Xie Youshun

· Prose should be written well, not only to face a meaningful world of reality, but also to face an elegant world of language.

· Prose can of course also be written in rough or hot language, but more often, its appearance should be plain and plain.

· Mo Yan wrote about the inner storm that the executioner might have as a unique person.

· They are not from Guangzhou, they all come to Guangzhou from other provinces. They have lived here for many years and have a strong sense of identity with the city.

· I remember the humility of a publication.

· The same is true of Haizi. He neglects that he is a physical existence, a fragile existence, a finite existence, a need to save, but let his own arrogance develop, thus creating his own thoughts of reigning, and ultimately, he Torn by this kind of thinking. ——Xie Youshun famous sentence

· People must have the courage to limit themselves.

· Human writing is the expression of human limitations and the inner voice of people eager to be saved.

· In my opinion, intellectuals should have two most important characteristics: one is independence and the other is creativity.

· The true wise man is someone who can recognize his ignorance.

· Everything is evolving, but our body has lost the normal function of getting happiness, and has everything, but happiness is far from you. ——Xie Youshun’s Quotations

· The deadly crisis of evolution is to transform people and the world into things.

· Technology is a person who turns people into history and thinks that people's values ​​come from history.

· The rise of a vulgar narrative is actually another simplification and trampling of people.

· There are many wealth in China's tradition that we have forgotten. Like Confucius's thoughts of heaven and earth, the ancient idea of ​​"Heaven and Man" is a very beautiful and human-oriented idea.

· There are many wealth in China's tradition that we have forgotten. Like Confucius's thoughts of heaven and earth, the ancient thoughts of unity of nature and man are very beautiful and in line with the human nature. ——Xie Youshun’s Quotations

· The personality independence of intellectuals is first and foremost reflected in whether you adhere to the bottom line of human civilization.

· A writer and poet, should he have a political position? I personally think it should be, but it is expressed differently from politicians.

· Only one thing can't change, that is the passion of creation. Only when this is unchanged can we adapt to political change.

· A soul that is firm, independent, and accountable to no one should maintain a critical character, a spirit of doubt, and an identity of the wild, marginal.

· An ideal society, it is best not to turn intellectuals into pros and not to turn intellectuals into oppositions, but to make them an independent group, neither left nor right, but creation. ——Xie Youshun famous words

· The creative wisdom of the Chinese is extraordinary. As long as it is not consumed in the interpersonal struggle, it will surely condense enormous power.

· A wrong politics may ruin our lives, but after the mistakes, life will renew its power, because that foundation is still there, and the desire for creation is still there, there is hope.

· Over-emphasizing creativity and emphasizing professionalism, I also worry that they will become technicalists and become stereotyped people who don't care about the world. This is not my ideal intellectual.

· Morality and conscience are common sense and foundation. Only creation is his eternal mission. I think this is a view of intellectuals that is more in line with China's reality.

· Writing is also the language history of the individual body. ——Xie Youshun famous words

· Nihilists can easily become fascists.

· We have seen too many embarrassments. What is missing is this silence, just as we are always talking, but we have forgotten to listen.

· Modern people are living a life that is incomplete and awkward: on the one hand, the extreme richness of matter, on the other hand, the increasingly absurdity of the soul.

· The sky and the earth are calling us every day, but who cares about these distant, vast voices?

· The literary world is always interested in young people. ——Xie Youshun famous sentence

· The reality is too hard, and people are vulnerable

· A true artist, he can only live in fantasy, and imagine that he has reached a reconciliation with reality in fictional art.

· Literature is a spiritual undertaking, and literary awards must not lose basic beliefs.

· The current state of poetry survival, if not the best, should be the most normal.

· In the current context, the development of poetry does not need to rely on a certain social movement, but can be directly promoted by the poet's own writing, and its significance cannot be underestimated. ——Xie Youshun famous words

· Good poetry can grow and develop in any age.

· For the poet, the best "golden age" is always the present and the present.

· In reality, the people who give me influence are more of a small number of people who cannot leave names in history, but their hearts have unshakable beliefs.

· Subtle influences from everyday life are sometimes more important than reading and thinking.

· Language is not just words and sounds, but language is also an ideology. ——Xie Youshun famous sentence

· The life of the people is a life that has been forced by people. It is not what the people want at many times, but because the times demand such a life, everyone has to sacrifice all forms of life that are incompatible with it.

