Witch, witch's words
On Zhu Tianwen and His Novel Creation
Geographical estrangement is understandable, but literary neglect is really hard to explain. When we are scrambling to read the misty poetry school, when we are pleasantly surprised to speculate on Wang Xiaobo's The Green Hairy Monster, and when we re-evaluate Shi Zhecun, the blood of contemporary China literature has been passed down from generation to generation, facing a readership of less than 23 million on an island across the Taiwan Province Strait. Which was praised by Hu Lancheng? Little Zhang Ailing? Zhu Tianwen.
Zhu Tianwen? Zhang Wei? This is not accidental, nor is Hu Lancheng's cult groundless. Because of his father Zhu Xining, Hu Lancheng lived next door to Zhujiajian Island after leaving the Cultural University, while Zhu Tianwen, who was still a girl at that time, came into contact with this controversial figure in China's cultural history at a favorable time and place, and was deeply influenced by him in his later literary road and life choice.
Hu Lancheng once described Zhu Tianwen's writing as? Goddess dancing? , that is? Dancing for God, not for the audience? 、? People come to pay homage to the gods, which is a state of anxiety, so they are not old and sick in the dance of the gods. , Zhu Tianwen? Ji Shen? Temperament has been revealed in her first semi-autobiographical novel Tamkang. ? I want everyone in the world to live upright and have no grievances? 、? But we have our own, not just nobles? These are really the words of a female high school graduate. During this period, Zhu Tianwen was in high spirits and showed extraordinary talent with a small pen. She can not only write the passionate words mentioned above, but also write? Is it that people are suddenly sensitive to the existence of their own lives, giving birth to joy and desolation, thus a nostalgia for past lives and a great yearning for the afterlife? There are more words full of philosophical thinking and sentimentality? Gravel is everywhere, and the Miscanthus on the riverbed is full of silvery white flowers, which are deposited on the farthest horizon in the early morning smoke? Such a gentle description. Just like the role of grandpa in Tamkang, the novels of this period have a beautiful and elegant atmosphere, and the pen tip reveals the freedom of Hu-style prose from time to time.
However, Zhu Tianwen is not a writer who is willing to feel sorry for himself. Focusing on the theme of urban life, she began to explore grand propositions such as desire, youth and life in the novel collection "Glory at the End of the Century" published in the early 1990s, but what remained unchanged was her meticulous brushwork and meticulous psychological analysis, and the publication of "Glory at the End of the Century" was quietly published four years later.
Although both are homosexual subjects, The Tale of the Savage is a work with great personality in this subject, regardless of whether its author is determined to rebuild Hu Lancheng? Human female civilization? As a theoretical female writer, The Tale of the Savage has its own narrative perspective and expression.
The novel is written in the handwriting of a middle-aged gay man, and the whole article is expressed in the first person. Me? Combine two into one, explain the unspeakable mood, and sometimes use it? Me? The separated and borrowed body speaks the author's own thoughts. The words and sentences in the whole novel are extremely stylized and refined, and there are many proverbial expressions. The story covers many aspects, similar to stream of consciousness. Me? Contact with many different objects, break down life events into dynamic fragments and carry out perceptual reorganization to convey unique thinking on topics such as homosexuality, politics and identity, and female consciousness. Inadvertently, you will have the illusion that you are reading a notebook of a bad karma woman, but inadvertently, the author's sentence by sentence pulls you back to the background of male identity, as if? Being stared at is feminine, and being stared at is masculine? That's all? Coexist with us? .
At the beginning of the novel, the author writes? This is the era of decadence, this is the era of prophecy. I was firmly tied to it and sank to the bottom of the water. ? The gloomy and decadent tone of the novel has been established since then, although occasionally? Me? Happy memories, but in the previous chapter, those rare happy memories are really hard to make people really happy, so coldly, the author began her discussion on homosexuality and female consciousness. Occasionally, in those poetic descriptions, you will think of Zhu Tianwen in Tamkang, but more often, she is right? Me? The cold underground knife, just like Zhang Ailing pointed the blade at herself, hurts deeply. So Zhu Tianwen said,? Can we finally get even with Zhang Ailing? Whether this is the original intention of her writing Notes of the Savage or not, there is no doubt that her novels have opened up a new direction in the literary world of Taiwan Province Province.
A few years later, Zhu Tianwen wrote himself again, but this time, the semi-autobiographical novel Yanwu was not the teenager in Tamkang, but a cold face. In the three novels, Zhu Tianwen created three different reading experiences, namely, The Passion of Tamkang, The Tale of the Savage, and the digression of Yanwu, and this change more or less implies what you will encounter in Yanwu.
