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Illuminating the Life Experience and Philosophy of Literature——Preface to Zheng Zehua's Collected Works

Source: Hubei Writers Network Published: 2019-12-25 Author: Huang Darong

  

  

Illuminating the Life Experience and Philosophy of Literature

——Preface to Zheng Zehua's Collected Anthology "Hake Off the Mok"

Huang Darong

Ze Hua recently sorted out his old manuscript, and picked out a speech I gave in 1992, "Facing the Common World," in the box. Over the past three decades, the dusty past and the historical negative film of smoke and clouds have gradually become clear. That year, awarding awards to Shashi's young writers was deeply insidious. From the passionate and fantasizing 1980s, "history forcibly entered" the 1990s, to borrow the words of a critic, how much people are frightened and confused, helpless and reflective, asking and alerting. The spirited literary army suddenly collapsed, and the literary world was silent. I think of Russian writer Xie Delin's words, literature will not be silent, because the silence of literature is tantamount to the death of the people. Awarding is just a form of boosting the literary personality. One of the typical symptoms of depression is complete self-denial. What we need to abandon is the fantasy of the 1980s, and what we need to regain is the passion of the 1980s. The prizes are a set of works by Mr. Qian Zhongshu. It's the time when Qian Zhongshu is hot, but many people can't afford this set of books. It takes a month or two for salary. When Zehua sent it to the WeChat circle, I didn't care about it at first. Now I really want to thank him and keep a precious historical memory for me. Those who originally wanted to write a little commemorative text, prefaced by the anthology for him, say a few words.

Obviously aging in recent years, poor eyesight, and rarely preface. Zehua and I have had a relationship of 37 years as a teacher and student, and have been friends for years. I once said that the intimacy of people is not close to each other, but to see if at any one time, three words, whether it is kind at first sight. Zehua is one of my few friends who sees you right away. I must have written the preface of "Hake Off the Mok".

Haike, Four Seas is also a guest. Li Bai said, "Haike talks about Weizhou, Yan Tao is slightly confused and hard to find." I think Zehua is the moral of taking it for miles and seeking truth. Sanmo is the self-confidence of a writer, but it also means free and easy. Zehua really fulfilled the ambition of the ancients to read thousands of books and travel thousands of miles. He reads a lot of books and learns by the side; he also travels a lot, mountains, rivers, rural villages, and travels by car whenever he has time. His insight and realm are different. Zehua's exposure to Western philosophy was probably earlier than me. I extended from literature to history and philosophy, and he went straight into philosophy reading earlier. Few literati have such interest. Therefore, he and I have the same topics and the same views in almost all fields of literature, history, philosophy, and especially the empirical philosophy of the 20th century. Few people understand my views on ancient Chinese traditional culture, such as the Confucian moral ideal country, Laozhuang's carefreeness, and the Shijia view of color and space are utopian; Understanding of the spirit and cultural personality of the old aristocracy such as Wu Min, and comparison of Chinese and Western cultures, how to think of Lu Xun and Hu Shi, how to clarify the relationship between system and culture, how to the new Confucianism and new leftists of postmodernism and its changes Screening, I always know very little, and bear the loneliness alone. Zehua is one of the very few friends around me who can talk to me and help me worry. Over the years, I have been advocating systematic reading and independent thinking, and reconstructing my own knowledge structure or system. Zehua is a scholar who does this tireless effort like me.

In my speech, there was a paragraph about Zehua:

Zheng Zehua buried his books and studied the traditional culture especially. His "A Brief Discussion on the Sociality of Beauty-Talking with Mr. Cai Yi" published in Shanghai's "Social Science News" shows his interest in the general issues of aesthetics and the theoretical courage to challenge the "University Askers" The "Annotation Classics-Ancient Chinese Academic Tradition" attempts to explain a series of issues of cultural origin, the latter of which was reproduced in full by "Xinhua Digest", which aroused the attention of academic colleagues. To be sure, he devoted himself to fiction, prose, and essay creation at the same time, using image thinking and theoretical thinking as the two wings of literary activities, showing a higher literary vision and pursuit.

