Liang Hong, but when you delete those trivial things, it seems that everything has lost its meaning and disappeared with it. You once said that the strangeness of your life experience disappeared in his life experience. Now we write this kind of strange story, which will make people feel that this kind of novel is a virtual analysis of daily life experience, and the novel may be more real. Do you think that daily life experience can no longer unify the meaning of the story? It involves a time-oriented problem. When the history is linear, it is broken. A novel has undergone a qualitative change, and events are no longer lasting. It is a synchronic and simultaneous occurrence, and this historical time disappears, which brings about structural changes when it is a novel. What do you think will happen to the conceptual narrative mode and structural mode when such a time view will bring about the beautiful style of the novel?
Li er’s daily life novels often show the present continuous tense and will follow the narrative, but in general, the present continuous tense will follow yesterday’s form, but it is very vague. It is a typical example of expressing uncertainty. Camus, an outsider, died yesterday. Actually, it is not today, yesterday, which is yesterday? God knows this way. In Madame Bovary, the novel also writes at the beginning that we are in class and it is also ongoing, but as the narrative progresses, we disappear and the novel becomes purely objective and the third person is blessed. Lou Bai’s novel is a transition from classical novel to modern novel, from intellectual narration to limited narrative perspective. Flaubert’s first attempt shows that the novel is very mature when the novel department is out of harmony with outsiders. Now we can ignore what day it was yesterday. As soon as this kind of narrative is made, the characters read together and explore the family method to tell the readers where to go and move forward together. I think this is a way for modern novels to narrative.
Liang Hong seems to have a definite time limit, but it is very vague as the narrative progresses. This kind of confusion may be a mistake of novelists, but in fact it contains an idea that the home tries to bring reading into the situation, which is both a spectator and a participant. What kind of home will view it at this time? Does it mean that the family knows some uncertainty about life or expresses some theme?
That’s true of Li Er. I think the family law guides reading. He can make readers feel the same way and explore together, or he can give reading a sense of presence. Actually, he tells more things to the family. Rob Gerye’s novels are all read at the moment and are in an unknown state about the future.
A synchronic thing like Liang Hong brings a new problem, that is, the problem of meaning. In the narrative of a unified story, there is always a sense of inquiring about the meaning of life or a kind of moral anxiety. Therefore, classical novels will determine that meaning permeates into it and pursue completeness. However, in synchronic life, everything is unfinished, and the meaning of life is always delayed. Modern novels are increasingly blurred because of the uncertainty of family.
Li er, when I was writing a short novella, I was often confused and suspicious. There are two main aspects. On the one hand, what was my novel to tell me at that time? At the beginning of writing, you thought it was very interesting. You thought you would share the story after writing, but you were still confused and doubted its value and significance. On the other hand, you were very doubtful whether it would be similar to others. You were often in extreme anxiety when writing. So where did you gain confidence? For example, you saw a very good family. Failure has written some great novels, and I felt the same way when I was writing. I might as well call it success full of failure, that is to say, you will get a comfort from the success full of failure of famous artists, a very thin comfort. In this case, it may be said that home writing often faces a lot of confusion
This situation in Liang Hong makes it difficult to sublimate the meaning, including the meaning of experience and life. In the narrative of old novels, the family always unconsciously judges the morality, good and evil of life, etc. But now the family is lower than reading, including the view of events, but in this life, the family is much lower than reading. I feel that you may not read this kind of doubt about meaning, which may be difficult for the family to continue. I think that modern novels will be more realistic about stories and narratives, because it is difficult for the family to find a suitable way to express their feelings, emotions or discoveries from the unified writing mode.
Li Er, when I read Gide’s novels, I often felt that it was so difficult for him to write. Can you feel that it was actually very difficult for him to write? Gide’s novels should be very easy to read, but I still think it is very difficult for him to write. He has been hesitant about how to tell the story. Of course, it is generally not necessary to pay attention to this point. You will find that the more wise you are, the more you can feel this difficulty. Recently, I read Coetzee’s novels and found that many of his stories are actually stuttering. Of course, the most famous examples are. It’s Kafka who can’t finish his novels. People have tried to explain it before, but in any case, one thing is certain: he really doesn’t know how to write the novel, he really doesn’t know the ending of the novel, not because of his poor health, but he really doesn’t know the ending of K, and he also doesn’t know the fate of the young man in the United States. If he really writes his fate, he will doubt that the value of this novel is in its meaning. I think such a confusion is also a contemporary home. Confusion unless you really believe that you really have it in your hand, you can squander other people’s fate. Besides, people who are really aware of novel art will feel this difficulty. The more familiar they are, the more they don’t know how to write.
Is it true that Liang Hong will feel more difficult if he tries to enter the contemporary life home? He is always in constant doubt and negative thinking, which is the end. Is this life really life? Can it reflect a certain quality of life? Is K-life what Kafka thinks? He will also be deeply skeptical when he writes it, because he will doubt his value.
