deeply feel the richness and richness of his talent. This is not just about his novel style, but also the creation of various styles. Especially his prose, I think it is well written, for this I read and commented on his prose, I have not read his poems. It is not easy to achieve high grades in multiple genres. In general, Teacher Xinglong has been working so hard in recent years, and it is very rare to be able to have such continuous and high-quality creativity. It should be said that he has completely avoided the award-winning curse. Therefore, we can fully hope that he can create more and better works in the future. That 's all for me, thanks.
From "my grandpa" to "our father"
The previous experts made a very pertinent and comprehensive evaluation of Xinglong's entire creation, and I all agree with it and I am very inspired. I want to talk about my understanding and grasp of Xinglong's creation from another angle. That is, from the earliest "my grandfather" to the context of "our father" in "Huang Gang Secret" today, to talk about my feelings.
We remember that in the 1990s, Xinglong emphasized the position of his grandpa in his "Mystery of the Dabie Mountains", that is, the enlightening effect of "my grandpa" on his creation. He once said: "My 88-year-old grandfather has always guarded the pen of my soul." His mysterious characters such as forests, running water, beasts, and "snow mother-in-law" in the Dabie Mountains have revealed the life information of "my grandpa" Has had an important impact on his soul. So, what kind of spiritual wealth did his "my grandpa" leave for his creation? I think there are two very important aspects: one is "my grandfather" and a "spiritual legend". This kind of legend "can despise all vulgar selfish interests and mean jealousy, which is the persistence of purifying the soul. This is One aspect; the other aspect is a pursuit and exploration of the mysteries of nature.
I think, looking back at Liu Xinglong's creations over the past few decades, do I think he is also focusing on these two aspects: One aspect is based on the insistence on purifying the soul, paying attention to the fate of the people at the bottom of our society, and attacking reality Some unfair and unreasonable phenomena, or "lost" for some ethics, etc., have resulted in a series of works such as "Prestige", "Phoenix Terrace", "Lost" and so on. These works should be said to be very touching and appreciated by readers. This is an important aspect of Xinglong's creation. On the other hand, his pursuit and exploration from the mystery of nature to the mystery of history is also an important progress of his creation. In this respect, I think everyone will be very clear, that is, his "Shengtianmenkou" as the most important representative, such a work should be said so far, is a peak of Liu Xinglong's creation. This is a fault. It is always heavy and has a very dignified sense of history. The artistic brushwork is also superior. I think that looking at Liu Xinglong's entire creation for decades, it can be said that the two most important spiritual wealth that his "my grandfather" gave him have become the two focuses of his creation.
When I read the newly published "Huanggang Secret Volume", after reading it, I felt that Liu Xinglong was actually looking for a newer height and a newer creative perspective based on the existing creation. This is why I have proposed "my grandfather" to "our father". I think the "Huang Gang Secret" provides us with a very important gain, that is, his review of the "our father" generation, this This kind of examination is very touching to our soul. This is a person who has stepped out of his native land and devoted himself and himself to the organization. He is most concerned about his status listed in "Organizational History". In the face of today's social reality, the confusion he faces and the transformation of his spirit, in this regard, this image provides us with something to think too too much. In the face of such a reality today, the work is written to this old man. Today, how to rediscover and awaken the true emotions of a person's heart, to rediscover himself as the blood of his hometown and to be involved with the flesh and blood of his native land. Such an image, I feel very rich in the characteristics of the times, can we call it the image of "returner"? Because his return is mentioned several times in the works, the image of such a returnee is actually very typical in our current social transformation.
So if I think, we are studying Liu Xinglong's work today, its new breakthrough, or when we are moving to a new height, the image of "our father" is of great research value.
