I especially like "Song of Eternal Sorrow", and the threesome is also good, which is more profound from maternal love! what do you think? I think these articles are well analyzed. Let's enjoy them together:
Reading Wang Anyi's Song of Eternal Sorrow
I don't like the first dozens of pages of Song of Eternal Sorrow. In the sense, Wang Anyi is competing with Zhang Ailing. Her writing monologue is: You Zhang Ailing can write, so can I; You write well, and I write as well as you. Shanghai and Shanghainese in Zhang Ailing's works are vivid and vivid, and they are easily released by her keen facial features, while Shanghai and Shanghainese in Wang Anyi's works are "squeezed out" by her sitting in a dark room with movies, pictures, stories and some written records, and then immersing her imagination in dry ink. She relies on her diligence, perseverance and hard work, and on her rich imagination and feelings. She piled it up with imagination and feelings, and wrote "hard", "dead" and "stupid" by piling it up ... She wrote Lane, Gossip and Pigeon, and wrote several pages at once, but she was really stupid.
If Song of Eternal Sorrow didn't win the Mao Dun Literature Prize, I don't think I would read it.
Fortunately, however, I continued to watch. After reading on, my opinion changed completely.
Song of Eternal Sorrow tells the decades-long life of Wang Qiyao, the mistress of a former Kuomintang official. Wang Qiyao wrote decades of history, or wrote the fate of Wang Qiyao through decades of history. The history written by Wang Anyi is not the history closely related to major political events that we are usually used to paying attention to, but the history as time. What she tried to render was different smells, different atmospheres and different sensory characteristics in the air in each historical period. What she tried to accurately capture was the living face, spiritual dependence and interest orientation of specific individuals in each historical period. Because the angle of investment history is not politics, not the political elements existing in historical changes, but the history of time and times, and the individual in history, the history and the individual in her works are particularly plain, true and close, and the blend of the two is more harmonious, thus giving people a full and rich feeling. The Song of Eternal Sorrow is about the history as time and the individuals existing in history.
I think I know Wang Qiyao, Jenny Yan and Uncle Mao Mao. They seem to live next door to the alley where my teenagers and youths lived in Shanghai when I was a child. These old people and young people smell like moth balls. They live on memories of the past. "Old times" are several once beautiful suits and cheongsam pressed under unopened boxes at home. They came together by memory, sense of smell and feelings about the smell of mothballs and "suit cheongsam". ......
Wang Anyi took a fancy to Wang Qiyao and wrote about her because she saw a kind of coolness in her. Terrible and inevitable cold. This indifference comes not so much from fate as from historical changes, but from life itself; Not so much from Wang Qiyao as from Wang Anyi herself. This indifference is Wang Anyi's understanding of middle-aged life, and it is an elegy and sigh for a beautiful life that seems like a fleeting time. The greatest success of Song of Eternal Sorrow is that it narrates this real, penetrating bone marrow and lingering cold from a calm and on-the-spot perspective.
Wang Anyi has great feeling and imagination. Moreover, her feelings and imagination are very special. Her feelings and imagination are often not emotional, but rational; Not emotional expression and acceptance, but rational judgment. The space that emotion and imagination induced by reason can occupy should be very limited, but in Wang Anyi's life, spring is endless, and it is used layer by layer. When readers feel impatient and a little tired because of her deliberate, stacked and clumsy again and again, they have to sigh and admit that her feelings and imagination are unique and accurate. They come from her mind and her hands. This is her style, at least the style of the novel "Song of Eternal Sorrow"-just like
By the way, the "hard pen" and "dead pen" piled up in "Song of Eternal Sorrow" are used to reading, but they also show taste and rationality, especially when they are read together with stories and characters (the narrative of stories and the psychological capture of characters have always been Wang Anyi's strengths), and even think that they are essential and that they make the book heavy.
Still want to talk about the shortcomings of "Song of Eternal Sorrow". For example, about Wang Qiyao's daughter Wei Wei; For example, Wang Qiyao was killed by long feet ... Vivian is dispensable, and it might be better without her. The author wanted to write about that era through the young Wei Wei, but Wei Wei didn't write it well. What makes people feel clear is only a little intention of the author (another kind of deliberate). Why did Wang Qiyao die? The author wants to use her death to strengthen the tragic effect and the cold feeling existing in her body. However, Wang Qiyao's indifference is not highlighted by death, but by living, which depends on how she lives and how she lives. Wang Qiyao Long Legs was killed dramatically for no reason. This killing killed a heavy book, killed a serious writer, "killed" some frivolity and typed out some immaturity.
