Chapter 3 "Todtnau Mountain" Preface Iron Dance: Literature Can Make People Conjecture (2)

Should there be a kind of literature that makes people guess?I think literature can be said clearly, but if you want to be able to speak clearly about this world, you may not need literature; all art has a certain degree of sadness in it, and it is necessary because some things cannot be said directly. To put it artistically - this is the fundamental truth of Wen Guiqu!There are many unexplainable things in the world ----- but we still have to say; if we can't say it, we have to say it.Thus a good half of the best literature is conjecture.There are many interpretations of a work, which is a clear proof.A passage from Jelinek herself is very inspiring. She once said to her own script: "The lines are considered for the theater, but not for a stage performance. The characters are actually fully expressing themselves. She also said: "I don't pursue characters with flaws and weaknesses that have been removed. Grass no longer grows where my characters go." Obviously, there's a lot of experimentation involved.You can't get into a script without imagination.A kind of "woodcut technique" mentioned by Jelinek requires us to soak into the language of her works to understand, such as the "young woman" said: "The past is no longer there. I want to get out of my body Take away the nostalgia. Because I am the whole of today, and I have long been hidden in the past and will be hidden in the future. I am always, illuminated by the commodity. At least five years from now, I will not be able to quote the Dutch Deerling's words. Nature has reason to fear us, but we are not afraid of nature. We understand it, and pack it neatly into our bodies that have not been sprayed with any fertilizer!" Every stroke, every sentence, is like a The carving knife is carving with heart, and the soul seems to be a soft stone that has been carved.

Literature makes one wonder.Reading is definitely a guesswork.Guessing is a kind of pleasure, and reading can start from any paragraph.You might as well try it.This is what I'm reading right now: On the movie screen, the man and the woman, the man in country clothes and the woman in a city jacket and skirt, climbed up to the cabin for care.On stage, the elderly man lies beneath the remnants of his own frame, which half-obscures him.Two handsome waiters and a handsome visitor or two tried to help him up again and again, but he kept falling over and over again. Then came the "elderly man" who "almost fell to the floor," and his first words were: "The common denominator is the fear."

After reading this, I came to the conclusion that this is a polyphonic work, and "Fear" is a super forte. Many fragments in , judged from the point of view of reason, may not be true, but they are true from the point of view of the mind, freed from the constraints of fact.For example, another highly decayed victim on the mountain lay talking.When I listened to him speak on behalf of "all the victims", every sentence of his was very jumpy, and it was daydream-- ------Believe me, first of all people must give up!If a person cannot be embraced lightly and tenderly, he will soon be asked about his importance.Someone looking at our wallets makes us wonder if our intentions are also consistent with our choices.What a face we are creating! -------My existence has its home, and my lust also has its meaning.That is, I became unreal.Years of my hard rot in the dead of winter.Now without me forever.In the middle of the apple plate, the core, the fission shell of the atomic nucleus, I myself have come to me at this time, ------- I am my commodity.I like myself on top.How dare you be a colorful person! ------- We are the collapsed poster wall. -----

I was watching a TV at the time—I like to watch something at the same time, which causes my inattention—I took a pen and scribbled something like this on the margin of the book: "A person wants to be an attacker in this world, but he has been watching in front of the TV; now he dare not speak up to maintain this room. He is an opportunist; he always has to rely on a public voice for protection." It is suddenly I thought of it; at that moment, I was also speaking: Have we already "sacrificed" while we were alive?Haven't poets also made such self-mockery?Said: "The dead poet lives, and the living poet dies."

There are the most difficult dramas to direct in the world.Maybe it's a play like this.During my study days, I went to Shanghai Anfu Road Drama Art Center to watch a few small theater dramas, and the "feeling of happiness" I was looking for was ultimately inferior-it was a work of a friend of mine. Not to belittle it; normally, it should be applauded, it’s just that the bar I’m holding is too high – whereas I saw Sartre’s Lockdown there a few years ago, it was world class.When will we be able to jump out of our "box"—whether in the market or in the system—in order to write world-class works?

Finally, I would like to say that my post-reading speech is just a speech, and I am not commenting on Jelinek's sternness.I am not qualified.Because I haven't read the original text, and I just guessed the translation; it's just a personal preference.I think of Tagore saying: "When I was young, I wanted to learn Dante. Unfortunately, I learned it through the English translation. I failed completely. I feel that I have a sacred obligation to refuse it. Dante has a great influence on me. It’s still an unopened book.” Maybe what I’m reading now is the translator’s “Jelinek,” or we’d rather believe it.To have a voice of my own in this testimonial is me speaking.

2005-11-26