· Because society has become a political society, what you say is a political language.

· The novel has an advantage, and it is easy to reach a settlement with the reader; poetry, the opposition between it and the reader can be sharp.

· There is no shortage of talented people in the novel world. The key is how to make this talent go further.

· You have subverted many people's definitions of poetry. ——Xie Youshun famous sentence

· The value of a writer is not reflected in the synchronicity between him and the times, but in the difference and dislocation between him and the times.

· A writer who is not different from the times and dislocated, he is the easiest to be abandoned by the times.

· The best-selling book means to exchange for short-term, rapid success. He has no patience to wait for a slow accumulation. It is his greatest wish to become famous overnight.

· They have never been afraid of writing itself.

· The intellectual spirit and cultural form of any nation are closely related to the source of her civilization. ——Xie Youshun famous sentence

· The good and bad of a literary work has a lot to do with the size and depth, depth and breadth of the spiritual space you have built up in it.

· Contemporary literature is becoming less and less interesting, and the big reason is that the spiritual capacity provided by these works is getting smaller and smaller.

· Literature has no deep themes, and there is no spiritual through-the-hole that allows writers to talk to higher-level questions.

· If there is an eternal unanswerable question that plagues humanity and literature for the longest time, it is time.

· Today we can see the predecessors like this, remember that the predecessors hope that future generations can see me like this and remember me. ——Xie Youshun famous words

· In the face of time problems, there are many deep feelings.

· Space and time, past and future, writing about the loneliness, insignificance, and insignificance of people in front of the huge universe.

· Since the twentieth century, the novel has written darkness, despair, and evil, and it has been written with thrills. This power from the abyss of humanity has also smashed the writer’s confidence in the world—he is no longer able to affirm a sound, faithful, A life full of strength.

· In this era of value being reversed and trampled by some people, showing the details of desire, writing body experience, and playing a whispering life is no longer a symbol of writing courage; on the contrary, those who can be defeated in the ruins are re-established. The writing that comes up is the soulful and respectable writing.

· Prose is now a prosperous style. There are many writers, and the number of publications is amazing, but the overall appearance is not satisfactory. Especially in the discourse of prose, there are not many words that are stressful, temperate, and individual. I thought that the language of prose should be elegant and aesthetic in nature. Rough and exaggerated is the enemy of prose. Therefore, prose should be well written, not only to face a meaningful world of reality, but also to face an elegant world of language. ——Xie Youshun’s Quotations

· This confusion often occurs in the moment when he faces history. The word "history" is a big word for most people. It is a scene of materials, facts and ironclad. Therefore, people who write historical prose generally show an arbitrary cultural self-confidence.

· Supplement is discovery. What is different from historical research is that the current lack of prose writing in the face of history is the discovery and understanding. The history of a essayist, if the volume is too large, he will inevitably adopt a kind of "correcting" writing attitude. On the contrary, if he enters from a small gap, he will take the "understood" equal gesture and historical dialogue.

· I respect those who humbly “understand” history, which shows that their feelings before history are not tied, and there is strong curiosity. "History is made up of countless passages of grass and grass. No one knows in advance which corners they will be stuffed.

· If theory is a major statement of thought, essays are more about cleaning up the details of life and cleaning up the fragments of thought.

· It is said that Tibet is one of the closest places to heaven, not only because of her high altitude, but also because of her mystery and purity. I have not been there, I can only approach her by words. But I found that the travel memories of all people are actually describing Tibet in their own hearts. How many people have Tibet? The real Tibet has become a place we can never reach. Where is Tibet? In the snowy plateau, in the distant sky, in the palaces, murals and legends, in everyone's imagination. She may be the last few places that cannot be written in words. Therefore, despite the increasing number of tourists, more and more, Tibet is still showing a huge silence. ——Xie Youshun famous sentence

· We have seen too many embarrassments. What is missing is this silence, just as we are always talking, but we have forgotten to listen. The secular jubilation, the noise of information, and the sound of desire in our inner joints constitute the main theme of the world - the subtle movements in the soul, and who is listening carefully? Modern people are living a life that is incomplete and awkward: on the one hand, the extreme richness of matter, on the other hand, the increasingly absurdity of the soul.

· Such a discovery is actually a kind of pleasure sharing. I believe that it is not only about Tibet, but also about the reconfirmation of modern people's life and heart.