However, no matter how many shortcomings the Song of Eternal Sorrow has, all the shortcomings are not important in the face of her great success.
Song of Eternal Sorrow is irreplaceable, and neither is Wang Anyi.
About the author:
China is a famous contemporary middle-aged woman writer, who became famous in 1980s. Her short story Bao Xiaozhuang is regarded as the representative work of the root-seeking school. His mother Ru Zhijuan is also a writer, which is a family history, but I prefer the latter's works. Many of Wang Anyi's works are set in Shanghai, such as the recently influential novel Song of Eternal Sorrow. She is an expert in storytelling, telling an ancient story with a sense of detail unique to women. But a little rambling. I am obsessed with details and always take the trouble to start from scratch. Among her works, I prefer a short story called Mini, which is about a girl who is addicted to stealing. This is very interesting. (Yu Hui 2000 1 2 1)
Natural data: Contemporary female writer, native of Tongan, Fujian, 1954, Nanjing native. 1955 moved to Shanghai with his mother Ru Zhijuan. 1969 graduated from junior high school. 1970 Go to Anhui to jump the queue. 1972 was admitted to Xuzhou Cultural and Art Troupe in Jiangsu Province. From 65438 to 0978, he returned to Shanghai as an editor of Childhood, and later served as a director of the Chinese Writers Association and a professional writer of the Shanghai Branch of the Writers Association. His works began to be published in the winter of 1975, and his famous work Rain, sasha vujacic was published in 1980. He is the author of novel collection Rain, sasha vujacic, Wang Anyi's short story collection Ending, Passing by, Xiaobaozhuang, novel collection Sixty-ninth Junior High School Students, Old Friend of the Yellow River, Thirty Times of Running Water, Myth of Patriarchy and Motherhood, Song of Eternal Sorrow and prose collection Dandelion. Among them, "The Terminal of this Train" won the 1982 National Excellent Short Story Award, and "A Paragraph" and "Xiao Bao Zhuang" won the National Excellent Novelette Award respectively. Song of Eternal Sorrow won the 5th Mao Dun Literature Prize.
Wang Anyi is one of the most important writers in Chinese mainland in recent twenty years.
In fact, as early as the early 1980s, Wang Anyi gained public attention with a series of works, such as Rain, sasha vujacic and A Qiao Biography. These works mainly describe the changes of life in Chinese mainland since the Cultural Revolution, which are dull, delicate and full of sadness. But at that time, compared with Acheng, Han Shaogong, Mo Yan, Su Tong and many other mainland writers who were already popular or about to become popular, there always seemed to be something missing.
For example, the moral fable "Xiao Bao Zhuang" is touching, but not as thrilling as Han Shaogong's "Dad and Daughter". Writing the story of "three loves" between men and women on the erotic wasteland lacks the charming charm of Su Tong's works such as wives and concubines, Poppy House and so on. However, her other novels, such as Old Traffickers of the Yellow River and Thirty Times of Running Water, are criticized as "running accounts" although they are carefully chosen. In the 1990s, Wang Anyi was finally able to shine with Uncle's Story, and the subsequent Song of Eternal Sorrow, documentaries and novels also proved her ability to master long stories and imagine the history of her home country.
Wang Dewei, a literary critic and professor of the Department of East Asian Studies and the Institute of Comparative Literature at Columbia University, once described three characteristics of Wang Anyi's creation, namely, the examination of the relationship between history and individuals; Female body consciousness and consciousness; Reshape the Shanghai style of citizens. Documentary and Fiction can be said to be a great achievement of the three.
In the novel, the author intends to find the roots of his family, but unlike Su Tong, Yu Hua, Ye and Li Rui, he ignores the lifeblood of paternal race and explores the matriarchal genealogy that has long been lost. As for his creation and origin, his base camp is in Shanghai, a metropolis where foreigners gather, a city that keeps moving, changing and forgetting history.
