Chapter 2 Related Book Reviews Let the Voice of the Other Come Closer to Our Spiritual Life

——A Direction of Today's Literature Shi Zhanjun In the past ten years or so, the image of Chinese literature growing up is quite clear.Thinking back to the rebellious "personal" period, those iconic writers were like coquettish and willful teenagers, self-respecting and complaining, gestures, language patterns and dresses were all running around in a narrow world that thought they were authentic, but in In a context where collective endorsement narratives are still powerful, we cannot but admire them for their personal expression of rebellious fervor and creative desire.In the process of constant exploration and adjustment, the growth experience and conversion ability of writing are becoming more and more important, which will surely bring about the questioning and transformation of one's own literary destiny.In addition, the understanding of the world's classic literary resources—especially the relationship between the writer's feelings and the quality of the work—let us see that after the "self" has been fully realized in recent years, the "other" has already It has become the object of attention of outstanding Chinese writers. After maturing their experience, they intend to face "our" human existence directly, to sort out the complex and complicated daily life in the way of presentation, and then to see clearly what they are The authenticity of the fission of the times.As a result, the literary era of heart-to-heart communication between "one person" and "them" is opening, and a literary direction that takes responsibility, respects, sympathizes, and even transforms into the "other" is about to open up.

In the process of this kind of path from shadowy to incipient and then widened, there may be no more representative writer than Lin Bai. In the early and mid-1990s, her "One Man's War" as an example of "feminism" and "personalized writing" was emphasized to an almost inexhaustible extreme. Far from being autistic as the alarmist comments at that time, especially some "women's literature" experts, today, we might as well regard it as an attack on the autistic small world; The experiential imagination of "growth" has reached her unprecedented richness. It is a kind of souvenir similar to "adult ceremony", but the tendency of "self-centered" and "personality first" is still strong, and the main body of the writer is always present, so it is inevitable Make the work a deduction and annotation of "concept" or "posture" or "position".In the past two years, when the "other" orientation is about to become a general knowledge, Lin Bai wrote "All Things Bloom", which has attracted much attention. In my opinion, on the one hand, this work has too many sexual elements. , to a certain extent, the landscape of the countryside has been abbreviated, and the inertia and transcendence of writing are probably evenly divided; The world is wide open, and the traces of the expressionist temperament of modern female narratives in the past have been covered by the passion of paying attention to and portraying the "other" along with the expansion of feelings. Moreover, the ground of "All Things Bloom" In fact, it is impossible for the writer to restore the spokesperson role that others have obtained by taking advantage of it, but she must choose to be a presenter. In the appendix at the end of this book, she seems to tell us: the ultimate presentation is the real record.

-----In this way, when a direction just revealed its direction from this end, Lin Bai had already reached that end.The dotted and solid lines in the middle may be completed by her next, but it is more likely that others will fill in the footprints.Because of its special style and language style, it will be a controversial novel; and because of its huge life capacity, strong rural cultural atmosphere, and the value of specimens of changing times, and because of the hidden "other" I am also sure that it will be left in the pages of future literary history books for the indifferentness of the subject on the opposite side.

What the novel presents to us is "completely other".The writer didn't interject a single word, she was just a listener and recorder, and she was almost recorded. The original appearance of the narration was completely preserved, without taking care of the versatility of vocabulary, grammar, rhetoric and logic.It may seem crude to read, but it is actually profound.A woman who went to work in the city has been eloquent for two years until it constitutes a novel, which is far more difficult than the personality narration in the era of "Let's Talk, Room".If it is said that in previous novels, Lin Bai was basically speaking, but now it is the "other" who is speaking, and Lin Bai is listening.Youdao means that the speaker has no intention but the listener has the intention. She makes those who are struggling to survive in the times become the biggest owners of the right to speak, so our writer Lin Bai has obtained a vast world.