· Literature is a secret luxury in the human mind at all times. This extravagant thought determines that the nature of literature is always spiritual. Although it has the form of dreams and illusions, it should be the most realistic image of the mind - the literature of the past has left us too There are many such great images. Therefore, it is not an easy task to retell the ancient proposition of "what is the call of literature" in the face of a literature that has established complex and sound norms.

· Indeed, existence is the eternal motif of literature. Literature is always describing, interpreting and discriminating the basic presence of human beings. This is also its fundamental value. Therefore, in the era when our sense of existence is getting thinner, in the face of the question of what literature should call, my answer is: in terms of writers, literature should call for more sensitive people and more exploration. And questioners. - This may be the most important compared to other lacks of literature.

· From the 1980s, as a bright word, it has been accompanied by the undercurrent of the literary revolution in the writer's heart. It has been valued by a new generation of writers like the language and form of literature. ——Xie Youshun famous sentence

· Regrettably, this spirit of asking questions has not been answered by more Chinese writers. With the further advancement of secularization and consumerism, Chinese writers seem to usher in a new writing festival. They generally walk in a relaxed daily life, or live in some irrelevant things, and the existing conflicts are suspended. So that the soul state of the real contemporary Chinese is simplified into some external encounters, and the more inherent diseases and crises are silent in their works.

· I think Kafka's beetles, small animals, hungry artists, and Sisyph in the coronation are the most powerful existentialists. They reveal the amazing side of human existence: 悖谬, alienation, meaningless The smashing of people... In their writings, the existence of human beings is naked in front of us, and it has nowhere to hide.

· In this context, Chinese literature once began to gain the vision of existence through the efforts of writers such as Can Xue, Yu Hua, Mo Yan, Ge Fei, and Bei Cun, and began to know how to look at their lives in a straightforward way. But more writers still lack the courage and strength to push the existence to the extreme, which almost constitutes the spiritual limit of Chinese contemporary literature.

I am eager for the younger generation of writers to insist on the courage of existence, but with the advent of the consumer society, literature is easily overwhelmed, and even the existence itself, like love, eventually becomes a superficial consumer goods. Only a few writers can maintain the necessary vigilance in this consumerist discourse jungle and maintain a gesture of asking questions about existence.

· All people must have learned a life without Guevara, a life that is neither revolutionary nor revolutionary. Guevara provided the final evidence for this kind of life - his hands that were cut down by the Bolivian government and then enshrined in Havana Square, firmly prove that both the revolutionary side and the revolutionary side, their Both hands have blood. ——Xie Youshun’s Quotations

· I began to look for new and effective ways to approach Lu Xun, or to find the special meaning of Lu Xun in the current writing world. As a lonely and strong individual, Lu Xun's resilience to existence, the pain in the surrounding reality, and the self-knowledge and self-examination of his own situation have become the spiritual resources most lacking today.

· I have a natural yearning for freedom, but I have instinctive vigilance about the "left" mind. Because in the Chinese context, "Left" things are easy to slip into a worrying direction no matter what kind of sacred signboards are hung.

· It sounds like it seems that liberalism has become a luxury in China at the moment, and if it is not restricted, it will become like a disaster. The obvious prejudice of the "New Left" would be such a solemn cloak, which is indeed amazing. The reason why I say it may be exploited is because it coincides with the current opposition to the market economy, ridicule the pragmatic society and the growing nationalist trend.

· "Liberalism" is a social system and value system formed in the West, but some of its elements are the common appeal of each of us and cannot be ignored.

· It is the serious lag of the reform of the power system that led to the reform of the economic system that led to the loss of control of certain links in the field of economic reform today, leaving the "new left" with an attack. But we can't always pour the children out of the bath water. We must know that today's people are starting to get a tiny free space in the social order of the iron plate, which is difficult to squeeze out from the relatively free economy. It is cruel to try to break the gap of freedom in the name of justice and democracy. I say this, it is not to defend illegal profit-seekers. I mean, to solve the problem of social justice, the goal is probably not to overthrow the market mechanism, but to make every part of the market mechanism freely supervised. Get rid of the pseudo-market state of the past, "black-box operation" under the cover of power. Its ultimate goal is to make the market mechanism completely follow the laws of the market itself and be constrained by the system and the law. ——Xie Youshun famous sentence

· Only when the market economy returns to its own right track, so that everyone has the right to free choice of employment and genuine private property rights, further political system reform has a solid starting point and foundation. The society under the market economy is much more pragmatic than the society in the revolutionary period. Even such a pragmatic tendency is misinterpreted by the "new left" as the weakening of "citizens' right to participate in politics." It seems that citizens will become economic animals and lose. Any ability to speak on political life.