His anthology includes both articles. "Annotation Classics-Ancient Chinese Academic Tradition" is an important piece of Zehua's independent thinking and insights. After summarizing the stability, hereditary and self-sufficient traditions of ancient academic traditions, he wrote:

The ancient Chinese thought continued for thousands of years to form a self-contained system, which created a unique way of thinking and cultural characteristics of the Chinese nation, of which the tradition of academic scripture play an important role.

This is extremely important and highly generalized. Xinhua Digest is reproduced in its entirety, as it should be. Although Zehua used Spring and Autumn brushwork to make a more subtle statement, the discerning person knew its capacity of thought and the impact on the dull Chinese academic circles. Ancient Chinese scholars could not jump out of the ancient, cult, and ancient traditions that originated from Confucius. For two thousand years, they took the scriptures as their lifelong academic direction, so that they lost the inherent needs of self-liberation and independent innovation. Qian Zhongshu learns Chinese and Western, but he is also doing another type of "Notes to the Scriptures". Western scholars have been fiercely colliding and deconstructing and reconstructing since ancient Greece. The scholars' consciousness of the subject is clear, and the fruit of the ideological fruits they have obtained is truly incomparable.

The questioning of Cai Yi in "A Brief Discussion on the Sociality of Beauty" is also very valuable. Starting from the discussion of the natural and social attributes of beauty, Zehua has actually come into contact with the subjectivity of beauty. Cai Yi's social perspective on beauty is not new and comes from Hegel. The objectivity of beauty refers to natural beauty. The beauty created by man, his aesthetic activities, and his consciousness are inseparable from his subjectivity. Human personality, thought, cultivation, insight, and emotions determine that aesthetics is a kind of infinite imagination and experience, which also determines that both natural beauty and creative beauty have infinite richness and variability. The creation and aesthetics of beauty belong to the category of human spiritual activity and are the projection or externalization of subjective spirit.

Many essays in the anthology about writers and works have wonderful paragraphs and finishing touches, which directly touch on the essence of the problem. Shows that the author has a unique vision. What I want to say is that it is the author's disciplined thinking that illuminates this essay.

The essays collected by the author are short in length and large in capacity. When I was reading, the first two words that came out of my mind were-realm. Unlike ordinary prose works, the author seems to put a specific and trivial description of life in a secondary position, and the life experience and philosophical contemplation of life often become the focus and highlight of the work.

The prose "Wandering Heart", from reading Kantian to San Mao's "The Olive Tree", to Du Fu's life experience and "I want to have a home", is a non-paradoxical interpretation of home and spiritual wandering. The work is full of contemplative beauty. Zehua wrote:

In order to understand the mystery of Kant, I turned out his difficult and obscure philosophical works. With the help of the review article, Yan Tengjuan read it with interest, and Langzhong realized that Kant's philosophy never tried to interpret the so-called ultimate answer. He did not like Hegel, who was later than him, to the ultimate standardization and containment of the world. The "Shiquan Dabu" mental healing formula. He is like a prophet who trudges on the wasteland of thoughts, asking questions one after another about the world and people, but he is not in a hurry to answer them, so that future generations will have a shock in the face of these questions. I suspect that there must be a turbulent heart hidden under the appearance of that pair of muna—a heart that wanders because of seeking, and seeks because of wandering.

In this way, life experiences and philosophies illuminate literature.

"Contemplation" is also a prose with realm. The author wrote:

Later, the courtyard repaired the building, and I also moved to live there. I married my wife and gave birth to my son, soy sauce and vinegar. Only when the night was quiet and my wife and children went to sleep, I came to my small study, facing the books and manuscripts, and facing the orange The light of the daylight stretched out the feelings of constriction during the day, 5,000 years up and down, 80,000 miles, letting gallop. Sometimes I turn off the desk lamp, light a cigarette in the dark, and see the red fire go out; sometimes I step into the balcony, the sky is clear and clear, and several lights are sparse in the distance, thinking about the eternity of the universe and the short life. Helplessness, a lonely and awe-inspiring religious emotion emerges. The sky is speechless, the ground is speechless, life is truly reproduced at this moment, and the human spirit is permeated at this moment.