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From November 24th to 25th, 2018, the academic symposium of "Liu Xinglong's recent works and the development trend of new century literature" was held at the Yifu International Conference Center of Central China Normal University. The conference was co-sponsored by the first-class discipline of Chinese language and literature of Central China Normal University, the Chinese New Literature Society, the School of Chinese Literature of Central China Normal University, the Liu Xinglong Contemporary Literature Research Center, and the editorial department of the New Literature Review. Yan Jingming, secretary of the Secretariat of the Chinese Writers Association, Shi Zhanjun, editor-in-chief of People 's Literature, Li Xiuwen, chairman of the Hubei Writers Association, Yu Kexun, chairman of the Hubei Literary Critics Association, professor at Wuhan University, and Wang Zheng, secretary and vice chairman of the Jiangsu Provincial Writers Association, More than 130 well-known experts and scholars from all over the country came to the meeting, including Wang Xianyu, former chairman of Hubei Provincial Writers Association, professor of Central China Normal University, He Zhongming, professor of Jinan University, vice president of Chinese New Literature Society, and professor Chen Meilan from Wuhan University. The meeting focused on the relationship between Liu Xinglong's recent works and the development trend of the new century literature, which helped promote the prosperity and development of Chinese contemporary literary creation and research.
First, the revelation of Liu Xinglong's persistence in creation. Persistent creation is a very prominent feature of Liu Xinglong. This is not simply a peripheral issue. Liu Xinglong is also a rare writer of the Lu Xun Literature Award and Mao Dun Literature Award in Hubei and even in the country. He won the Lu Award very early, and later won the Mao Dun Literature Award after entering the new century. It should be said that his honor basically runs through his creative history, but one of the important advantages of Liu Xinglong is that he continues to win awards, but he did not loosen the next step. Taste and enjoy the cozy thoughts of honor. He insists on creation, and what needs to be emphasized is that the insistence on creation I said is not to maintain his reputation through speeches, creative talks, and interviews with reporters, but to continue to think deeply and continue to produce large works, especially Create novels. What we are discussing today is his recent works, which are mainly "蟠 虺" and "Huanggang Secret Volume". Actually, from "蟠 虺" to "Huanggang Secret Volume", it is the best proof that I just said that I insist on creating large works. . Of course, as an industrious writer, he also wrote many prose works at the same time, especially the "Upper Yangtze River", which has been published in recent years. This kind of action that adheres to the standard of fiction and the creation of new works and large works is, in my opinion, very commendable in the current Chinese literary and cultural atmosphere and atmosphere.
Second, Liu Xinglong's creation has an artistic consciousness, and strives to seek the integration of history and reality. Liu Xinglong's creations are rich and important in terms of subject matter, history and reality. In terms of expressing historical themes, I think that the development of novel creation in the past 40 years in China in the new era is actually somewhat changed. Let us talk about some superficial, superficial, or formal changes. The historical themes in the early and middle periods of the new era are directly into history, and the historical space is relatively specific. "The Great Qin Empire" is directly into history, and contemporary inspiration is an indirect response. Later, it slowly developed, and another creative situation emerged, which was to bring contemporary reality into the history of presentation, that is, to return to the scene of history from a contemporary perspective. This kind of subject matter creation is mostly modern historical subject matter, such as reflecting modern times, since the May 4th Movement, and since the War of Resistance, and so on. However, since the new century, the pattern of historical themes has undergone subversive changes. After the emergence of online literature, historical themes are not the two situations I just mentioned. There is a very important creation in online literature called crossing. After passing through, whether you write about the Tang Dynasty, the Warring States Period, or the Spring and Autumn Period, anyway, the distant history has some strange, absurd, or even bizarre collusion with today's contemporary people. For example, a person can take a mobile phone back to the Tang Dynasty, which can be seen in novels and TV shows. In the performance of modern history, due to the enthusiasm for the creation of a hundred-year history and a family history, a writer must try to get through the historical clues when writing a family history and a hundred-year history. Linear extension. Of course, for each writer, the specific details of creation still differ.