Li er’s suspicion reached its extreme when Kafka asked him to burn him after his death.
Liang Hong: I don’t think it’s that the family doesn’t want to express a certain reality, but that the family finds a real method and a proper narrative way in the complicated reality. He will keep denying himself, and no one has explained this before. The complicated historical situation in which we are located can no longer be described by the classic novel narrative mode without words.
Li Er can say that where is the confusion of the family? Contemporary life or contemporary experience has become legal. The naming family has to present a method to name the life experience. This is doubtful. I especially appreciate Saul Bellow’s sentence that the predecessors died in the arms of their loved ones but now they died on the highway. Although they are both dead, the meaning is completely different. You can find that contemporary novels, including those with mature art, are lighter than those in Milan Kundera’s life. It is very strange for you to say that Teresa Thomas died in a car accident to explore the fate of the protagonist. If it is a classic novel in the past, you will think that this kind of death arrangement is irresponsible, but now it may be that Kundera deliberately arranged it. Kundera painstakingly named the contemporary experience in the attention meeting of the dead family, and revisited the concept instead of writing about a person’s fate. This strong impulse is because he has never been named before his life. In fact, this family requires a lot of technical training, historical understanding training, or you will not be able to name it, that is to say, writing can no longer be based solely on imagination and inspiration.
Liang Hong or not every family is sensitive enough to see the core of contemporary life and find a proper name. Can you show a certain state of life recognized by others and make a relatively accurate name through your account of contemporary life experience? Your doubt lies in that you don’t know whether your writing reflects a certain quality of life.
Li Er’s word is very important, but it was abused later, that is, every family should have its own key words. These key words constitute a way to write about world suffering, not a key word. It is a feeling of China people for thousands of years, not a name for your life. Now it is often this person who writes about suffering families and that one who writes about self-protection. This is an emotion, not a way for a family to find out his own name for life.
Liang Hong, do you think you found it or did you find some of it?
Li er, I think coloratura should count, pomegranate trees bearing cherries should count, and rapping dumb people should count.
Liang Hong: I think afternoon poetry should be the most classic. Afternoon body is an extremely accurate name for contemporary knowledge.
Pure literary reality
Liang Hong, let’s talk about another problem. Earlier, we have been talking about the fundamental changes in novels from the avant-garde to the theme consciousness of contemporary literary beauty elements, but it is of positive significance to the development of contemporary literature, but it also brings some problems. For example, in recent years, the art world has reflected on the slogan of pure literature. In view of the extreme secularization tendency of contemporary literature in recent years, it is also called the tendency of desire, individualization and virtuality, reflecting on the realistic grand narrative of avant-garde literature, and gradually forming a binary opposition trend, which has a negative impact on the literature and calling for it to return. In the spirit of dignity and great prose, the influence of a family who grew up in the atmosphere of avant-garde prose on you should be undoubted. As far as you feel the overall trend of the literary world now, you should reflect on whether the question of pure prose or simplicity is true from the root.
Li Er, by the way, I reflect that the pure text was originally written in the sea after the mang. This batch of articles was organized by me. I remember that Cui Weiping, Zhang Hong and others once participated in it, probably because the mang was in the middle. People later forgot this when they talked about this discussion.
A few years ago, Mang organized some discussion articles on meaning, reflecting on pure prose is one of the things that have changed. I don’t have ready-made materials at hand, and I can speak in more detail. But I can still remember some ideas at that time for a long time. People demanded to reconsider the function of the literary society. I remember correctly that people realized the situation of pure prose in their early years, or that critics turned to cultural research. They hoped that the literary society would be effective in reality. Hope is good, its positive significance, and I agree with their views. I don’t think the text can be isolated in the historical process of the society. The foreign language is not distilled hydrology but mineral water, but I think it is impossible to see how much influence the text will have on the historical process of the society. The text is not glucose.
Liang Hong doesn’t think this article is getting smaller and smaller. Li Tuo simply calls it a writing tendency from humor in the era of villains to absurdity and secularism. When there is no opposite, emptiness is all about trying to be a nation. That is very dangerous. There is little real value in the creation of novels. What do you think of this view?
Li Erwen’s concept is always a metaphor, so we can’t delve into it, because it is a metaphor, and the concept of pure text is also a metaphor. If we really want to make it a literary proposition, I think its pseudo-proposition component is quite greater than whether it expresses a certain face value. This problem is more complicated than we can’t say that emptiness is negative value, secularism can’t be negative value, and it can’t be said that it is negative value.
Liang Hong: What is the state of Chinese reality in life? Do you think reality can constitute a certain correspondence?