This book is divided into ten chapters. The strange chapter tells the author's story, that is, the narrator's growth in Shanghai, from his childhood migration, study, cultural revolution, exile and return to marriage; As for the even chapter, it traces the ins and outs of its mother family in the history of the Chinese nation. Finally, in the tenth chapter, the clues of family history in National History and personal historical records in National History are combined into one, which is attributed to the author's reflection on the creative process.
In fact, the most striking thing in the novel is Lian Zhang's matriarchal history, and what is more interesting is that the author's "textual research" shows that the mother's blood source comes from the creeping tribe of the Northern Wei Dynasty, from which Wang Anyi wrote a history of family rise and fall.
At this point, documentary and fiction have become outstanding family history novels of "summary, generalization, introspection and review".
The earth endures, and the sky endures; One day both will end, and this endless sadness will last forever. When it comes to Wang Anyi's novel Song of Eternal Sorrow, readers sometimes think that it is the novel version of Song of Eternal Sorrow by Bai Juyi, a poet in the Tang Dynasty. In fact, the two have nothing to do!
The most striking thing in the novel is the appearance of the protagonist Wang Qiyao. The author uses a lot of space to describe the alleys, gossips, boudoir and pigeons in Shanghai with only one purpose: to set off Wang Qiyao is the crystallization of absorbing the essence of Huangpu.
"... Shanghai alley is very sexy, like skin. It has the coolness and warmth of tentacles, reason and selfishness. The back window of the kitchen is covered with oil, which is specially for the old lady to talk about inside and outside; The back door by the window is for the big lady to carry her schoolbag to school and have a tryst with the man ... "The delicate and gentle brushwork describes everything in the alley.
In fact, after Wang Anyi published Song of Eternal Sorrow, some scholars or literary critics classified it as Zhang Ailing's "sequel", trying to imagine how a group of men and women who used to lead dissolute lives spent the rest of their lives in an exaggerated ascetic regime, such as Ge Weilong, Bai Liusu and Mrs. Samson, who moved from Shanghai in the Republic of China to Shanghai in China.
Of course, Wang Anyi's "Song of Eternal Sorrow" is not without its shortcomings, but its shortcomings are just like its advantages, that is, "Song of Eternal Sorrow" only gives a comprehensive and concentrated description of the Shanghai customs that Zhang Ailing did not write comprehensively, that is to say, it successfully draws lessons from other people's ideas and successfully concentrates what others have described piecemeal; However, these descriptions are not original by the author, in other words, she just followed the path of success of her predecessors. Of course, objectively speaking, Wang Anyi's description of Shanghai's original appearance is successful, which also shows her ability to control novels!
On Wang Anyi's Creation in the Second Half of 1990s
A novel that is not like a novel.
1996, Wang Anyi published Sisters, which was completed in the first year. Then, in 1997, she published Bengbu and the Art Troupe, and in 1998, she published The Age of Seclusion. By 1999, in an essay published with two short stories, The Wedding Banquet and Meeting, she clearly said: "I didn't write about the countryside out of nostalgia. It depends on a slow, tortuous and euphemistic life, with blurred edges, some tentacles and a free form. " (The Form of Life, Shanghai Literature 1999, No.5)
During this period, Wang Anyi also created other different types of works, such as the short story Fairy Descent, the novella Sad Times and the novel Fairy Tales on the Roof. These works are not only different from the above group of works, but also have obvious differences between them. I won't discuss it here for the time being. Let's take a look at those novels that many people don't think are novels.
Why doesn't it feel like a novel As early as the early 1990s, Wang Anyi clearly expressed her ideal of novel creation: firstly, there were no special characters in special environment; Secondly, there is not much material; Third, the language is not stylized; Fourth, there is no uniqueness. This "four don 'ts" is actually a bit shocking, because what she doesn't want is exactly what many writers strive to pursue and is the driving force for the sustainable development and innovation of literature. We can't imagine how far Wang Anyi will go with this ideal. Now reading Wang Anyi's works over the years, we find that our thinking is in the wrong direction. In the long years, especially in the 20th century, the novel itself has gone far enough, even too far. I'm afraid the road below it is not only a path and a strange path, but also a lost and dangerous place. Therefore, Wang Anyi doesn't want to go far enough, but wants to retreat from the narrow road of uniqueness and individuality and the obsessive-compulsive disorder of innovation (many creators call "the dog of innovation" in their hearts) and return to the road of novel art.