Second, Liu Xinglong's creation has roots. The revision just mentioned his "Mystery of Dabie Mountain". This novel has a certain avant-garde temperament and root-seeking temperament, but also has a mysterious and strong Chu culture atmosphere. In fact, he continued the greatness with this novel. Cultural traditions. We know that there is a text in "The Gate of Heaven" called "Darkness", and the source of the story like "蟠 虺" is a weapon of a country-Zeng Hou Yi Zun Pan, and "Huang Gang Secret Volume" is a volume with a volume The novel in which the book is "The Family of Liu Family". Both his imagination and fiction originate from the roots, so in each of his novels, there are the origins of imagination and the direction of sorrow. His roots are very strong, and his tentacles are very tough. He explores with awkwardness, At the same time, he could not help but be keen, this is his creation. The "Family of Liu Family", such as "Huang Gang Secret", is a root beard that connects recent history and reality. From this novel, he not only explores the coming and going of a family, but more importantly, he repairs it. The modern significance of Qi Zhiping.
Third, there is squareness. Fang Yuyuan can describe a person's character, as well as the composition of a work. Each of Liu Xinglong's works has individual edges, corners, and acute angles. When facing vast life, he chose to be mellow and tolerant. A square shape means a pattern. Liu Xinglong is a writer with a family in his heart, from small villages and elementary schools to the century-old "Shengtianmenkou", from small counties and small cultural centers to large groups of high-level intellectuals, from the irony and reflection of "The Big Tree Is Small" to " Solemn and Solemn on the Yangtze River. He is a writer with an overall structure. He is not only a novelist, but also a poet. The ideal poetic mind, the sincere prose sentiment, and his will to the novel of search, all of which keep him from being chaotic. , Contented. He entered his work in his own footsteps. "Upper Yangtze River" is very moving. This is the text formed by his experience from the estuary to the source. I think few people in today's writers may have such patience and physical strength, but Liu Xinglong did it. It didn't just consume physical and mental strength. I know the whole process very well. The reach of his willpower makes a kingdom of intellectuals manifest in the rivers and rivers that swell on the shore, the grasses and the vast and wonderful rivers and mountains of the West Sea.
Secondly, there is another topic that is very important to me but it is far from being fully revealed. In addition to being an outstanding realistic writer, Teacher Liu personally feels that from his "Mystery of the Dabie Mountains" to the most recent "Huanggang Volume", he is actually a typical Chu-style literary descendant, so he To this day, the novel still has a very typical Chudi-style cultural character. Of course, a considerable part of this depends on his unique, irreplaceable, personal, Hubei-style personality. In his series of works, it is fully reflected, but such an aesthetic mark that is very obvious to me, I personally think that it has not been fully expressed in his research.
Third, I feel that I really need to learn from Teacher Liu this "quietness" as a writer. When he was writing "The Gate of Heaven", I think it was almost a mental effort. In many moments spent with him, I did feel the difficulty of a writer fighting his own personal war. However, we can see that he has been constantly improving the art of the novel. Including the recent "Huang Gang Secret", whether it is his depth of thought or linguistic approach, or his narrative perspective, I think we have seen a life in which a writer never falls down and continues to advance. The possibility and the possibility of will. So in this sense, I think that the development of Hubei literature to today's achievements, Teacher Liu, a writer who can typically represent the height and width of Hubei literature, should be said to have made a major contribution.
I personally feel that our theme is very good today! Such a seminar on the trend of literary development in the new era fully demonstrates that Mr. Liu has infinite possibilities for his future creation and life. Blessed Mr. Liu, and thank you all, thank you!
After the new century, in 2005, Xinglong published a very important work, "Shengtianmenkou", which involves the subject of revolutionary history. He and I are from the same place, not in the same county, but a big fellow. We are all from Edong. That place is old and revolutionary, because the place is very poor, and the folk customs are elegant. There are many teachers and scholars, but there are also many gangsters. They belong to folk customs. Revolution is easy in that place. As soon as he was poor, Mr. Teaching did not say anything. Those who were more ruthless went to revolution, so Chairman Li Xiannian said in his lifetime that what is revolution? Revolution is fierce. Professor Fan Xing is very familiar with this sentence. There are many such people in that place, so the foundation of the revolution is deep. Xinglong's writing of the revolution in that place may be different from writing other classic revolutions. Especially different from northern regions. It is not the same as the revolution in Shanxi, the revolution in northern Shaanxi, or even the revolution in Shandong and Hebei. The revolution in eastern Hubei has some characteristics of the eastern Hubei revolution. Human nature, folk customs, including the methods of revolution, these things are different from the northern revolution. There are also various ways of revolution. It is profound and relatively historic, which fully reproduces a revolutionary climate like the southern region. Some scholars just said that they have a deep background of Chu culture. I think it can be said that it is related to Chu culture and has a strong southern atmosphere.