It has always been an important feature of realism literature to let the "other" intervene and give the "other" the chief position of literary image.Different from the general realism's deliberate pursuit of typical modeling, this work appeals to the living situation of human nature in this era, which is the most common so-called lower-class people's voice area. The narrator in the novel is a woman who speaks the dialect of Hubei (a place called Wangzha). Her name is Muzhen. When she was 36 years old in 2001 and 2004 when she was 39 years old, she was also in Dongsi, Beijing. Shitiao spoke, her dialect didn't change much.How to master the dialect sometimes determines the writer's attitude towards the native land.This has always been an old problem in modern literature. From the modern rural novels started by Lu Xun in the last century, through the new changes of Wang Luyan and Jian Xianai in the late 1920s, to Shen Congwen, Shi Tuo, and others in the 1930s and 1940s. The maturity of Beijing school novels such as Fei Ming solved the ideal construction model for the human existence of rural Chinese in the regional sense. The predecessors solved the "elegant" literary problem of rural narratives in the filtering of dialects, but in the "customs and habits" Behind the depiction of ", in the main desire of the intellectuals, the attachment to the "beauty" of the native people is better than the experience and presentation of the "pain" of the native land.This novel by Lin Bai enlightens us: the extent to which dialects enter the novel seems to determine the writer's attitude towards local tastes, customs, and customs. All these can not but lead to an obvious humanistic topic—— ---The use of dialect in writing is the presentation of literature to folklore.Muzhen keeps saying that she is talking about things, but she is not coherent enough, she can't write scenes, express emotions and analyze psychologically.This is what differentiates it from previous local novels.Her narration in the capital made her own eyes look back.She has the elegance of "lying and listening to Xiao Xiaozhu", and her recounting of life without value judgment is nothing more than "the voice of folk suffering" to readers who are willing to listen to bamboo.

Leaving the homeland and going to the city to "work" brings to the countryside the tearing of the original ethical order and the decline of humanistic values. It is a natural existence in the mouths of Muzhen who are trying to survive. However, in our opinion, the The cultural crisis does not only belong to the countryside, it is a manifestation of the imbalance of productivity and production relations.What Mu Zhen said about going home for the New Year is all about the word "money". Those gambling, divorce, mistresses, dropping out of school, childbirth, fake goods, etc., are actually a sharp "plain talk"---- --The long period of transition has brought China the decline of the farming civilization of traditional rural China. Under these social problems of great changes, it is the confusion of the people and the confusion of the siblings. It has caused more and more The more people who follow the crowd and have to give up their morality.The old Balzac's time has come, and it's just the right time.

Such a tense question, in the hands of a writer who has been tempered by real writing, the narrative is relaxed.Lin Bai managed to relax to the greatest extent.Just like Mu Zhen came to Beijing from the distant Hubei, it seemed like a journey.Sometimes the voices of the Mu Zhens are as interesting as in "Talk about the Exposed Back", for example, in "Paragraph 19, this man is exhausted", the father of the third-type seedlings, when the cow jumps into the ditch, he is wrapped in a cow rope His finger fell off, "He didn't know what it was, picked it up and looked, oh, it turned out to be his finger, it didn't hurt at first... We asked him: Does it hurt? He said it hurt, it didn't hurt at all. It didn't hurt. Later at night, it hurt so badly that I cried my mother."Most of the time, Mu Zhen is a peasant woman who has no scruples in the rural dialect, and her vitality is released stubbornly and tenaciously in her relaxed state of self-care. This is the last backing for those who have nothing to rely on in life and spirit.Therefore, we can interpret Lin Bai's non-intervention from the level of innovation and exploration in the narration of the novel, and we can also understand her awe of the vast world that we are used to turning a blind eye to.

The emergence of the novel makes us have to look back at our writing habits over the years. Writers use their works to speak, and their own words seem to be too much in their works. The literary world has become narrow and boring, and it has become even more painful. When retreating, the chatter of "I" becomes noise.Lin Bai has made a big comeback, letting the movement of others directly hit our eardrums, which may bring new discomforts.The facts of literary history tell us that avant-garde experiments will always bring retrospect and balance, and Fan Da’s works will firstly provide new possibilities, and secondly, they will display the outstanding synthesis of past experience.have both qualities.It is a bold attempt in the long-form style. She surpassed the one-sidedness of the "oral record" style in the 1980s. Its complexity and realistic courage make us awe-inspiring; The literary world, which has piled up under the guise of "authenticity", fully respects "authenticity", which makes us feel what our spiritual life longs for in the modern era, and our past powerlessness has become more apparent.