· The “New Left” once again ignored a common sense problem: in China, the public’s enthusiasm for politics is not too small, but it is just too much. To measure this, we don't necessarily look at its external performance. That is to say, the indifference to political things displayed outside the people does not necessarily represent the true heart of the people. More often, they are helpless. In fact, in almost every Chinese blood, there is a strong political sensitivity, such as what can be done, what can't be done, what can be said, what can't be said, what can be said on what occasion, and some What new political signs are revealed behind the news and leaders’ speeches, and so on, even the lowest level of the people, there is also a scale in their hearts, which is clearly understood and will not be vague. This is the instinctive political wisdom that the Chinese have long lived in the political struggle and the closed living environment. It has become an inseparable part of everyone's soul.

· To make a citizen have real political consciousness and civic morality, it is difficult to achieve "the ability of the people to participate in political activities" by relying solely on the "new left". Because past history proves that in the minds of citizens, the concern for politics has never become a claim of freedom. It is more of a defense instinct.

· I also remembered the distant years when a group of people sat around the fireplace to recite their love poems. How touching it is! However, our era of advocating speed, quantity, technology, money and sex has forgotten this as much as forgetting a rag. Those worms can search, read, chat, get everything, and gradually become admirers of information. They feel that in this information age, it is ridiculous to indulge in those moments that are so heart-breaking. of.

· Since everything can be obtained and solved on the computer and its network, the book has to stay silent on the bookshelf. This is not only a distrust of the amount of information provided by the book, but also an authoritative questioning of the propositions discussed in the book—in an ever-changing information age, a view and claim has been written in the book for hundreds of years. Change, is it reliable? In the past, the eternal and certainty is the highest requirement for writing. Compared with eternity, modern society has chosen “change” and described change as a symbol of progress. ——Xie Youshun famous sentence

· Many writers are not used to this kind of loss, and they begin to grieve on the current encounters in literature. They feel that this era is ill-treated. This kind of person often has a virtual literary reference, thinking that literature should be a favorite of the group of people. They are also generally left in the illusion of the role of the spokesperson, the enlightener, the master of truth and the discoverer, and easily blame the public for the responsibility of the decline of literature, thinking that the public is more and more practical and lacks the ideal color. A situation has arisen. This kind of thinking is entirely a product of the revolutionary era, and the first thing to deconstruct the economic development is this stubborn self-centered consciousness to completely break the writer's illusion.

· Really valuable literature should be human and very human, rather than looking forward to life elsewhere, as some writers do, but refuse to show their position and experience in the present. This is a special era. On the one hand, information is highly developed, on the other hand, life is constantly trivial, flat, and daily. It actually puts new demands on how writers express their lives, that is, a writer. How can we express the truth of the moment? This problem has not become a problem in the past, because the writer at that time has the confidence to describe his life. The reader also believes that the life depicted by the writer is real, natural, and the life conveyed by the writer in his works. Cognition and understanding have also won the trust of readers.

· On the other hand, the development of media and technology has severely affected real objectivity, because the so-called reality has been easily tampered with and can be done seamlessly.

· Don't forget that the era of informationization has made our survival digital and at the same time, our imagination is constantly lacking, and our hearts have become indifferent. At this moment, literature is still missed by many people. The text has the expressive power that no carrier can replace, especially its depiction of the imaginary world, the solidification of the inner life of the individual, and the reproduction of beauty and poetry. It is unique and extraordinary.

What is puzzling is that, just a few years ago, the enthusiasm for narrative exploration has cooled down in the hearts of Chinese writers – writers seem to have easily unloaded the burden of narrative and brought the novel back to reality and society. In a commercialist atmosphere, stories and fun have once again become powerful reasons for consumer novels. ——Xie Youshun famous words

· I have no intention of accusing the writers today of interrupting the once-experienced narrative exploration in contemporary literature. I am just surprised: Why is the new narrative tradition pioneered by Ma Yuan and others so quickly forgotten and abandoned by the latecomers? Why is the narrative art quietly rewritten into a cultural industry in the context of today’s consumer society?