Second, Chairman Jingming said just now that his novel opened up the relationship with reality and continued the vertical chain of history and reality. In my opinion, this continuity made him no longer a writer walking on paper, he reconstructed the practical relationship between literature and reality, and Liu Xinglong became an action writer. So from his "蟠 虺" to "Upper Yangtze River" and then to "Huanggang Secret Volume", we see not only a writer in a study and a page, but a writer in the earth and deep in history. A writer of numerous classic actions and thoughts in volume Yi. He walks, learns, and thinks in one strange field after another. I once asked Liu Xinglong, and how many books did he read when he wrote "蟠 虺"? How much homework did you do? He only said one thing, the museums would n't say it, and the archeological sites would n't say it. Look at his study, and thousands of books on the bookshelf are professional books about bronzes. I invited Xinglong to give a lecture in Jiangsu, and he said that I would definitely come. After I came, I asked him how he came? He said that it happened that an evening newspaper in Wuhan hosted an event with the theme of walking the Yangtze River. He walked along the Yangtze River to Nanjing to teach the lesson to the writers in Jiangsu. As for the "Huanggang Secret Volume" this time, it was the result of his deepening into his hometown, into the hinterland of his hometown, and into the dark place of the history of his hometown.
When Comrade Huang Xiaomei delivered a speech on behalf of the school just now, I mentioned that we had held a discussion meeting on Liu Xinglong many years ago. It was 1992, when the physical conditions were very poor, and only a dozen people attended, but the meeting was of high quality. The older participants were the revered teacher Mr. Feng Mu, and the younger was the young critic Ding Fan who was now a well-known scholar. The meeting was serious. At the meeting, Comrade Feng Mu made a careful analysis of novels such as "The Village Party Secretary." We believe that Mr. Feng Mu's precise aesthetic judgment is not limited to one province, but he evaluates Liu Xinglong's works from the background of national literature. At that time, we had a judgment and confidence in Liu Xinglong. That meeting also invited Comrade Liu Fudao, one of the actual directors of the Hubei Writers Association at the time. At that time, some comrades in the literary circles in Hubei Province had a basic expectation and judgment on Liu Xinglong's creation. Twenty-six years from 1992 to the present, Liu Xinglong's creation proves the judgment and expectations of Mr. Feng Mu and many comrades in the critics at that time. So, why is Liu Xinglong able to launch works that have a major impact on a long-term and continuous basis? I think this is a question that our seminar should answer. I didn't have time to think deeply about it, just to read the book sent to us by the conference. For example, "Upper Yangtze River", its opening and postscript, repeatedly mentioned that some people say that he is a "news laborer." This "someone" is his wife. His wife gave him a very important praise in a complaint tone, which was also in line with the facts. He spent forty days down the river to the estuary of the Yangtze River, and traced it up to the Jinsha River, besides many tributaries of the Yangtze River, conducted investigations, wrote articles and published them in a newspaper in a timely manner. Everyone understands how nervous, laborious and stressful it is to do this, and willing to do so, there must be a spiritual pursuit to support it. Therefore, I think we can explore the spirit of "news migrant workers".