The impetuous real world is bustling and busy, and looking at the starry sky becomes a luxury that is unfortunate. However, only "Looking up at the universe and observing the prosperity of the category," Wang Xizhi was able to write "The Preface to the Lanting Collection." I see it as one of the few poems in ancient China with philosophical thinking and life awareness. The figures of "Looking at the future and looking at the past" are comparable to those of Chen Ziang's "No seeing the ancients before and no seeing the later", and Du Fu's "Life does not meet each other, moving with businessmen".

I can't help but talk about Zehua's prose "Black Forest".

If you read the poem in Black Forest, it is said that it was written by a young girl in a remote mountain village. Would you have the urge to visit her? Zehua really went because "Black Forest" caught him like a nightmare, and of course the 18-year-old girl who "was as melancholy as a clove". ——The Black Forest turned out to be a sparse grove, and the girl was short and fat, "looking like no salt". The author can't help feeling the injustice of God. After writing here, the author's pen sharply turned:

When I guessed Lin Hui like this, a feeling of guilt erupted in my heart. Is there any reason for me to laugh at an innocent girl with that kind of scholarly frivolity? Laughing at her emotional shrine? This smirk just proves that something poetic about me is dying.

What touched me was the power of life experience, an invaluable spirit of remorse that was generally missing from the Chinese. Not only is the poetic thing dying, it almost blasphemes against God. God never grants people perfection, and the paradoxes he sets test the soul of man; he gives mankind his life and death.

Honestly, when I read the two essays about "Heaven and Dai unity" and "Three Kingdoms", I was a little "drumming" in my heart, for fear that Zehua's views were inconsistent with me. Thank goodness, no. He just gave a shot. Zehua made it clear enough. Let me add a few words.

The theory of "unification of Dai and Dai" is the most absurd mistake of Mr. Yu Pingbo. The humble book "On the Dream of Red Mansions" holds that Baodi and Daiyu have very different cultural personalities. In Cao Xueqin, they have the ideology of Confucianism and Lao Zhuang. Mr. Yu's aesthetic taste precisely reflects the subjectivity of aesthetics mentioned above. Let ’s just say that Mr. Yu ’s old writers are too accustomed to learning. One “Ermei” is unwilling to sever love, and downplays a great writer who has a strong sense of criticism of Confucianism and Taoism. Dependent people. In this connection, he is far worse than Wang Guowei, and there is no "giant eye" as Zhi Yanzhai said.

By the way, the so-called "Three Kingdoms Culture". The period of the Three Kingdoms was the lowest population in Chinese history. During the fierce battle for imperial power and fierce killing for more than 50 years, the population of the Three Kingdoms of Wei, Shu and Wu was sharply reduced from 60 million to 6 million. Cao Cao's poem: "The bones are exposed in the wild, there are no chickens in thousands of miles, one hundred people are born, and one's mind is broken." One hundred remains is an exaggeration of poetry, and one of the ten remains is historical facts. This culture of killing for power is the dirtiest culture. Guan Yu was given the same "sage" status as Confucius by the rulers of all ages. As for the "Wu Caishen" idol given to Guan Yu by the people, it was out of helplessness and ignorance in seeking wealth.