· Superficial, rough and commercial, is becoming a new enemy of contemporary literature. At this time, it is quite necessary to cherish the tradition of narrative exploration and the passion of recollecting a language revolution. Many people have already seen that in today's contemporary literature day, the real backbone is still the writers who grew up in the 1980s. Many of them no longer publish their works, they can influence. But it has not been reduced.

· The rise of the consumer society has not only ended the narrative, but has also greatly expanded the narrative market. The collusion between narrative and business has been a great success in the fields of movies, TV series and best-selling novels. This is the new narrative picture in the consumer society.

· The field of narrative is expanding, and the influence of narrative is also strengthening. However, the artistry of narrative is shrinking. The narrative paradox of the consumer society is here: any serious and professional artistic creation, even difficult and boring academic thoughts, may be transformed into a commercial use by the consumer society.

· Narrative has two paths in contemporary society: one towards language and art, one towards fun and business. The narrative revolution of the 1980s took the former road, while the narrative changes of the 1990s were more inclined to the latter. ——Xie Youshun famous sentence

· I believe that the core content of the novel experience since the 1990s is: historical legend, daily life and body details. These three, almost cover most of the types of experience in contemporary novels. Through the spread and interpretation of TV dramas, historical legends have created a huge consumer group; the narrative of daily life is to lock the reader firmly in the mediocrity of "now", which completely eliminates the drama and ideal color in life, through a near The distance of the strokes allows the reader to feel the truth of life in the torrent of life; the body details are a further simplification of life, its writing goal is sex and desire, is a private boudoir experience, is a conspicuous consumption point of view, the reader is In this reading, both self-care and the desire to peep and hunt are fulfilled. It is conceivable that once the narrative breaks free from the lingering language and form, and devoted to the writing of historical legends, daily life and body details, how many readers will be greeted.

· China may not really enter the consumer society, but this does not affect China's consumption-oriented writing trend. If we make further analysis, we will find that the detailed description in literary narrative satisfies the reader's thirst for fun - fun is the new reading standard in the consumer society; the artistic and ritualization of life in literary narrative, satisfied It is the reader's thirst for symbols and meaning. - Artistic and ritualization is actually symbolization.

· The innovation of narrative must not be expected in this overall discourse; the hope of literature should be based on the rise of more “small narratives” and more differential values. The literary industry of consumerism has plundered most writers and readers, but how to preserve a space for narrative exploration for literature and to return the narrative to the dimension of language self-construction is the literary trend toward itself and breakthrough. The urgent need for dilemma.

· The possibilities of narrative and fiction, language and form are not exhaustive. Abandoning the exploration of its possible space eventually leads to the superficiality and mediocrity of contemporary literature. To change this situation, it is necessary for someone to re-examine from within the literature and re-exploring the differences in literary values ​​and the diversity of literary narratives.

· When literature is too extroverted, it needs to turn inward; when literature is too real, it needs to be a Utopia of language again; when "what to write" decides everything about literature, it needs to pay attention to "how to write"; when literary narrative is simplified into speaking The story, it needs to regain the ability of discourse construction; when the "meta-narrative" and the overall discourse are in the dominance of literature, it needs a space of "small narrative" and the existence of difference value; when consumerism becomes the main trend of literature, it needs to persist. The courage of loneliness... In short, true literature should be the opposite witness to our time. ——Xie Youshun’s Quotations

· It cannot be denied that the complexity and importance of the body are unusually revealed – with the impulse of the writing of a new generation of writers, the body is eager to find its legal status in literature. However, there has always been a tradition of contempt for the body in Chinese culture. It is not easy to break through this tradition today and let the body make a difference in literature.

· Such words come from another world, but it has irrefutable truth. However, this kind of voice is weak after all, and there will not be too many people’s attention; especially in the current situation of increasingly politicized society, the body is still in a secondary or trial position, and most of the literary circles are Concerned about "Chi", concerned about how the body is "used" rather than making it internal and independent of literature.

· I refer to this kind of physical literature as the literature of political society. It is more or less always coincides with the expression of political society, or follows the political expression. For example, in the past, it was "Zhi", "Serving for politics", "Serving for workers, peasants and soldiers", and now it has become "homeland", humanistic spirit, "existing aesthetics", etc., the meaning of literature may have changed. But the fact that the body of literature is despised has not changed. Therefore, those writers who seem to be very revolutionary, yelling all day to let literature return to the ontology, may never have thought about how to make literature return to the true body of the body.

