Re-discussion on Yu Hua's "subjective" view of reality

Wang Miao (Chinese Department of East China Normal University, Shanghai 20024 1) Abstract: With the strong launch of Brothers, Yu Hua has once again become the center of discussion in the novel circle. Apart from the tender narration of the novel since it was alive, Yu Hua was immersed in the carnival of carving language and did not bring the readers the expectation they deserved. The reason is that the novel has not surpassed the aesthetic art of "subjective" reality, and has become a relatively stable work in form and content, but it does not complement each other.

Keywords: warm narrative; Spiritual truth; In the subjective reality, the picture classification number is I206(7 document ID: A document number:1003,2134 (2010) 06,0027,04. After ten years of novel creation, Yu Hua successively published the novel Brothers (up and down) in 2005. Readers are eagerly looking forward to it, and critics are gearing up for the joy that Yu Hua will bring to the novel world in the new century. However, after the publication of Brothers (I), critics and readers felt lost. There are not many highlights in this novel, and there is no breakthrough in Yu Hua's existing artistic foundation. It is not difficult to say that this is related to the weather of the whole novel world. Paying attention to small people and reflecting on the changes of grand historical context from small people is a popular technique in recent years, which is also popular among writers. Brothers must have its distinctive features if it wants to stand out among similar themes. In Brothers, Yu Hua gave up the distinctive language features and narrative style in the past and returned to an extremely simple situation, which inevitably disappointed readers. From this perspective, Brothers has not surpassed Living in artistic achievements.

Looking back on the shortcomings and gains and losses of Brothers from the artistic characteristics of Living, we can understand from another angle how the writer seeks a breakthrough by catering to readers' tastes and sticking to inherent characteristics in the commercial society. As soon as Yu Hua appeared in the literary world, his creation conquered the readers with a bold and wild style. Yu Hua's early works are characterized by bloody and violent narration, which appropriately conveys the confusion of the times and the coldness of reality.

This avant-garde writing technique has conquered readers and enriched the exploration of avant-garde literature in the new period in terms of formal skills. Even after Living and Xu Sanguan Selling Blood, Yu Hua shocked the literary world with his profound expression and description of reality. Yu Hua put forward the term "subjective truth" for this purpose. Therefore, analyzing the writer's core artistic concept is an effective way to interpret Yu Hua.

First, the spiritual view of truth

Since realism entered China, "objective truth" has become an important aesthetic standard to measure literature. In particular, the advocacy of naturalism has made literary works a shining light of life. In this way, there is less fiction in literature, and the imagination is extremely limited, so that literature can't really enter the spiritual world of human beings and can't show rich humanistic landscapes. As for "truth", Yu Hua came into contact with Kafka's works by accident and was greatly inspired, and put forward the viewpoint of "spiritual truth". The "spiritual truth" of the writer's soliloquy is reflected in his early works, which are full of disorder, barbarism, cruelty, irrational killing and irresistible fate, and these are the real life. This is all due to Kafka's inspiration. "Kafka's freewheeling narrative style shocked me." In Yu Hua's eyes, this freewheeling and highly free narrative can fully express thoughts and feelings. Kafka's free narration is based on the subversion of objective order and the disintegration of reason. Yu Hua realized this. "Not long after, I noticed a form of hypocrisy, which made my imagination free again, just like the wind in the field …"168. This inner freedom of the creative subject not only made Yu Hua doubt the appearance of things, but also made him walk into the essence of existence and the depths of human nature in his novels. Yu Hua began to pay attention to digging the darkness inside the human spirit and gain insight into the absurd truth of human existence. This absurd existence is exactly the writer's understanding and spiritual experience of the world. When talking about the understanding of reality, Yu Hua said, "I feel that all my creations are trying to be closer to reality. This truth of mine is not the truth in life. I think life is not real. Life is a mixture of truth and falsehood. ..... so in my creation, it may be closer to a personal spiritual truth "[3]. When talking about his early works, Yu Hua thinks that the structure of the works from Going Out at Eighteen to A Kind of Reality is generally an imitation of the factual framework ... but the works of that period reflect my world knot.