Zehua's prose essay is the best-selling work of this collection. The novel is also well written. "Green" uses a lot of stream-of-consciousness writing, with high intentions, multiple images and multiple themes. The narrative flows freely. Need to know, this is his eighteen-nine-year-old work, not easy. In that year, "Shashi Literature and Art" launched the album of young writers, which I edited and distributed. I highly respected it because the literary world wrote novels of stream of consciousness, but only three or five people. Probably in 1982, I was borrowing novels in the large cafeteria run by Chongwen Street, which I borrowed. There were more than 200 people attending the lectures. I couldn't sit down, and the corridor outside the window was full of people. That literary fever is gone. It is gratifying to have more than a dozen writers who persist to this day. Not surprisingly, there have always been more "missing people" on the road to literature. Remember my first lecture was "Looking for Your Golden Rose"; Baustovsky was the heir to the gene of Russian literature. The faint melancholy and sentimental dispersal of his "Precious Dust", "Night Walker" and "Misty Dawn" are human noble emotions. The youth nourished by literature of the nineteenth and twentieth centuries is different. All the works of Zehua can be seen in the infiltration he received from it. His short story is a classic short story idea and structure. Focus on spirit, focus on mood, have compassion for others. The novel must tell the truth, people, and the heart. There is no secret way to let it go. Lu Xun's twelve-character proverb about white description is also a man's proverb. Ze Hua's novels "Amei's Summer" and "Old Professor's Confession" are all honest works. The language of his novel is different from that of prose. The prose incorporates classical and Europeanized text, while the novel is concise, clean, simple, attentive, and has the power to strike the soul.

Like me, he disdains some contemporary works that are slick, false, and crude.

There are also some news works in Zehua's anthology. This is a testimony of his profession. Dancers with shackles are always trying to break free from the shackles of life and tell people the truth. The writer's attitude towards life is obviously different from that of a journalist. He insists on something he considers sacred, always accompanied by questioning, contemplation, and questioning. This kind of news work is naturally not the one that can be turned into a cloud at a glance.

I want to thank Zehua for asking me to write a preface. Let me cleanse the vulgar in this silent winter night and be baptized by the soul.

Is the order.   

March 2019

) (Author Huang Darong is the Honorary Chairman of Jingzhou Writers Association )

(Contributed by Li Guoxin)

Address: Hubei Writers Association, No. 1 Cuiliu Street, Donghu Road, Wuchang District, Wuhan City, Hubei Province Tel: 027-68880616 027-68880679
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Illuminating the Life Experience and Philosophy of Literature——Preface to Zheng Zehua's Collected Works

2019-12-25 16-56-58

  

  

Illuminating the Life Experience and Philosophy of Literature

——Preface to Zheng Zehua's Collected Anthology "Hake Off the Mok"

Huang Darong

Ze Hua recently sorted out his old manuscript, and picked out a speech I gave in 1992, "Facing the Common World," in the box. Over the past three decades, the dusty past and the historical negative film of smoke and clouds have gradually become clear. That year, awarding awards to Shashi's young writers was deeply insidious. From the passionate and fantasizing 1980s, "history forcibly entered" the 1990s, to borrow the words of a critic, how much people are frightened and confused, helpless and reflective, asking and alerting themselves. The spirited literary army suddenly collapsed, and the literary world was silent. I think of Russian writer Xie Delin's words, literature will not be silent, because the silence of literature is tantamount to the death of the people. Awarding is just a form of boosting the literary personality. One of the typical symptoms of depression is complete self-denial. What we need to abandon is the fantasy of the 1980s, and what we need to regain is the passion of the 1980s. The prizes are a set of works by Mr. Qian Zhongshu. It's the time when Qian Zhongshu is hot, but many people can't afford this set of books. It takes a month or two for salary. When Zehua sent it to the WeChat circle, I didn't care about it at first. Now I really want to thank him and keep a precious historical memory for me. Those who originally wanted to write a little commemorative text, prefaced by the anthology for him, say a few words.

Obviously aging in recent years, poor eyesight, and rarely preface. Zehua and I have had a relationship of 37 years as a teacher and student, and have been friends for years. I once said that the intimacy of people is not close to each other, but to see if at any one time, three words, whether it is kind at first sight. Zehua is one of my few friends who sees you right away. I must have written the preface of "Hake Off the Mok".

