I walked from the hustle and bustle of literature in the 1980s to the 1990s with a consistent feeling—in the torrent of literary and artistic creation, in terms of practice and exploration, prose is not as good as reportage, and reportage is not as good as novels , novels are inferior to art, and art is inferior to poetry.From ideological content to artistic form, we must break through the confinement. The bravest are the early poets. As far back as the educated youth era and the April 5th Movement, the flame of poetry burned the blind eyes of feudal autocrats; Star Art Exhibition” set off, skimmed the Great Northern Wilderness, occupied the Capital Airport, stepped on the father’s land, and never looked back; novelists are the founders of contemporary Chinese literature from returning to revolution to maturity to harvest. In the past year, he has achieved himself and also promoted Chinese films.I use reportage to narrate because of my stupidity and helplessness.If I have a slightly greater creative talent, I still want to complete a world of fictional art.The theme of the novel is thick and profound, the style of the novel is relatively free, the language of the novel is authentic and beautiful, the author's subjective consciousness is high, the criticism of the novel is implicit and powerful, the characters of the novel are vivid and magical, the narrative of the novel is changeable and humorous, and the life in the novel The scene is vast and far-reaching, the atmosphere in the novel is fully created, there is no complicated psychology of the story in the novel or the suspense of the story, especially the novel always regards people, animals, and our lives as the objects of research, which requires What an intoxicating creativity! The late 1980s was the heyday of reportage on social issues in China, with rave reviews and enthusiastic readers, reportage writers entered the golden age, and several of my tentative works also gained some limelight—even at that time, I I didn't find the true feeling of entering the creative realm.I tried to get rid of the shackles of the specific norms of reportage, but I was always confused and doubtful in the narrow channel of the style.In order to get discussion, I used to sing a low key about reportage at that time, and I remember one of the articles was called "Only Sobriety Has a Future".

The future of reportage is to go wide and dig deep.Under the strict premise of abiding by the principle of authenticity, earnestly seek treasures from novels and other arts, and endow reportage with new blood and a new look by means of borrowing doctrine, hybrid advantages, and complementary advantages.We are faced with a very vivid contemporary real life, but it is very difficult to carry it with a very rigid art form.One of the reasons why the Chinese team loses a lot in football is that they lack creative insight and become rigid, as if the athletes' legs are prosthetics, and their tactics are all from military books that they haven't read through yet, leaving the field with a straight face.

You will never see the scene of Chinese footballers laughing heartily. As a result, Chinese fans also fell into tears. As the reportage became more rigid, literary editors lost the pleasure of life, readers would "change channels", critics such as Li Bingyin and others had the idea of ​​playing mahjong, and the old man at the book stall Pounced on Diana.I also worked as a literary editor before, and I especially value the broad thinking and pertinent opinions of editors, and their insight and intuition are often the best frame of reference for writers.No editor in the world wants to spoil a good manuscript.The innovation of reportage style can only be accomplished through the joint efforts of writers and editors.Ten years ago, "Contemporary" published "Dream of a Strong Country", and the five senior editors in the editorial department not only worked hard to "delivery", but also gave me the motivation to travel alone in the Liaodong Peninsula and go deep into the Ma family army several years later.In the mountains of Ma Junren's hometown, on the hot kang in Wang Junxia's hometown, in the cold wind howling from the northeast, and on the long coast of Lushun Port, I really thought of Qin Zhaoyang and Zhu Shengchang more than once, and thought of Zhang Zhonge and He Qizhi thought of the scene where Liu Yin came to the hotel on New Year's Eve to help me revise "Dream of a Strong Country". The urgent draft request for "The Defeat of Seoul", from writing to publication, all depended on the prompt decision and strategizing of Shanghai editors.

"But sadly not seeing the same in Kyushu" is the result of an idea I raised in a speech, and the editorial department of Shanxi "Yellow River" chased after it to "induce labor". "Taihang Mountain Break" was rescued by the editors of "Flower City" resolutely from Beijing to Guangdong... I respect literary editors not only out of etiquette or professional ethics, but to seek strength in creation and catch up Quality guarantees quantity.It can even be said bluntly that I am holding on to the editors as partners, just like Jordan was reluctant to part with Pippen.If we win the ball, we will lift the trophy together; if we lose badly, we are two bitter gourds on the same vine; The wounded were carrying a bleeding stretcher!