· Don't ignore the cultural damage that depresses the body and despise the body. In the history of China's physical development, from ancient times to the present, there has always been a powerful mechanism for suppressing the body. In ancient times, through the castration, the foot and the torture, the modern is through political criticism and moral condemnation. They remind you at all times. The body is the source of sin and desire, and it is to be restrained, suppressed, and judged.

· People hear the sound of the body, I will say the sound of desire, in short, the inner frenzy, hear the body can be so loud, or can make all the surrounding people silent, live a complete life, night, day, this is the case, Any activity, if people have not experienced this form of passion, that is, the passion of the flesh, they have not experienced anything. ——Xie Youshun’s Quotations

· The cultural significance of the body is of course important, but if the author's writing omits the intermediary of flesh and desire and goes straight to the so-called cultural meaning, then this body must be the torso of knowledge and sociology, not It is sensory, and such a work does not have real power.

· Perhaps from the development of contempt for physical development to physical worship, the process of this literary revolution is too short and rapid. Young writers have no time to think and reflect more deeply, and they have hurriedly deified and physicalized the body, thus neglecting the body. Its richness, as well as its inherent defects, deficiencies and limitations.

· Saying that poetry is both a soul and a body, emphasizing the physicalization of the soul, but I do not require too much material, concrete and material for poetry. Otherwise, poetry will face hunger in poetic sense. ... In this process of resolution, I have always believed that writing is the product of the combination of spiritual self-esteem and language self-esteem.

· The flesh must hold the corner of the soul to complete the literary poetic transformation. I say this, instead of emphasizing the dualism of the physical and the soul, but against the physical and physical ethics of the body, because they all live in our bodies, if they are deliberately separated, only Will destroy the integrity of our body. But I don't talk about the soul in an abstract way. When the soul is materialized into the body, it truly exists; the soul lives in the materialized body. On the contrary, writing that does not live in the body or does not go through the materialization process of the soul actually means that it does not exist. This is why I think that all the gods in the world are dead. Only the God of Jesus seems to be the real reason. Only Jesus lived, died and resurrected in the flesh. He experienced the whole process of materialization of the soul. .

· It can be said that the pioneer is a struggle and rebellion against an old order, indicating that it does not want to be bound by the old rules, but tries to reach new freedom and new reality. Once this impulse of revolution is carried out in the practice of art, it will inevitably grow a new form to adapt to the inner picture of the artist. Therefore, the form of modern art becomes complicated and concealed. It is because of the inner heart of modern people. It is becoming more and more complicated and more and more unpredictable. ——Xie Youshun famous sentence

· Pioneer does not have to be afraid of life, it should strive to regain the right to express and explain life. Indeed, when writers are behind closed doors to build a car, it is very meaningful to revisit the writing resources of life. Life will make a writer mediocrity, and life will make a writer great.

· It's also simple to have a literary dilemma. The discussion has wasted too much time for the public and there is no progress. Those who are worried about the dilemma day and night have designed many programs. Perhaps they have not thought that there may be only one dilemma: the writer loses sensitivity to his personal life and loses his imagination to himself. At least I think so.

· Chinese writers have always had a great tradition of great joy, like to talk about amazing propositions in their works, make great conclusions, but they may not find the slightest human atmosphere. Their way of experience is holistic, their works are basically the result of social public opinion, personal, real, at your fingertips, and hopes or injuries from life itself are absent indefinitely.

· What else is more confusing than this? Writing is far from your current situation, voluntarily and vainly, doing nothing, then what is the real literature? Most writers are afraid of life, thinking that life that is too close is not much literary, except that they come to the same piles of paper, historical monuments, distant villages, open skies, developed West, books. The museum, the labyrinth of Borges, and the French study in Proust's closed search for resources for writing. The truth they believe in is: living elsewhere, literature is elsewhere. This is the result of writing with holism, collective memory, social public opinion, and "poetry and speech".

· What is the relevance of literature? I think of an answer from the philosopher Tillich. He said that the art is going to present something that is "related to me anyway." The real pioneer should have a language in this "anything related to me". Commitment. With the sensitivity to the situation of "I", the painful feeling of life in this place, and knowing what is "related to me anyway", real writing is possible. The resources of writing are often found in the gaps in life. Without sensitive minds or strong mental vigilance, they cannot be found. ——Xie Youshun famous words

· We are tired of arrogance, tired of sculpting, tired of the so-called imagination without humanity, and tired of those words that are freely written by writers who have no words, no words, no words, no words, no words, no words Toward the desperate. When can we come to the most personal and internal fields and regain our love for things like truth, beauty, simplicity, detail, life here, responsible soul, etc., when will literature be "related to me anyway" Hope will grow in it.