Haike, Four Seas is also a guest. Li Bai said, "Haike talks about Weizhou, Yan Tao is slightly confused and hard to find." I think Zehua is the moral of taking it for miles and seeking truth. Sanmo is the self-confidence of a writer, but it also means free and easy. Zehua really fulfilled the ambition of the ancients to read thousands of books and travel thousands of miles. He reads a lot of books and learns by the side; he also travels a lot, mountains, rivers, rural villages, and travels by car whenever he has time. His insight and realm are different. Zehua's exposure to Western philosophy was probably earlier than me. I extended from literature to history and philosophy, and he went straight into philosophy reading earlier. Few literati have such interest. Therefore, he and I have the same topics and the same views in almost all fields of literature, history, philosophy, and especially the empirical philosophy of the 20th century. Few people understand my views on ancient Chinese traditional culture, such as the Confucian moral ideal country, Laozhuang's carefreeness, and the Shijia view of color and space are utopian; for example, "Kuoxue", and also involves Wang Guowei, Chen Yinque, Understanding of the spirit and cultural personality of the old aristocracy such as Wu Min, and comparison of Chinese and Western cultures, how to think of Lu Xun and Hu Shi, how to clarify the relationship between system and culture, how to the new Confucianism and new leftists of postmodernism and its changes Screening, I always know very little, and bear the loneliness alone. Zehua is one of the very few friends around me who can talk to me and help me worry. Over the years, I have been advocating systematic reading and independent thinking, and reconstructing my own knowledge structure or system. Zehua is a scholar who does this tireless effort like me.

In my speech, there was a paragraph about Zehua:

Zheng Zehua buried his books and studied the traditional culture especially. His "A Brief Discussion on the Sociality of Beauty-Talking with Mr. Cai Yi" published in Shanghai's "Social Science News" shows his interest in the general issues of aesthetics and the theoretical courage to challenge the "University Askers"; The "Annotation Classics-Ancient Chinese Academic Tradition" attempts to explain a series of issues of cultural origin, the latter of which was reproduced in full by "Xinhua Digest", which aroused the attention of academic colleagues. To be sure, he devoted himself to fiction, prose, and essay creation at the same time, using image thinking and theoretical thinking as the two wings of literary activities, showing a higher literary vision and pursuit.

His anthology includes both articles. "Annotation Classics-Ancient Chinese Academic Tradition" is an important piece of Zehua's independent thinking and insights. After summarizing the stability, hereditary and self-sufficient traditions of ancient academic traditions, he wrote:

The ancient Chinese thought continued for thousands of years to form a self-contained system, which created a unique way of thinking and cultural characteristics of the Chinese nation, of which the tradition of academic scripture play an important role.

This is extremely important and highly generalized. Xinhua Digest is reproduced in its entirety, as it should be. Although Zehua used Spring and Autumn brushwork to make a more subtle statement, the discerning person knew its capacity of thought and the impact on the dull Chinese academic circles. Ancient Chinese scholars could not jump out of the ancient, cult, and ancient traditions that originated from Confucius. For two thousand years, they took the scriptures as their lifelong academic direction, so that they lost the inherent needs of self-liberation and independent innovation. Qian Zhongshu learns Chinese and Western, but he is also doing another type of "Notes to the Scriptures". Western scholars have been fiercely colliding and deconstructing and reconstructing since ancient Greece. The scholars' consciousness of the subject is clear, and the fruit of the ideological fruits they have obtained is truly incomparable.

The questioning of Cai Yi in "A Brief Discussion on the Sociality of Beauty" is also very valuable. Starting from the discussion of the natural and social attributes of beauty, Zehua has actually come into contact with the subjectivity of beauty. Cai Yi's social perspective on beauty is not new and comes from Hegel. The objectivity of beauty refers to natural beauty. The beauty created by man, his aesthetic activities, and his consciousness are inseparable from his subjectivity. Human personality, thought, cultivation, insight, and emotions determine that aesthetics is a kind of infinite imagination and experience, which also determines that both natural beauty and creative beauty have infinite richness and variability. The creation and aesthetics of beauty belong to the category of human spiritual activity and are the projection or externalization of subjective spirit.

