As mentioned above, Yu Hua is writing "Shouting in the drizzle" by? Tyrant narrator? Became? The narrator of democracy? . To write "alive", he said:? At first, I still used the old narrative method, the kind of indifferent narrative that kept my distance. As a result, I felt uncomfortable and separated from each other. Later, I changed it to the first person and let people speak for themselves, so I suddenly found that my narrative was full of goodwill. ? In the preface to Living, Yu Hua said: All along, my works are based on the tension with reality? ,? To put it more seriously, I have always looked at reality with a hostile attitude. With the passage of time, my inner anger gradually subsided, and I began to realize that what a real writer seeks is truth, a truth that excludes moral judgment. The writer's mission is not to vent, not to blame or expose, but to show people nobleness. The nobleness mentioned here is not pure beauty, but detachment after understanding everything, treating good and evil equally and looking at the world with sympathetic eyes. [,] (p Yi Lee? 46. The change of the author's attitude towards reality determines the change of his narrative attitude. In Shouting in the Drizzle, we have already felt the call of affection, friendship and love for human beings covered by the world of cold frost and despair from Sun's eyes, and a kind of compassion arises spontaneously. In "Living" and "Xu Sanguan Selling Blood"? Everyday experience? And then what? Real experience? No longer have what he is after? The essential truth? Relative resistance. He began to get close to real life and narrate according to the characters. At this point, his original avant-garde narrative has undergone a fundamental change. At this time, his narrative is a gentle, calm and simple attitude, and at the same time it is very controlling. It also adds implicit humor and warmth to explore the original simple and metaphysical truth in life from the depths of ordinary people's suffering through the chaos, ugliness and ugliness of reality. In the simple narration of Living and Xu Sanguan Selling Blood, we found an inherent continuity and fluidity, which is spiritual, gentle and implicit. The fate of the protagonist and the humanistic care and thinking implied by the author have deepened the rich meaning of the works. Narration is no longer so nervous, irritable and nervous, and always implies a crisis. The fate and survival desire of the characters are deeply hidden at the bottom of the narrative. It is no longer a dominant and restless existence, but permeates tension in a soothing and relaxed way, unconsciously bringing readers into a predetermined thinking space, where desire is no longer irrational and impulsive, but a process of constant suppression, decomposition, constant condensation and sublimation.

label

The transformation of avant-garde narrative is inevitable under the great economic and cultural background and environment in the 1990s. Yu Hua is clever and witty. He took the lead in completing this transformation and achieved great influence and success. At the beginning of the 20th century, China's politics, economy and culture were still in the period of accelerated development, so this change was not only for Yu Hua, but also for the whole avant-garde literature. The present continuous tense? This is also because any kind of literature is the literature of its time and society.

In the process of relying on the support of pioneers to complete his search for spiritual home, Yu Hua finally turned to? Self? Lost in nothingness, his life experience, humanistic spirit and ultimate concern, as well as his questioning and thinking about the existence of nation, history, human beings and individuals, eventually floated because there was no solid and heavy load.

Although death, absurdity and violence are inevitable, we should face the ordinary life in the real world and strive to find a kind of beauty and warmth, a kind of spiritual, cultural and ideal support. Enthusiasm and display of absurdity, violence and death will only increase anxiety and despair, emptiness and confusion, indifference and sadness, and eventually lead to spiritual decay.

The change of avant-garde narrative can be said to be the result of avant-garde crisis and a cultural crisis divorced from reality. In the end, I can only lose myself in nothingness, which is reflected in the fact that the text is full of doubt, irritability, anxiety and lack of subjective consciousness. At the same time, the avant-garde narrative violently impacted and subverted the traditional novel mode and mainstream cultural ideology, and blindly explored and renovated the mode in form, which eventually led to a fierce conflict between form and content. When a content form is not loved and enthusiastic by people, its content and subject spirit will gradually dissolve in this form. Therefore, they are bound to confront and rebel against themselves.