So in Wang Anyi's series of novels, we read the inner calmness and calmness. The narrator does not force the narrative behavior to experience a virtual adventure, or insists that the narrative behavior creates some new possibilities out of nothing. No, it's not. Narration returns to the normal state, without deliberately expressing itself and highlighting its existence. When "what to write" and "how to write" become problems, "bias" inevitably occurs. In Wang Anyi's view, narrative and narrative object are integrated, because fundamentally speaking, Wang Anyi inherits a simple novel concept: "The difficulty of novel is that it is the art of real life, so we must find its aesthetic essence in reality, that is, find the form of life. Now, I have found our village. " (the form of life)
Ok, next we have to ask, what have I discovered from our village, our party and the city where we temporarily settled, and the times we experienced?
Rational "indigenous civilization"
As an important part of the New Culture Movement, China's new literature has shown from its birth that it is a kind of literature that pursues modern civilization, and its initiator and inheritor are transformed or newly born modern intellectuals. Literature promotes the transformation of a country and a nation into a modern social form, and expresses the individual's modernity consciousness and desire. Looking back today, under such a dominant feature, the narrators of new literary works have shown considerable consistency in many aspects, which constitutes the tradition called "grand narrative" today. Take local literature as an example. We find that many writers consciously adopt the standards and attitudes of modern intellectuals when describing China's rural areas. Their eyes are a bit like the eyes of doctors looking at patients looking for the root of the disease. They saw ignorance, ignorance and inferiority. They lamented their misfortune and were angry with them. From the standpoint of modern civilization, they saw that this native land was outside civilization. In fact, most of them were born in this place, but after going out from here and experiencing the baptism of civilization, looking back at their homeland, their eyes became fierce. However, the local literature in this narrative tradition reveals the framework and focus of modern civilization, rather than describing the form and situation of local culture. These writers themselves may be very familiar with local life and have deep feelings and nostalgia for their homeland. However, when they look at this country from the perspective of a modern intellectual, and only from the perspective of a modern intellectual, they become unable to understand their own country-if they can't understand the country from the standpoint of the country, they can't understand the country.
Therefore, it is not surprising that our local literature often gives people the impression of monotony, dullness and depression. The rich vitality of the people and the complex form of local civilization are obscured by the narrator's preconceived ideas and abandoned by the simple pursuit of modernity. Fortunately, however, the so-called "grand narrative" can never cover all narratives. After all, we can still see Shen Congwen's Xiangxi, Xiao Hong's Hulan River and even Zhao Shuli's northern countryside. These works, after all, present a variety of meaningful situations beyond the dominant characteristics and traditional control.
Having said so much, the original intention is only to compare a narrative tradition of Wang Anyi's novels. This contrast shows the unusual significance of Wang Anyi's ordinary narrative works: it can be seen that she has discovered or tried to discover the civilization of China; Judging from the above narrative tradition, such local culture is outside civilization. In China in the 20th century, it is obviously easier for us to understand the latter civilization: western-style, modern, foreign civilization that pursues progress and development, but we really can't know and understand the local civilization.
It is in this general cognitive situation that Wang Anyi's novels become a bosom friend and carrier of civilization, a kind of inquiry and understanding, a kind of narration and revelation, and a kind of local civilization. Do you know how Sisters started? "Our village is famous for its wealth. Many distant villages are eager to see this "blue brick to the top" village. Judging from the history of civilization, our village embodies the characteristics of a mature agricultural society everywhere. " -Here it is.
Compared with the works such as Fable in September in the early 1990s, Zhang Wei's Memoirs of Rural Life in Jiaodong vividly shows a natural and wild folk vitality, behind which is a lyrical gesture. The singer of wild songs and tunes is not only involved, but also integrated with the object of singing. On the other hand, Wang Anyi's local civilization in Huaibei is measured and rational, with an attitude of analysis and understanding behind it, so it is also separated by a little emotional distance. Such a local civilization, which has been avoided and educated for a long time, is far from the city and nature. It has a sophisticated expression, which is not so popular, but it must be understood carefully to understand the profound human nature under the conditions of sophistication, cliche and conformity: "This kind of human nature is constantly revised for a reasonable survival, but it is really good at the expense of freedom. It is not poetic, but its plainness contains rationality. " Based on such a generous, considerate and affectionate understanding, "Sisters" writes the group of rural girls before marriage so beautifully and vividly, which makes people sad.