· In this sense, Pioneer is not a technological admirer who stands outside life and lives in pale imagination. It should be within life and within human nature. Only when you stand firm in your life can you have the foundation of revolution. That is to say, if you are not sensitive to your current situation, the revolution is just a gesture without any real value. Pioneer is some of the most sensitive people in this life. Because they knew the message passed by life in advance and started their questioning, the times called them pioneers.

· Pioneer is an ongoing process. It has no fixed rules. It does not always belong to a certain type of person. Because of the shared desire for freedom, Pioneer shows that it is not willing to live in old beliefs, old realities, and old styles. It needs change and needs new freedom. Therefore, after Ma Yuan, there is Yu Hua, Ge Fei, Su Tong, Ye Zhaoyan, Bicun and others, and after Yu Hua and others, Li Wei and others are doing new efforts to adapt to the spirit of the times. It is impossible for a constant person to play a pioneering role in the changing era.

· From this real view, I feel that many famous Chinese writers have written many unreal works and there are no signs of stopping. They thought that they expressed the situation of this generation of cringe, helplessness and pessimism. In fact, this is only a superficial reality. The inner spiritual essence of modern people has not been touched.

· The absence of mind writing is untrue writing. There is no reason to believe that what a writer sees is true, because the eyes often deceive us. Those works that believe in the eyes are filled with the real atmosphere of materialism, and the foundation behind them is positivism. ——Xie Youshun’s Quotations

· So, there is no truth that the writer sees, only the truth that the writer has experienced. What the writer sees is only a phenomenon. It is only responsible for the writer's own experience, memory, and traditional artistic habits, but it is probably not responsible for the spirit of the times that has advanced.

· If an artist loses his memory of the past, loses anger at the present, and loses his imagination to the future, the end of his art life. The public's emotions are very specific, such as worrying about going too far to work, being angry for tofu, and the imagination of the public is also short, mostly around clothing, food, housing, and travel. These are all artists should be vigilant, because from the point of view of the art, the concrete and touchable things are not true, because it loses transcendence.

· How should writers be more effective in getting the truth of that era? Almost all writers have encountered difficulties on this issue. Reality is reality, and the relationship between a writer and reality is always tense and embarrassing. Real reality is often hidden behind complicated phenomena and difficult to grasp. Although the novel is a fictional art, the writer can fictional stories, plots, characters, and his tension with reality can not be fictional, and the authenticity is thus implemented. What we call the art of esoteric is the result of fictionalizing the inner emotions, spirits, and relationships with reality.

· The tension between the writer and the reality seems to be irreconcilable, and it is this existence of conflict and contradiction that makes literature real. Falseness not only refers to feelings, lyricism, contrived, fuss, or pretending to be incomprehensible, but also means that the writer has not established a correct relationship with reality, or can not make his own experience of reality deeper, so as to answer relevant existence. Nothing is done on the major issues.

· Regarding the real question, if we continue to pursue it, we will come to an important conclusion: almost all art revolutions, intrinsically, are revolutions about real ideas. After the old real picture collapses and shatters, the new generation faces a new real situation, which requires a new art way to convey this new reality, and the revolution takes place. ——Xie Youshun’s Quotations

· Some people are based on such a change, dividing different writers into realism, modernism, and postmodernism. However, in my opinion, all writers are realists, because whatever his writing is How to be a leader or a pioneer is a reality for himself - I will say that we cannot bind or demand them with Balzac-style reality standards.

· Experience the inner honesty, which is the main basis of truth. Even in a wise man like Borges, under the appearance of his calm, objective novels, he continued to focus on Borges’s infinite and limited conflicts, as well as the labyrinth of the labyrinth. We can still read very realistic things.

· Does it mean that writers will not encounter difficulties when expressing reality? No, the difficulty is everywhere. One thing is unquestionable. The real concept is getting more and more blurred now. Many modern writers are actually analyzing the truth while expressing the truth.

