Chapter 85 second quarter

The first ten years of Zhang Ailing's seclusion were relatively peaceful, and her creative power was also very vigorous.In addition to the in-depth research on and, he also published a collection of prose novels "Zhang Kan", a collection of novels and scripts "Wang Ran Ji" and some articles in "Sequels". From the "Exhibition of Zhang Ailing's Manuscripts", we can know that "Wang Ran Ji" was originally named "Two or Three Things in a Chaotic Century".This "chaotic century" refers to the war-torn period in China in the 1940s and 1950s. Most of the stories included in the book are refurbishments of old works, and the themes began 30 years ago.However, their writing styles are strikingly similar, stripping away all the lead, and blindly using the line drawing technique, which is obviously the result of changes and changes.Most Zhang scholars think that this is due to the baptism of American culture after she went to China, but I think it is mostly due to the influence of her, and she blindly pursues the result of being plain and close to nature. For example, "Meeting Happiness" and "Floating Flowers and Waves" are both light and plain, durable but not easy to read, and "Lust, Caution" is even more misleading.

Zhang Ailing said in "Preface to "Wang Ran Ji": "These three short stories have shocked me, so I am willing to rewrite them over and over again for so many years, and even think of only the surprise of obtaining the materials at the beginning and the process of rewriting. I don’t feel that thirty years have passed. Love just doesn’t ask whether it’s worth it or not. This is the meaning of ‘this love can be regarded as a memory, but it’s just lost at the time’. Therefore, the title of the collection is "The Story of Lostness." When I saw the phrase "Love is not asking if it's worth it or not", I suddenly felt a chill down my spine - who is she talking about?

I can't stop guessing and associating, although maybe that's what Zhang Ailing doesn't want to see.She had always hated the "Sorhamites." When "Lust, Caution" was published, she was very unhappy because some people liked to think about it too much. It was a story about a female agent who used sex as a means to get close to a traitor, attempted to assassinate her, and finally failed and was killed.Some people once verified that it was based on the true story of the traitor Ding Motun, and believed that this material must have been told by Hu Lancheng to Zhang Ailing. Zhang Ailing tended to "beautify the traitor" in the article because she had no more love for Hu Lancheng; People say that the prototype of the story is actually Guan Lu, a female writer who is as famous as Zhang Ailing. Isn't Guan Lu a female spy who infiltrated the enemy's interior? The thing was done by some of their Peking University students.

What is the truth, in fact, why bother to ask?Anyone who has written novels knows that the origin of many writings is often just a little shadow. When writing, the writer is often involuntary, and the ending is beyond his control; These facts are strikingly similar - literature comes from life, and it will always return to life. This did not need to be explained, but the criticism from outsiders is no longer just "repression", but "distortion". After "A Few Words to Tell the Reader", she defended herself only once - both times involved a sensitive term: traitor.

"I saw the article "How to Get Spicy If You Don't Eat Spicy——Comment on Lust, Caution" written by Mr. Outsider on the October 1 issue of Renjian, and I felt that I needed to clarify... In addition, Yuwen obviously raises a question: Shouldn't villains in novels enter their hearts?Do criminals who murder and rob goods necessarily regard themselves as demons, or do they think they also have heroic deeds that forced them to death? ...Mr. Outsider even became suspicious: Maybe Zhang Ailing's original intention was to criticize traitors?Maybe I didn't understand Zhang Ailing's original intention?

... I am the least able to argue, and I write slowly, so I really don't have time to write a lawsuit.This book review by Outsiders is a fair one. Readers may not know that the whole text is detailed and detailed, and the original text is arbitrarily split, and it is far-fetched and misinterpreted and "taken for granted". If you reserve a setback for yourself, it can be attributed to misunderstanding, and you can speak completely irresponsible.After all, I have to be responsible for my own works, so I had no choice but to write this short article, not as an example. " When compiling "Wang Ran Ji", Eileen Chang repeated this point again in the preface:

"Shouldn't one go into one's heart when writing villains, and can only stand outside to scold or vilify them? Today, everyone is quite familiar with the classics in the modern world, and we have a new understanding of the profundity of our own traditional novels, which are requiring maturity. It should be superfluous to raise such a question when depth is required for his works, but it seems necessary to mention it here. The enemy also needs to know oneself and the enemy, but can knowing the enemy not know too much? Because understanding is the beginning of forgiveness?If knowing leads to forgiveness, knowing such a person is more likely to lead to contempt.Lack of understanding will deify sin and become a devil who competes with God, a mysterious and great 'Prince of the Dark World'.So far in the West, "Satanism" and "Black Mass" still have its charm. "

——In this way of "carrying grudges" again and again, she was hurt again.If it sticks to people, it gets dirty, and she couldn't help avoiding it. As early as in her debut novel "Genius Dream", she said: "In occasions where there is no handover between people, I am full of the joy of life." "On Writing" in the heyday said again: "Why do a group of literati willingly stay in the 'literary prison'? I think it is because of the charm of writing in the final analysis." When she published "The Sequel" in her later years, she once again declared clearly in her preface: "I am a believer of the famous actor Garbo. For decades, she used makeup and acting skills to live in seclusion in New York. She was rarely seen through, because she believed in 'I to live alone' principle."

"The Preface to the Sequel" was written in 1988. At this time, she had been living in seclusion for fifteen years, and she became more and more tired of the crowd. She would rather "paint the ground as a prison" and hide in the "literary prison" to write behind closed doors. her. She said that she takes care of herself, eats carefully, uses the best skin care products, and disinfects every day. In short, she wants her world to be clean and spotless, so she stays away from people—everyone gets dirty. If she can gain peace of mind, then I don't think there is anything wrong with it—her world is so complete, and of course she doesn't want to be disturbed by outsiders.

Sometimes when I get angry, I will close the door for ten and a half months, hide in a small building, and keep my ears shut, but I still have to "get out" after a while. I can't stand loneliness in the end. Zhang Ailing endured loneliness.But at the same time, she was driving herself into a corner, into a dead end, so crazy that she began to hallucinate.It just felt like there were fleas everywhere.