Li Er, I think realism first means a critical spirit, especially in a country like China. I very much doubt what people mean by face value. When people are often accused of being faceless, I wonder who can be a faceless person. For example, Dr. Zivage, Dr. Zivaglala and us, they are moved by whether this kind of person is a faceless person. What is their face spirit? Will their spirit become negative when they enter China? I don’t know if you recognize Marquez. When Camus is a kind of spirit that human beings should praise, it is similar to the Western foolish spirit Sisyphus spirit. When we write about real life, for example, when we write about it, the other side lives relatively or forms a great tension. What kind of life is it? When we talk about the word face spirit, I feel that it contains binary opposites. For example, in afternoon poems, I can hardly say that I represent face spirit, but my attitude contains some face spirit.
Liang Hong seems to be such a phenomenon. Now critics may also include me, who often unconsciously set a very high goal to measure the family. As a result, many articles do not meet this overall goal and are ignored. This kind of criticism ignores the complexity of life and the spiritual complexity of novels. In fact, it does not constitute true criticism or does not constitute a critical vision. There is no article to discuss problems at one level.
Li er, you can see that many criticisms are always narrated in the desire of critics. This kind of criticism is often based on the background of Christianity, Marxism or critical realism. They first measure the home with a constant value, but when the home writer says that it is consistent, people will say that it is unrealistic to write, but people will agree with this critic at this moment. When criticized by critics, critics are often dumb and eat coptis chinensis.
Liang Hong, what do you think of contemporary critics? What do you think of contemporary criticism tendency?
Li Er, I was very touched when I heard Mr. Meng Fanhua’s words at a meeting. When he got home, he bluntly said that it was after six o’clock in the evening to talk to critics. Critics are a kind of leftover material for the family. When chatting over tea, the topic is actually what I still talk about with my family? Talking about taxes, talking about film and television adaptation and talking with my family has become a very hypocritical thing. The other party will look at you. What is your motivation for talking about this? I will doubt what bad intentions you have. But as far as I know, the family is seriously thinking about the problem. Everyone is like a gourd with excellent confidentiality. Of course, it may also contain a fear experience, which is quickly reappeared. The situation is that the family is willing to live in an ironic form. You see, when I talked to Mr. Cheng Yongxin, the editor just now, I was still talking about reading the letters in the 1910 s, but now it is a hypocritical lyric.
In this era, Liang Hong’s seriousness will be ridiculed, which is regarded as a kind of hypocrisy. Everything is changing from tragedy to farce. Things that once gave people a sense of loftiness seem ridiculous. Those things that once moved us always make us laugh and reflect the sacred light of human spirit. What is going on? It is really acceptable that human spirit has declined in the post-modern era.
Li er talked all night in the 1900s. Now I’m with some family and friends, but I still want to talk about it. Of course, it’s often a joke.
The context of Liang Hong’s joke is whether this kind of anxiety and nervousness is a weakness to cover up his disbelief in his own story or narrative uniqueness
Li er also has another possibility. I feel that everyone is very fragile. You have cherished things very much, which is insignificant to others. Your confidence has been hit. Therefore, it is hard for you to feel a little about life. Therefore, your confidence in writing will be hit head-on. Today, someone asked me what the topic was. I really dare not say that I once told a critic about my new long idea. He told me that you should never tell the second person from now on, because your topic is so good that others will write it quickly with a slow hand like you.
Liang Hong, in fact, this is an experience. When you return to the speaker, you are very skeptical about your Oracle. You know that you can’t achieve such an effect, and you don’t want to reach the core of what the Oracle wants to protect. Don’t let others know that it is very difficult to build this confidence. It is very real. It just reflects the context of modern novels. It is in a state of being surrounded, and its position is getting smaller and smaller, so that it is possible to admit it.
This situation of Li Er’s family is just like that of North Korea, which holds well-known nuclear technology. It is still regarded as a treasure, and it will be laughed off when it is discussed internationally, so that it can hold a humble confidence and be precious.
Liang Hong, this is a very embarrassing situation. Do you think this is a family problem?
Later, I found out that this is also a problem for theorists. For example, a professor who has worked hard to write a history was attacked head-on. Of course, he accepted it. Obviously, this is not a requirement for fiction, but a requirement for humanistic knowledge.
Liang Hong: I think every critic in the contemporary era is very nervous. Of course, this kind of tension has been around for a long time. Baudelaire cursed the critic as a mad dog. Although he has written a lot of poems and paintings, one of the important reasons is that when a critic finished writing, he was also unhappy. This is a humanistic knowledge that he is unwilling to accept because you denied his spirit when you denied his thoughts.
Li er’s joke is that you can call a humanistic knowledge self-protection, but you can’t say that he is superficial, which is the biggest insult to him. You can even say that he is wrong and has too many fallacies, but you can’t say that he has not found life, but now critics often say this sentence. He didn’t notice anything, but he didn’t find anything. He thought that home was superficial, so he felt that it was acceptable.