Chapter 2 sequence

The novel writes about "surrogate pregnancy". The surrogate Chen Mei (aunt) was originally a very beautiful woman. Because the fire destroyed her beautiful face, she finally decided to use the method of surrogacy to help her family and help her father overcome the difficulties in life.Mo Yan said, "I am writing very cruel facts in a seemingly relaxed tone. This fact contains major human problems. After the child was born and taken away, Chen Mei faced great mental pain. When she By the time I decided, 'I don't want the money, I'm going to breastfeed my baby,' it was too late."

Mo Yan said, "Writers still have to have the courage to write about the most painful place in the soul." The tadpole in the book, for the sake of his personal future, finally decided to push his wife and the child who was about to be born at full term to the operating table, which eventually led to two human death.Mo Yan's writing, especially the novels, has long been regarded as full of mud and sand, with ingenious ideas hidden behind the seemingly unrestrained language carnival.However, his language is unbelievably plain and simple.The structure of this novel is different from any of his previous novels. The whole novel consists of five letters to his Japanese friend "Yoshito Sugitani", and the last part is actually a drama.In this regard, Mo Yan said that many ancient novels are written in the epistolary style, which is even more free than the first-person narrative.

The prototype of Aunt Zhong is the daughter of Grandpa Mo Yan, a rural female doctor who has practiced medicine for more than 50 years. Her life is full of legends and tragedies.In Gaomi, I don’t know how many new lives came to this world through her hands, so she is regarded by the villagers as a "send child mother", she is a saint-like figure who has concealed her age and seniority.But later, she had to stop the growth and development of each young life in her helpless sigh, and was regarded as a murderous demon king. "My aunt's fate is also tragic. She cherishes and respects life. She has opinions on the practice of forced abortion but is powerless. She suffers from painful torture and torment. In essence, my aunt is full of respect and respect for life. Caring.” Mo Yan said frankly that another important character in the work, the playwright Tadpole, has his own shadow, “He is actually a microcosm of Chinese men and intellectuals in the 1950s. During self-analysis and reflection, expectations and expectations for life emerged. pious."

The novel caused a lot of controversy when it was just released.In this regard, some people gave reverent praise, and some people watched indifferently.In addition, the novel incorporates a lot of international details. For example, the recipient of the tadpole letters is the Japanese writer Yoshito Sugitani, and the reference object for writing the script is the famous French existentialist writer Sartre. A family of important characters in the novel has a Russian background. Bloodline, an important scene of the work - Don Quixote Restaurant is based on the famous Spanish Renaissance novel "Don Quixote", etc.Based on this, some people sharply pointed out that this is a strategy of "flattery" by the writer Mo Yan to the Nobel Prize for Literature.

Mo Yan jokingly claimed that he had been "demonized". "Critics can be biased when they comment on writers, works, and literary phenomena. My writing is always a tribute to Chinese readers." In Mo Yan's view, writers It is both the right and the responsibility to write about the pain of individuals, nations, and even society. " Mo Yan is a writer who refuses to repeat himself. In a lecture last month, he said amazingly: "It is more shameful for a writer to plagiarize himself than to plagiarize others." . The book is divided into five parts, each of which is based on the five letters written by the playwright tadpole to his Japanese friend Yoshito Sugitani, which draws out Tadpole’s memories of his aunt’s various experiences. The above has constituted a wonderful "original novel".The last part of the novel jumps out of the narrative of the tadpoles and presents a nine-act drama to people, pushing the work to its peak with a clean ending, making people stay in the peak reading experience for a long time.The integration of letters, novels and dramas greatly enriches the expressive space of novels.

Mo Yan said that the integration of form and content is achieved gradually.As early as 2002, the first draft of this novel was written with 150,000 words. In the first draft, the drama is not an independent presentation, and various elements are broken into pieces and mixed into the novel. The playwright tadpole sitting in the audience is excited when watching the drama. A series of memories brought back memories of my aunt's life. "Writing was very hard at the time. In order to clarify my thoughts, I had to use three colors of pens to distinguish them. The difficulty of writing will inevitably lead to the difficulty of reading. Later, I gave up this writing method and finally chose the current mode. I think This work should return to a simple narrative as much as possible. Therefore, the epistolary structure and the ending of the drama were adopted in the end. The drama ending gave the simple narrative two wings. After the "adjustment of tactics", the writing went very smoothly. In the second half, I even experienced a feeling of flying high in the sky, which was hearty."