Many essays in the anthology about writers and works have wonderful paragraphs and finishing touches, which directly touch on the essence of the problem. Shows that the author has a unique vision. What I want to say is that it is the author's disciplined thinking that illuminates this essay.

The essays collected by the author are short in length and large in capacity. When I was reading, the first two words that came out of my mind were-realm. Unlike ordinary prose works, the author seems to put a specific and trivial description of life in a secondary position, and the life experience and philosophical contemplation of life often become the focus and highlight of the work.

The prose "Wandering Heart", from reading Kantian to San Mao's "The Olive Tree", to Du Fu's life experience and "I want to have a home", is a non-paradoxical interpretation of home and spiritual wandering. The work is full of contemplative beauty. Zehua wrote:

In order to understand the mystery of Kant, I turned out his difficult and obscure philosophical works. With the help of the review article, Yan Tengjuan read it with interest, and Langzhong realized that Kant's philosophy never tried to interpret the so-called ultimate answer. He did not like Hegel, who was later than him, to the ultimate standardization and containment of the world. The "Shiquan Dabu" mental healing formula. He is like a prophet who trudges on the wasteland of thoughts, asking questions one after another about the world and people, but he is not in a hurry to answer them, so that future generations will have a shock in the face of these questions. I suspect that there must be a turbulent heart hidden under the appearance of that pair of muna—a heart that wanders because of seeking, and seeks because of wandering.

In this way, life experiences and philosophies illuminate literature.

"Contemplation" is also a prose with realm. The author wrote:

Later, the courtyard repaired the building, and I also moved to live there. I married my wife and gave birth to my son, soy sauce and vinegar. Only when the night was quiet and my wife and children went to sleep, I came to my small study, facing the books and manuscripts, and facing the orange-red color. The light of the daylight stretched out the feelings of constriction during the day, 5,000 years up and down, 80,000 miles, letting gallop. Sometimes I turn off the desk lamp, light a cigarette in the dark, and see the red fire go out; sometimes I step into the balcony, the sky is clear and clear, and several lights are sparse in the distance, thinking about the eternity of the universe and the short life. Helplessness, a lonely and awe-inspiring religious emotion emerges. The sky is speechless, the ground is speechless, life is truly reproduced at this moment, and the human spirit is permeated at this moment.

The impetuous real world is bustling and busy, and looking at the starry sky becomes a luxury that is unfortunate. However, only "Looking up at the universe and observing the prosperity of the category," Wang Xizhi was able to write "The Preface to the Lanting Collection." I see it as one of the few poems in ancient China with philosophical thinking and life awareness. The figures of "Looking at the future and looking at the past" are comparable to those of Chen Ziang's "No seeing the ancients before and no seeing the later", and Du Fu's "Life does not meet each other, moving with businessmen".

I can't help but talk about Zehua's prose "Black Forest".

If you read the poem in Black Forest, it is said that it was written by a young girl in a remote mountain village. Would you have the urge to visit her? Zehua really went because "Black Forest" caught him like a nightmare, and of course the 18-year-old girl who "was as melancholy as a clove". ——The Black Forest turned out to be a sparse grove, and the girl was short and fat, "looking like no salt". The author can't help feeling the injustice of God. After writing here, the author's pen sharply turned:

When I guessed Lin Hui like this, a feeling of guilt erupted in my heart. Is there any reason for me to laugh at an innocent girl with that kind of scholarly frivolity? Laughing at her emotional shrine? This smirk just proves that something poetic about me is dying.

What touched me was the power of life experience, an invaluable spirit of remorse that was generally missing from the Chinese. Not only is the poetic thing dying, it almost blasphemes against God. God never grants people perfection, and the paradoxes he sets test the soul of man; he gives mankind his life and death.

