Chapter 2 edited words

"Perhaps, perhaps, I suddenly thought that my destiny is the red wax burning beside the Buddha's table, with the flame upwards and tears flowing downward." When the model was about to be paid, Jia Pingwa wrote to make changes to the final draft, repeatedly emphasizing that this sentence must be changed. plus.Because this is the most practical sentence to summarize this book, this person, and this life.The lamp in Yingzhen is as weak as a wax flame, warm, powerless, and sad. "Dai Deng" is a township cadre in Ying Town, Qinling Mountains. Her original name is "Ying", which means fireflies, and she seems to carry a lamp to patrol in the dark night.This name also shows the fate of the lamp, which burns and illuminates desperately, but is destined to be weak and powerless, and will eventually return to dust.Dai Deng is the director of the town's comprehensive management office. She is beautiful, self-admired, but a little out of place. She is mainly responsible for handling all disputes and petitions in the countryside. Every day, she faces trivial and entangled troubles from farmers.The trifles in the countryside are annoying and sympathetic, and Dai Deng fulfills her duties as a township cadre amidst the contradictions. She is unwilling to hurt the people, but also maintains the stability of the grassroots society.

From the moment Daideng appeared on the stage, she showed a unique detachment. She has a rich heart and abundant emotions. She prefers to find peace in the mountains, trees and valleys in the countryside.She faces the most inescapable clutter every day, but her heart keeps soaring upwards.When Dai Deng had nowhere to escape in reality, she placed her spiritual ideals in her emotional imagination far away, and Yuan Tianliang, a distant villager, became her spiritual refuge in search of relief in troubled times.She kept writing to him, telling him.The purity of the spiritual world and the chaos of the worldly life caused the division of the lamp. Her pain cannot be redeemed. She can neither escape from reality nor have the ability to get relief.She is destined to burn herself to pay homage to her ideal.

In 2013, it was Jia Pingwa's 40th year in the literary world. He wrote with pen and heart, and created 17 novels.Especially after 2000, his novels entered a golden age, and a novel was published almost every two or three years.It is actually very difficult to have a breakthrough in every film, but he just did it. Each film is different and better. Compared with previous works, it presents more different characteristics: First of all, the writer has completely surpassed the implicit and roundabout way in the creative concept of reflecting reality, facing reality directly and presenting a panoramic view.If the content can be summed up in one sentence, it reflects the current grassroots society in China.Speaking of this book, some readers may think of another writer, Liu Zhenyun.It is also written about petitioning at the grassroots level, but it is different, with a larger pattern and deeper attention.Because only one petition incident was written, but it presented all aspects of the entire grassroots. What I faced with the lamp every day was not only petitions, but also disputes among villagers, conflicts between mother-in-law and daughter-in-law, and farmers in this Unsuitability under the tide of development, and so on.The world of Yingzhen and the life of the villagers are the things that she has to face every day, which is the content of her work in the "Comprehensive Management Office".

In such a panoramic presentation, the work also reflects on the contradictory reality of "development" in a literary way, which is also the reality faced by the whole of China: no development means backwardness and poverty, and development means destruction and loss.Yuan Laohai, the secretary of Yingzhen in the early years, in order to protect the mountains and rivers of Yingzhen, fought against the highway passing through the town with his life.Today, "development" permeates the north and south of the river like air, and there are people everywhere who are eager to develop and make a fortune. Naturally, Ying Town is also threatened. Big mining areas and big factories have opened up the closed and quiet old streets, bringing opportunities. Money also brings silicosis and environmental pollution.

This is not just Yingzhen, but also the whole of China. Another feature of the work, in the author's own words, is a work full of metaphors. The name with lights, fireflies, is the most explicit metaphor in the work.This little light is the light of ideals, the faint illumination of the spirit of idealists. The light with lamps is fluorescent or candlelight, which can illuminate oneself, but cannot change the world. Only together can warm the dark and cold night.This is also a metaphor intentionally designed by the author. He lets the lamp get rid of the mundane world through self-improvement. This kind of burning is no longer a lofty way of lighting oneself up to illuminate others.