In the early summer of 1995, I returned to Shanxi from Liaoning, and then came to Beijing. The more than 50 days of life in the Majia military camp made me carry a heavy enough luggage.I don't know where to start when I'm full of words, and where do I write my pen?I found Mr. Zhang Zhonge's new residence and told him a bunch of clueless stories.The reason why I did this is that apart from the front edge of "Dream of a Strong Country" ten years ago, the more important reason is that Mr. Zhang is very sure about the main novel. Before that, "Literature Four Seasons" hosted by him had repeatedly won with great novels, and Ma Jiajun's It's really hard to tell the story clearly in short and medium stories.After talking about many ideas, editor Zhang Da made a deep impression on me. The first is that reportage should be straight and straightforward, but not extreme. Use these two points to be worthy of Ma Jiajun's rare and good materials.

For about half a year, the phrase "write in a round circle" kept ringing in my ears.The main part of the work was completed in Lingchuan County, an ancient city on the top of Taihang Mountain. I often ask myself: Zhao Yu, are you round?In my understanding of "Yuanyuan", in addition to the important meaning that I spare no effort, it also has the important meaning of writing that people are the sum of social relations, and it also means to fully learn from other artistic techniques. Thank you, Teacher Zhang! I have always wanted to drive the reportage, a horse, into the herd of steeds in the novel.I am envious of the clever mind and the vibrant language in the novelist's narration. Only in this way can reportage be galloping on the battlefield.When telling the story of the object, we must strictly use real details, but besides Ma Jiajun's story, why not have a writer's story full of search, search, introspection, and emotion?I am willing to promote words with a strong sense of subjectivity like novelists and essayists."I am not" in the report, and "I am" in the literature, blended to become the literature of the report or the report of the literature.In the past, in "Goldbach's Conjecture", we have seen this kind of beauty full of the author's subjective feelings and spiritual impulses, but unfortunately, it was later soaked in ice water that focused on ideas.

Ideas are precious, but how can passion be incomplete?Reportage should be distinguished from even the best sociological surveys and the best news reports. It should achieve the beauty of the essence of life, pursue the beauty of literature and the beauty of the soul when using materials that are not fictional, so that readers Come with us, cry together, laugh together. "Chinese Writers" is committed to promoting the development of contemporary reportage. Many famous reportage writers started here and became famous here.Therefore, editors such as Yang Kuangman and Xiao Lijun have been thinking about the gains and losses of reportage.Brother Kuang Man and I have been old friends for more than ten years. His poetic sentiment and creative practice make him not satisfied with any kind of works that lack literary color.Perhaps it was for this reason that he was reluctant to let go when he saw that "Ma Jiajun Survey" paid more attention to literature than my original works on social issues.If you want to publish excerpts, you think it is easy to be one-sided; if you want to publish serials, you feel that you will die halfway.Since the writing of this book was completed in early 1996, it was handed over to brother Kuang Man for correction in the autumn of that year. For a long time, he was not willing to return the manuscript to me, and I never urged him to finalize it for publication.Between friends, spiritual communication and understanding are enough.During this period, Teacher Zhang Zhonge and Brother Kuang Man both exchanged a kind idea with me, that is, they are looking forward to the Ma Jiajun's further glory.Both Ma Junren and Wang Junxia are having a hard time. The public opinion circles, including the international community, are hyping up the tragedy of the "mutiny". Let them, the old and the young, be quiet for a while to heal their wounds. "Ma Jiajun Survey" is published Too early is not conducive to the correct understanding of the full text of the members of the Majiajun. Only after gradually improving their own tolerance can they look at others and themselves calmly.If the speculation heats up again, it will not be conducive to the new and old Ma's army to concentrate on resuming training to complete the arduous mission of the Atlanta Olympics.

It is always our consensus to make up for Ma Jiajun and not tear it down. Even if the characters in the article have some shortcomings, we still tolerate and love them.What does it matter if the work comes out later? At the beginning of 1998, I had to go to "Chinese Writers" to retrieve the manuscript, the main purpose was to take a closer look at the "old works" in my spare time.Brother Kuang Man was really reluctant to return it to me, so he exchanged opinions with Xiao Lijun. I had only heard about this brother Xiao before, but I knew that he regarded his editing career as his life, and he was also in charge of the compilation and distribution of reportage literature. Over the years, he has produced countless excellent works in his hands.At this moment, it must be an "occupational disease" again. When we met, he firmly forbade me to leave with the manuscript.He is like a fisherman in the wind and rain, half lifting the net, not knowing whether there are fish or turtles at the bottom of the net, and will not give up.Over the years, every issue of the journal has been like this, standing on the side of the boat, salvaging works one by one in the waves.Sometimes, he salvages a net full of disappointment, and resolutely throws the net over the river.This time, he didn't beat around the bush, talking like many Northeast men: Zhao Yu, don't say anything, I'll only watch it for two days!I'm sorry for the good ones, I'll keep them, but for the bad ones, I'll send them to your door and tell me where you live!