In addition to structural innovations, people can also clearly feel Mo Yan's "reborn" in terms of language in the novel. The unrestrained writing full of madness and unrestrained imagination has been silently recited in the new work as a "tightening spell", "in the process of writing". , I am relatively restrained in both emotions and words, especially the first half can be said to be quite satisfactory, as plain as I can be. " The biggest innovation of the novel is mainly reflected in the shaping of the character image of aunt. She made people touch the experience and soul of rural female obstetricians and gynecologists in China in the 1950s and 1960s for the first time, and also aroused deep resonance among readers. It is a success. "No Repeat". "Stories are easy to repeat and age. Stories associated with terms such as migrant workers and family planning will gradually fade and become obsolete and even withdraw from people's memory as time goes by. However, the typical characters that condense universal humanity are Will last forever, such as Ah Q, Kong Yiji, Madame Bovary and so on."

Kenzaburo Oe, the Nobel Prize winner and famous Japanese writer, has a deep friendship with Mo Yan. He spoke highly of Mo Yan’s talent and said many times that with Mo Yan’s strong creative ability and literary achievements he has made, he Will be the most powerful candidate for the Chinese Nobel Prize in Literature.Therefore, many people habitually speculate that the recipient of the letter "Yoshito Sugitani" should be Kenzaburo Oe, a famous contemporary Japanese writer, when they read the five letters from Nakatadome to Mr. Japan. In the Spring Festival of 2002, Oe Kenzaburo made a private visit to China, specifically visiting Mo Yan's hometown Gaomi. "On the first day of the Lunar New Year, I accompanied Oe Kenzaburo to visit my aunt. My aunt left a deep impression on him. I also told him that I wanted to write my aunt into the novel. As for Tadpole, he wrote a letter to Sugitani Yoshito, this is to enhance the story of the novel, it is the need of the structure of the novel, it is a small "conspiracy" of the writer, it does not mean the correspondence in real life, and Yoshito Sugitani is definitely not Kenzaburo Oe."

"Both Oe Kenzaburo and I came out of the countryside. We have the same views on the relationship between the countryside and the city, the marginalization of literature, and whom writers write for. Oe Kenzaburo's respect for life and deep sorrow Consciousness reflects his broad mind, which I admire very much.” Mo Yan has read many works of Oe Kenzaburo, “His later works are full of speculative color, with a strong political atmosphere, and are no longer like his earlier works in terms of aesthetic tendency. It is so easy to resonate with me, but it does not affect my appreciation of him. Maybe the farther we are in terms of artistic style, the closer two people will be in terms of thought and soul, and sometimes the distance will promote people's mutual understanding. Communication and communication." Mo Yan said that relatively speaking, the writing styles of Kawabata Yasunari and Mishima Yukio are closer to him, and they are easy to resonate with him.

Gaomi is the cradle of Mo Yan's natural life, as well as the inexhaustible source of his literary creation and the habitat of his soul. Among Mo Yan's published novels, except for a few such as , , "Thirteen Steps", most of the others are The works root the affectionate words in the hot land of Gaomi.In Mo Yan's works, "Gao Mi" This geographical term has evolved into a label of a literary series and expanded into a spiritual home.For me, 'Gaomi' has already surpassed the meaning of a simple geographical name, and my creation is largely based on my childhood memories of the countryside.

I hope it can become a concrete and sensible channel for people to understand and examine themselves. " As Mo Yan's popularity in the world is increasing day by day and Mo Yan's sensitive tentacles are extending outward, "Gaomi" has attracted more and more foreigners. The text sees the smoke of Gaomi and smells the smell of Gaomi.At the same time, more and more international elements are gradually infused into Mo Yan's "Gao Mi".In the outlined Gaomi, people sit and watch in the Don Quixote restaurant, and they can feel many details of life from Europe, such as smokers asking people for cigarettes, street beggars with dogs, and the free bread of the day provided by taverns every night , as well as full of retro furnishings and named after the menu and so on.In the work, the daughter who is far away abroad says to the tadpole: the earth is too small; while the tadpole says to the husband who is far away in Japan: the culture is too big.The "small" and "big" are all condensed in Gaomi, a literary country carefully constructed by Mo Yan, which transcends the natural borders.