The light of fireflies, only when they gather into a firefly array, can they really become light.At the end of the novel, a formation of fireflies appeared on Mangshan Mountain, "...these fireflies are not so bright one by one, but thousands, tens of thousands, hundreds of thousands, and hundreds of thousands of fireflies are together, and the scene is very spectacular, even breathtaking. It’s shocking. It’s like sparks from countless blacksmith shops, but there are no dazzling sparks, like fog or snow, like platinum flakes, blurry, and brilliant, like being in the Milky Way.” This is also the author's hope for Dai Deng, Yingzhen, and the world. This hope is like the little flower that Lu Xun placed on Xia Yu's grave at the end of the novel.

There is another metaphor for lice.In the whole Ying Town, except for the lamps and bamboos, everyone has lice. "Lice" is ubiquitous in the text, representing the inherent old concept of sinking.Dai Deng is a junior college student, from the city, full of fresh breath of civilization, forming a strong contrast with the local people and environment.At the beginning, the biggest struggle in life with the lamp was not to get lice. Not only did she often bathe and dry the quilt, but she also suggested to the town government to mobilize the whole town to eliminate lice, distribute sulfur soap, and distribute washing powder.However, people in Ying Town are used to lice on their bodies. Not only do they not want to get rid of them, but they also find it ridiculous to wear lights.If things go on like this, the resistance against the lice with the lamp eventually fell short. At the end of the work, she was infected with lice and even went crazy.

This metaphor is actually the disillusionment of ideals and the end of idealists. Another one is that it is different from previous works in terms of structure. It is completed by two narrative lines. One is the real life with lights, the town government she is in, and the rural affairs she is facing. Tianliang's letter is her spiritual world, just like the place where "the flame goes up" as mentioned in the title sentence. The spiritual world with the lamp has always been full and lively, and has not been filled by the chickens and dogs of the countryside. Her loneliness and self-admiration and untimelyness have paved the way for her spiritual world.The emotions she couldn't resolve in this world, and the love she couldn't express in reality, were all ignited by Yuan Tianliang, a villager from afar.Yu Yuan Tianliang led the lamp, although she started with an attitude of admiration, but she never asked for anything in return, all she wanted was to find a home for her spiritual world.Therefore, it doesn't matter whether Yuan Tianliang replies or even exists, what matters is that the lighted one needs to talk.Moreover, in this love of clear water and quiet flow, Dai Deng radiates rich talents beyond what a township cadre may have. Her vivid imagery and beautiful words are beyond the reach of anyone who is limited by the rules of the secular world.

She walked in the mountains and forests, and spoke to people in the distance in the clear breeze of the valley: "I have turned green into wind on the hillside, and I have purified the air into water, but you never came back. Looking for your footprints in the town streets, It caused me to get lost in the alleyway and suck your breath." She said: "You are already a big tree that I passed by while herding sheep. Although I arrived at the low grass, my heart is in the big tree On the tree. I graze lambs and you graze my fantasy." "I saw you sitting on the top of the pyramid, and you shine brighter. When will you return to Sakura Town? Come to the wild to see the sunflower in your spare time. Its simple There is also the sun in my heart.”

These letters are the soul of the work and the origin of the novel's lightness and upliftment. They give the novel a poignant and sad color, and are the root of the novel's more delicate and delicate than other works of the author. From the perspective of a female township cadre, she sees the current Chinese society, and shows the spiritual and emotional world of grassroots cadres through correspondence with people from afar.The novel is based on real people and events, and is highly realistic and readable.This novel broke through the author's previous creative experience and brought another surprise to the literary world.It is a literary picture scroll that can be handed down from generation to generation. It freezes the suffering of all living beings with the details of life, and outlines the world and the other side with magical pen and ink. (The author Kong Lingyan is the responsible editor of the book)