Honestly, when I read the two essays about "Heaven and Dai unity" and "Three Kingdoms", I was a little "drumming" in my heart, for fear that Zehua's views were in conflict with me. Thank goodness, no. He just gave a shot. Zehua made it clear enough. Let me add a few words.

The theory of "unification of Dai and Dai" is the most absurd mistake of Mr. Yu Pingbo. The humble book "On the Dream of Red Mansions" holds that Baodi and Daiyu have very different cultural personalities. In Cao Xueqin, they have the ideology of Confucianism and Lao Zhuang. Mr. Yu's aesthetic taste precisely reflects the subjectivity of aesthetics mentioned above. Let ’s just say that Mr. Yu ’s old writers are too accustomed to learning. One “Ermei” is unwilling to sever love, and downplays a great writer who has a strong sense of criticism of Confucianism and Taoism. Dependent people. In this connection, he is far worse than Wang Guowei, and there is no "giant eye" as Zhi Yanzhai said.

By the way, the so-called "Three Kingdoms Culture". The period of the Three Kingdoms was the lowest population in Chinese history. During the fierce battle for imperial power and fierce killing for more than 50 years, the population of the Three Kingdoms of Wei, Shu and Wu was sharply reduced from 60 million to 6 million. Cao Cao's poem: "The bones are exposed in the wild, there are no chickens in thousands of miles, one hundred people are born, and one's mind is broken." One hundred remains is an exaggeration of poetry, and one of the ten remains is historical facts. This culture of killing for power is the dirtiest culture. Guan Yu was given the same "sage" status as Confucius by the rulers of all ages. As for the "Wu Caishen" idol given to Guan Yu by the people, it was out of helplessness and ignorance in seeking wealth.

Zehua's prose essay is the best-selling work of this collection. The novel is also well written. "Green" uses a lot of stream-of-consciousness writing, with high intentions, multiple images and multiple themes. The narrative flows freely. Need to know, this is his eighteen-nine-year-old work, not easy. In that year, "Shashi Literature and Art" launched the album of young writers, which I edited and distributed. I highly respected it because the literary world wrote novels of stream of consciousness, but only three or five people. Probably in 1982, I was borrowing novels in the large cafeteria run by Chongwen Street, which I borrowed. There were more than 200 people attending the lectures. That literary fever is gone. It is gratifying to have more than a dozen writers who persist to this day. Not surprisingly, there have always been more "missing people" on the road to literature. Remember my first lecture was "Looking for Your Golden Rose"; Baustovsky was the heir to the gene of Russian literature. The faint melancholy and sentimental dispersal of his "Precious Dust", "Night Walker" and "Misty Dawn" are human noble emotions. The youth nourished by literature of the nineteenth and twentieth centuries is different. All the works of Zehua can be seen in the infiltration he received from it. His short story is a classic short story idea and structure. Focus on spirit, focus on mood, have compassion for others. The novel must tell the truth, people, and the heart. There is no secret way to let it go. Lu Xun's twelve-character proverb about white description is also a man's proverb. Ze Hua's novels "Amei's Summer" and "Old Professor's Confession" are all honest works. The language of his novel is different from that of prose. The prose incorporates classical and Europeanized text, while the novel is concise, clean, simple, attentive, and has the power to strike the soul.

Like me, he disdains some contemporary works that are slick, false, and crude.

There are also some news works in Zehua's anthology. This is a testimony of his profession. Dancers with shackles are always trying to break free from the shackles of life and tell people the truth. The writer's attitude towards life is obviously different from that of a journalist. He insists on something he considers sacred, always accompanied by questioning, contemplation, and questioning. This kind of news work is naturally not the one that can be turned into a cloud at a glance.

I want to thank Zehua for asking me to write a preface. Let me cleanse the vulgar in this silent winter night and be baptized by the soul.

Is the order.   

March 2019

) (Author Huang Darong is the Honorary Chairman of Jingzhou Writers Association )

(Contributed by Li Guoxin)

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