The Adventure of "Two Civilizations"
Wang Anyi even found that there are many possibilities and powerful influences in the local civilization, which is generally regarded as conservative and self-sufficient, such as understanding and blending people and things that are not in this civilization. On June 26th, a group of doctors were sent to the countryside. Wang Anyi said in the article, "When I walked out of the bleak fate of youth, put aside personal grievances and calmly recalled the village where I jumped the queue and the farmers there, I found that farmers were actually born with artistic temperament. They have the ability to appreciate people who are different from them. They are very picky about the environment and people they live in, and they also have the ability to distinguish what is truly unique from different phenomena. " Let's look at the adventure of "two civilizations" described next: "Now, with Dr. Huang, he has added a novel style to our village with his knowledge, knowledge, gentle temperament, childlike heart and sad life. In fact, it coincides with our Zhuang's mind. As an ancient village like ours, it means returning to nature, and a lot of knowledge is hidden at a very low level. It and Dr. Huang, without knowing each other, reached a coordination. This kind of coordination is profound, not superficial harmony, intimacy, communication and communication. On the surface, it is even inappropriate and funny, just like Dr. Huang, walking in the footsteps of city people, but holding delicious wheat bread in his hand. This scene is really naive, and harmony is born in this innocence. Some are like tonality in music, the farthest is often the nearest, and the nearest is also the farthest. "
"Seclusion Times" also wrote about the literary life of educated youth who jumped the queue, and wrote about a teacher with a special history in a county middle school. All these clearly show that under the will of great unity, in the desert period, spiritual needs, sensitivity to beauty, knowledge and culture lurked and lived in a certain corner of geography and history. Such gaps and corners not only prevent them from being lost and scattered, but also let the fire of civilization be passed down from generation to generation. They also changed their place of residence more or less-a new and foreign factor, "embedded in the cracks of these distant history, slowly growing in and becoming a part of it." Like the medical team and Dr. Huang who went to the countryside, "imperceptibly influenced the quality of a village."
"Art Troupe" also wrote about the encounter of different civilizations, but the energy contained in struggle for existence is always out of place. "Art Troupe" is the product of revolutionary new literature and art, but "Our regional art troupe was formerly known as Liu Zi Opera Troupe". The new civilized groups were born out of the troupe of the old civilization, such as the old artists among them. They were born with roots. How will they meet the requirements of new literature and art at the expense of perfection, but after transformation, they will never be reborn? This art troupe, composed of old artists, college students, students, and people with different characteristics who study with the group at their own expense, was tottering in the vagaries of the times and finally supported it to the end.
"I" retired to "we"
Now, let's go back to the impression when Wang Anyi and I first came into contact with these novels. These works seem to ignore the traditional norms of novels, the usual elements and methods, and the author confides trivial, dull and scattered personnel details left in his memory like a daily conversation. At first, you seemed a little careless, but slowly, you became more and more amazed, so many unremarkable things gradually "accumulated" (instead of the "development" process of traditional novels) and finally became Our Village and sisters who freely and beautifully expressed the humanity of "Our Village". It has become a city where we meet by chance, a youth when "we" first got involved in difficulties, and a thrilling story of art groups and art groups. "Development" makes the form of the novel temporal, and "accumulation" makes the form of the novel spatial. At first, we just felt that narrative was constantly filling these spaces: "our village", art troupe, hermit's hiding place. Later, we were surprised to find that these spaces are the subject built for narration, and those personnel details are like the nose, eyes, heart and the history of every move of this subject. I can't help but thank a kind plural narrator named "we" for coming this far. "We" sublates "I"-it often becomes a vicious narrative subject. In a brief comment on the art troupe, Yan Feng said that in the literature of the new period, a short and artificial narrator can be found everywhere, who is either complacent, self-pitying or pretending to be indifferent.
"I" did not disappear, but retreated into "we".