Yanwu broke the usual linear narrative structure, not only lost the language, but also scattered stories in the fork of each language. As Zhu Tianwen himself said, when I was in Yanwu, the novel kept going off topic and changing constantly. I often started from a detail and said something that seemed to be off topic, but I don't know when I got back to the point, or simply came to the end of the chapter and forgot all about the route. ? Digression is the theme. Change it, then change it, then change it, and then stay, so it's beside the point. Off the point? Relying on this narrative method, Zhu Tianwen crammed countless objects, people and events, such as the death of his father, the arrival of the E era, unaccompanied travel, his desk, children's education, the writer's mission, the myth of consumerism and so on. , are within the scope of the discussion of this novel, as Tang Nuo said, compared with the attention to grand propositions in Gorgeous at the End of the Century and Notes on Savage, "this is not a writer's ability to grasp the theme has declined, on the contrary, it is a manifestation that the writer has entered a higher level of care. In Yanwu, we can see her description of her father. The elderly father has to get up every morning to change his dentures, but it is inevitable that there will be a waiting time for a family of six to use a bathroom. However, when toothless dad is waiting in the living room, he will feel extremely nervous, so that he will hide on the second floor every time and listen to the sound of water rushing down the stairs, but he will also sit on the sofa again. There is also a mother who may have a stroke on the spot because of pressing the wrong ATM key, and a sister who loses money in the city every day, who prefers to be a cat. However, Zhu Tianwen's indifference is exactly the same as Calvino's in the view of her brother-in-law Tang Nuo, saying that they are sincere people on the surface, and Tang Nuo did not hesitate to prove it by living under the same roof with Zhu Tianwen.
In any case, The Witch Language has no exciting twists and turns and no touching plot. Instead, piles of bizarre metaphors and a set of irrelevant chapters seem to clearly express their rejection of fiction. More precisely, simple fiction has reached its limit. Borrow a sentence from the novel? Ten cents, one inch less. Reduce it. Reduce it? . Even so, Wu Yan is not a simple notebook or a running account of human feelings, but a book carefully conceived by the author.
I dare not talk about the unchanging parts of Zhu Tianwen language, let alone the object of description. If anything, it is her poetic description. Influenced by Hu Lancheng, Zhu Tianwen has a profound understanding of traditional culture, especially ancient prose. From the gentle Tamkang to the notes of lonely men, to the mysterious Yanwu, you can see traditional poems and allusions in her hands. The accumulation of these cultures adjusted Zhu Tianwen's modern writing from time to time, which enabled her modernist works to be presented. No one can write in a luxurious way like her? .
? It turns out that there is one thing that mainland writers can't write, and this piece may be a puzzle that we can contribute to literature and national territory, and that is the description of modernity. ? At a reader's meeting, Zhu Tianwen said: Perhaps, the modernity of Taiwan Province Province is not as violent as that of the mainland, and it is certainly not tame, neither so fast nor so slow. Perhaps in this writing position, Taiwan Province writers are irreplaceable by mainland writers. In fact, Zhu Tianwen's first-class position in Taiwan Province's literary world is laid by her meticulous carving of words and images, her fragmentary emphasis on narrative and her structural style full of modernist style. She's not just one? Little Zhang Ailing? But a wizard who tore down his house of life and built a reversible novel house between irreversible time and irreversible life.
The author himself
Zhu Tianwen, the daughter of Zhu Xining and Liu Musha, is a native of Linqu, Shandong Province, and was born in Taipei. Zhongshan Girls' High School, graduated from Tamkang University, majoring in English. Zhu Tianwen, who was born in a scholarly family, began to publish her works long before her sister Zhu Tianxin. She is the editor-in-chief of Sansan magazine and Sansan bookstore. Because he published Xiao Bi's story, he got to know Chen He and took part in the screenplay, and since then he has formed an indissoluble bond with the film industry. His works have also won many awards. He won the first literary million novel award of The Times in 1994 with the handwriting of a savage. His works include novels, essays and screenplays.
Zhu Tianwen's works:
Tamkang Ji
The story of Xiao Bi ISBN 957-32- 1666-3
Joe satrap's new record
One legend is that ...
Gorgeous ISBN 957-9528- 19-5 at the end of the century
The most missed season ISBN 957-9528-04-7
Zhu Tianwen's film novels;
Good man and good woman ISBN 957-708-289-0
The predecessor of Huayi is ISBN 957-708-256-4.
Summer Capital International Standard Book Number 957-9528- 13-6
Savage Notes ISBN 957- 13-2327-6
The Best Time of Hou Xiaoxian's Film Record ISBN 978-780-7 13-297-4
Witch International Standard Book Number 978-986-687-363-8
Screenwriter:
The man in the cupboard (1983, the boy in the cupboard)
The Story of Xiao Bi (1983, Growing)
Winter and summer vacation (1984, a summer at grandpa's house)
Little daddy's sky (1984, suddenly)
Childhood friends (1985, Taipei story)
The most missed season (1985)
Get married (1985, his marriage)
Love dust (1986, dust in the wind)
Daughter of the Nile (1987, daughter of the Nile)
Grandma's summer vacation (1988)
City of Sorrow (1988, City of Sorrow)
Dream life (1993, puppet master)
Good man and good woman (1995, good man and good woman)
Goodbye south, south (1996, goodbye south, goodbye)
Flower of Shanghai (1998, Flower of Shanghai)
The name of the Millennium Mambo Rose (200 1, Millennium Mambo)
Best time (2005, three times)
Nie Yinniang (20 10, the legacy of Nie Yinniang)
postscript
Zhu Tianwen has a sharp brushwork and unique style. No one can write articles like her. So-called? Little Zhang Ailing? It's not necessary. She is nobody's shadow, she is herself. From the tender Tamkang story to the mysterious and secretive witch characters, it is really indescribable. If you can read her words, you will be deeply impressed by his words.
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