Chapter 70 28. Shao Quanlin and Feng Mu (1)

At my request, Shao Quanlin, Secretary of the Party Committee of the Writers Association, met with me.I enclose my old style poem to my letter to him.In the poem, there are words such as "recalling the old days with a heartache, wind, flowers, snow and rain once deceived each other", "carrying the sun and the moon on the shoulders to add divine power, stepping on the mountains and rivers to make nature" are nothing more than accepting lessons and working hard to reform without double-hearted intentions . Shao Quanlin's interview itself showed great kindness.When he first saw it, he first praised my old-style poems for their sincerity.He said that he was willing to have a heart-to-heart talk with me after a storm.He said that he had already asked "People's Literature" magazine to ask me for a manuscript, and he would also introduce me to become a member of the Writers Association.He said that Ding Ling couldn't figure out that she was anti-party, and there might be some subconscious things here.Although his subconscious anti-party theory is peculiar, he said that these things have a sense of objectivity and distance, and it is true that this is not something he can decide.I remembered his speech at the meeting criticizing Ding Chen, and the issue of damaging writers came up.Later, the development of the situation may have exceeded his old imagination. The result of burning in a big fire, stewing in a small fire, thick smoke, and spitting is less and less like saving help, and it has nothing to do with writing good works in the future.

But what he mainly discussed with me was a point of view, that not only advanced characters can be written, but also intermediate characters can be written, and the transformation of characters can be written. I can't remember whether it was before or after the talk that I saw the headline of "People's Literature", Xirong's "Sister Lai".Write a story about a rural woman, from being shameless to raising her consciousness. At that time, we were working on the Eight Articles and Ten Articles on literature and art, trying to make it reasonable and reasonable in terms of policy, and slightly regulate the literary and artistic thoughts that have been left and left since the anti-rightists.Shao's theory of middle characters came into being in this way.He can't adjust the policy from a larger perspective, he can only talk about small troubles such as middlemen, which is nothing more than to loosen literary creation.

There is absolutely no doubt about Shao Quanlin's good intentions, but there are limits to what he can do, and I have to work hard on my own. During this period, it was reported that Haimer's film "Horse Xiao Heng Blowing" was protected by the old revolutionaries. The film "The Hole" was hit by a stick, but Comrade Li Xiannian felt that there was no major problem after watching it, so he saved the day. The discussion of "Daji and Her Father" in the "Literary News" made it possible for a novel that had been put on the hat of human nature to see the light of day again.

Liu Shaotang published a funny short story "County Newspaper Reporter" in "Beijing Literature". Yan Xiang published a short poem "Night Plowing" in "People's Literature", which reminded me of his working life in the Great Northern Wilderness.To avoid trouble, I have not contacted any of them. From Wei Junyi's "Moon Night Qingge" and Wang Zengqi's "Yangshe Yixi" and other works, they all reflect their experience of being sent to the countryside in the past few years. Cultivate pleasing flowers.Wang's works also used some psychological monologues and techniques of changing perspectives, which were empty and touching at the time.

At that time, I was most fascinated by Ru Zhijuan and Li Zhun, and I got to know Haoran later.In the age when all horses are silent, they are the few favored sons of heaven who can sing. They are bright in the spring, they laugh and laugh, they follow the times, they promote the advancement, they lead the way, they are the proud sons of literature and the darlings of the times.Li Zhun's "Li Shuangshuang Biography" was originally a tribute to the canteen of the commune, but after he quit the canteen, he was still able to come back to life, wrote Li Shuangshuang with a vivid and hot personality, made a movie, and won an award.His "Plowing the Clouds and Sowing the Rain" and "The Spirit of the Dragon and Horse" all made me envious, and I yearned for it, knowing that I couldn't reach it.After all, he is not as familiar with rural life as Brother Li.

And it is Ru Zhijuan who gives me satisfaction and closeness from reading. She is still passionate, her language is like songs and poems, and she has become the only one for me. With a delicate artistic sense of narrative.I am determined to learn from Ru Zhijuan and sing the praises of the times with my heart and soul.But soon she was also criticized by (always writing about) housework.It was indeed an era when you tried your best to sing praises and follow closely, but you were not allowed to sing praises, and you were not allowed to follow closely. In that passage I read Ai Wu's, which also praised the Great Leap Forward, but it was written in a detailed and passionate way.In one of Fadeyev's comments, he spoke highly of Antonov's novel, saying that Chekhov would have praised it if he had known it.I found Ann's, and it was really wonderful, and it was more open than us.

I read Ouyang Shan's "In the Carriage with Soft Seats", which has a novel theme, and even wrote a story about a cadre who gave up his official position because of writing and finally failed.I read Hanzi's "Front Front", which writes about the War of Liberation, about fighting heroes and martyrs, and uses the second person throughout. I also read Chen Xianghe's historical novel "Tao Yuanming Wrote an Elegy" and I just feel that the author has a lonely heart.In retrospect, he was always an activist who criticized Hu Feng. I read Haoran's "Magpies on Branches" from "Beijing Daily". I admire his lightness and variety, but I feel that it is so shallow that it is almost cheap, and it is more like an excellent propositional composition.

What I like to read in that passage are "Smoke and Dust on the Great Wall" written by Liu Yu about the War of Resistance Against Japan, "Black Phoenix" written by "Wang Wenshi" about large-scale steel smelting, "In the Frost Days" by Ding Ling, and Qin Zhaoyang selection of long stories.But all these novels are unfinished.Wang Wenshi's novella about the Great Leap Forward has a very attractive beginning, but he doesn't know what to say when he writes down, and he doesn't know where to end.