I laughed, and Brother Kuangman also laughed, this Brother Xiao, he doesn't even bend his waist when he asks for help! I am in my forties, and I have experienced a little bit of wind and rain, and I have suffered a little bit. I am never pessimistic and sad. Fortunately, I always meet true friends who share the same morals.If you are not alone, you will not be sad; if you don’t complain, you will not suffer; if you don’t care about others, you can walk up the hill with heroes. Then I learned that Xiao Lijun's perception of reportage creation was actually synchronized with mine.He reads a lot of manuscripts and revises a lot of manuscripts, always relying on literariness.He thought the net had caught a fish of the kind he likes to eat.Brother Xiao strongly advocated the publication of this manuscript, and advocated breaking through historical conventions and publishing this manuscript at one time on the scale of the entire volume.Opinions were quickly unified.Surprisingly similar to the original fate of "Dream of a Strong Country", the five committee members of "Chinese Writer" magazine: Zhang Zhonge, Yang Kuangman, Xiao Lijun, Yang Zhiguang, and He Jianming shared responsibility and climbed the dangerous mountain together.I was amazed that Mr. Zhang Zhonge was actually a veteran of World War II from "A Dream of a Strong Country" to "Investigation of Ma Jiajun".Since that day, they have mobilized all the soldiers of the magazine to fight the publication of the third issue as a battle, and everything is for the smooth publication.In Xiao Lijun's words: everything is to make this work come out and make the manuscripts in the study into the wealth of society.

Writers can't give anything to editors, but editors are always in the same boat as writers. According to the opinions of the editors, I went to Liaoning again during the Spring Festival of 1998 to write a new chapter of "Reconstructing the Ma Family Army", which was completed in early April after returning to Beijing.Thinking back to the first time I went to Liaoning for an interview, in a flash, three years of spring and autumn have passed away.When this issue of "Chinese Writers" is published, think about it, Mr. Ma Junren is nearly 55 years old, and Wang Junxia is also 25 years old.History will no longer care about the shortcomings and inadequacies of the heroes, but will always leave their glorious achievements, although this achievement is extremely sad.

I live, therefore I sing. The editors of "Chinese Writers" and I may leave history with only a bit of conscience inherited from the literary ancestors. Another ten years later, I will also enter Mr. Ma Junren's current age.At that time, Lao Ma, who has passed the age of ears, Wang Junxia, ​​who is almost middle-aged, and the editors of "Chinese Writers", and I will meet each other, and let us shake hands tightly.
On the Loess Plateau in Northwest China, there is a Mausoleum of the Yellow Emperor.The two emperors Yan and Huang are the first human ancestors of the Chinese nation, and the Mausoleum of the Yellow Emperor naturally means a lot to us later.At the beginning of the founding of the People's Republic of China, the State Council listed this mausoleum as the No. 1 ancient tomb and protected it. In the late autumn of 1995, I went there to look for the traces of the ancestors, wanting to imbue my pen with some fairy spirit. I saw that the simple and simple Shaanxi people were gathering their strength to rebuild the ancestral temple of the ancestral mausoleum.There is a bluestone Xuanyuan Bridge across the clear water of Yinchi, and 5,000 cobblestones are built on the bridge, which symbolizes the 5,000-year history of civilization that the Chinese nation is proud of.Looking at the newly-built merit altar, the concept is even more grand, with a diameter of 54 meters. There are heavenly tripods, earth tripods, and human tripods on it.At the time I was writing a story about Ma Jiajun in Chinese track and field.Stopping at Huangling, thinking about the thousand years, looking up at the three tripods, suddenly enlightened. The glory of the contemporary Majiajun is like the victory of the Wangshi National Brigade in the past, which once made us very excited.Tian Ding, Di Ding, and Ren Ding can be borrowed as the titles of the three parts of the book. Then I thought again, why did the mighty Ma Jiajun suffer heavy losses later?Who hit Ma Jiajun hard? Why can't Ma Jiajun rise again?The autumn wind is bleak, the fallen leaves are falling, and the thousand-year-old tombs on the yellow land are silent.Only the remaining water of the Yellow River flows quietly in the Shanxi-Shaanxi Gorge.