Seeing "Upper Yangtze River", I remembered that in 1998, the Yangtze River flooded, and Hubei was a severely affected area. At the time, I was working at a school publishing house, and I consulted with Comrade Jiang Lin, the secretary of the Provincial Writers Association, to produce a book on flood resistance. Comrade Jiang Lin worked very efficiently. It took only one month to determine the idea and publish the book. The book is titled "Days, Nights, and Nights in Stunning Waves", and some articles are quite beautiful, such as one by Yue Hengshou. The most precious thing is that writers write with a strong passion. Liu Xinglong also has a short article in it, titled "Great Gong." At that time, I also saw a photo of Liu Xinglong wearing camouflage clothes on the river embankment. He went to Weizhou Bay, Jiayu County. The 630-meter gap in the breach of the bank of Weizhou Bay caused the national concern and attention. Liu Xinglong went to interview, wearing camouflage uniforms, and stood side by side with the anti-flood soldiers and civilians. He was used as a PLA soldier several times by journalists. What he wrote inside was mistakenly recognized and made him feel very proud, and I think it is also worth being proud. The article is very short, and it is estimated that it is about three thousand words, a very short article. When Liu Xinglong was interviewing, he happened to meet Guan Yong, who was very scary. On the edge of the Yangtze River, he suddenly came out of a field more than 1,000 meters away from the Yangtze River. Fang emerged from the hole. In that critical situation, Liu Xinglong followed the PLA soldiers and the local people. I also visited that place later. When fighting floods, the secretary of the Jiayu County Party Committee was our alumni. He told me that the front line was really born and died at any time, and it was always dangerous. The civil and military resistance to the flood can sing and weep. Liu Xinglong's short article is not simply a tribute, but there is also a writer's review and critique of the society, and a pinch on the inaccuracies in news reports. At this time, the writer can have a critical vision, which is also valuable. When I mention this past story, I think it is helpful for us to think and answer why Liu Xinglong can continue to achieve success. I can find the reason from this. We in Hubei literature, the literature of New China, the spirit of "news migrant workers", older writers have examples. Teacher Xu Chi is a "news migrant worker". He had been to the front line of the Anti-Japanese War during the War of Resistance Against Japan, and had been to North Korea during the War of Resistance against the United States and the DPRK. The family moved to Hubei to write the Three Gorges Project. The reason why his reportage is so well written is the burst of the spirit of "news migrant workers". Journalism workers, or what we call "news volunteers", is that a writer is willing to step out of his study and devote himself to the hotspots of life that hundreds of millions of people pay attention to, and greet historic events and characters with everyone and let his artistic thinking Keep pace with social development. With such a spirit, no matter what subject matter is written, whether it is history or legend, there will be a spirit of the times, and his creation will follow the society.
In another aspect, I also feel that "Huanggang Secret Volume" shows Teacher Xinglong's strong interest in local history and a conscious awareness of moving closer to local history and culture. In other words, I hope to achieve a combination of local historical inquiry and realistic care. When a writer reaches a certain age, he should have less and less contact with reality. This is very natural, the contact of older people with society will be reduced. Well, a writer's creation depends more on his own accumulation of thoughts and life. His thinking on history and life may be a deeper resource for his literary creation and also his creative potential. Xinglong's creation has been patrolling in these two aspects, and his achievements have been outstanding. But I still look forward to his thinking and creation in history, because I have a feeling that our local history and culture have not yet been expressed by the writers, so I always have very strong expectations. The local consciousness also includes one aspect. In terms of narrative, I think the "Huanggang Secret Volume" shows something different from previous works, which is to absorb some characteristics of traditional Chinese novels, especially to move closer to the story and pursue the narrative. Aspects of refinement and complexity. This work can be seen as a way for Xinglong to pay tribute to traditional art.
We remember that in the 1990s, Xinglong emphasized the position of his grandpa in his "Mystery of the Dabie Mountains", that is, the enlightening effect of "my grandpa" on his creation. He once said: "My 88-year-old grandfather has always guarded the pen of my soul." His mysterious characters such as forests, running water, beasts, and "snow mother-in-law" in the Dabie Mountains have revealed the life information of "my grandpa" Has had an important impact on his soul. So, what kind of spiritual wealth did his "my grandpa" leave for his creation? I think there are two very important aspects: one is "my grandfather" and a "spiritual legend". This kind of legend "can despise all vulgar selfish interests and mean jealousy. One aspect; the other aspect is a pursuit and exploration of the mysteries of nature.
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