· Before the problem of authenticity was solved well, the characteristics of the text and the appearance of the personality appeared in literature and art. Everything is plausible, and even many writers are committed to proving that the false is true. No one can write in the face of falsehood. When they can't judge for reality and fantasy in their existence, they will replace it with the real scene established by a language, thus dissolving the fear of existence. Drop it.

· Writing is a struggle, a struggle about reality. The struggle is to create the true vision that the writer sees, and to provide meaning for the existence that the writer seeks in this reality. I believe that when Kafka discovered the real things like beetles and castles, he must have been shocked by his own discovery, and his contradiction is how unwilling he is to admit that this is a fact, how much he wants people or people, not beetles. . Kafka’s struggle began at this starting point. ——Xie Youshun famous words

· If we read these inner parts in these masters, I think that going back to reality is no longer a dream. It tells us at least that the revolution of modern art is not only destroying the old truth, but also trying to be convinced of a new reality and new value.

· The novel has undergone a process from simple to complex. A direct consequence of the formal revolution is that writers no longer trust stories. We can easily recall the era of the 1980s, when everyone was afraid that they were not pioneering and not modern enough. The form became the most important writing content at that time. Everyone seemed to be a revolutionary in the art field overnight. And the rebel faction, they collectively subvert the story, make the novel arrogant and esoteric, even a short story, must be professionally cracked before they can be read.

· I was once attracted to this stubborn artistic gesture. Later, a fact changed my mind. I found that Borges can be constantly imitated by writers, but Tolstoy and Dostoevsky can never be imitated. This tells me that a person who is eager to be unconventional can successfully play the role of a pioneer, but in the face of the ancient form of the story, he tends to show his feet. It is unreasonable to blame the readers for lack of reading training. They have reason to expect a novelist's story. Later, I discovered that almost all great writers tell stories, at least they can tell stories.

· In China, there are two kinds of writers who do not tell stories: one is to speak but not to speak; the other is not to speak at all, but to play with language, structure and form to cover up their own deficiencies.

· Avant-garde writers are hostile to the story because the insular logic that can't believe the story can help them achieve their ambition to write. The story must follow the logic of time, and this is a linear logic, and occasional interruptions and repetitions are also traceable. The stage of the story is strictly agreed in a spatial structure. The appearance of characters and the development of plots are all bound by space. This is a big limit for a writer who pursues spiritual freedom, an insurmountable expression barrier. ——Xie Youshun’s Quotations

· The opposite relationship between form and story is quietly established. In people's experience, the form is to dissolve the story, and the form refers more to the language itself, so some people have proposed such a slogan, poetry to language. Form and language are of course important. The question is, how do you further confirm that the form you write is not a puzzle game, but about your mind? Or how do you make your writing style a spirit? At this point, I believe that only a few great writers can promote the form to the height of the spirit, such as Borges, whose maze structure is like how the human spirit is in a state of fascination. Here, Ershis also obtained a firm vision of observing the truth about human existence. This line of vision starts from the self and arrives at an imaginary infinite edge. That is Utopia - Borges makes the fragile utopia become Strong.

· The writer's fundamental mission is to have a deep insight into the circumstances of human existence. Once a problem is suspended, writing is likely to become a suspicious narcissism. Its most important feature is indifference. Such writers have no praise, no yearning, no pain and sorrow, and their hearts seem to be a blank piece of paper in their works. Writing becomes a technical operation, a single language form of deduction, and there is no isomorphism with his heart. This misunderstanding occurs because some writers think that they cannot form a sense of form in the story, and they understand the form as something external. In fact, the real form should be internal and profound.

· After all forms of experimentation have been carried out, perhaps the story is an effective way to reopen the writer's heart. Here, I don't advocate writing for the purpose of the story, but I think that the story is also powerful, and it is a force that is completely different from the form. The story may be a kind of spirit, and the story may be a method; what I emphasize is the spirit, not the method.

· The characteristics of modern writers are also turning to the heart and returning to the self, but compared with Dostoevsky, there is still a big difference. The enthusiasm of modern writers is more devoted to art. In their eyes, the obsolescence of art is intolerable, which means that this writer lacks revolutionary and self-restraint.

· In a series of artistic methods, structure plays an extremely important role in the novel. The time-space-based structure of traditional novels represents that the world can be recognized by writers. The world is stable in the eyes of writers. It has traces. It appears in the normal logic of time and space; writers are also in front of the world. With confidence, he can explore the existence of people along this time and space clue. ——Xie Youshun’s Quotations

· The stream of consciousness novels opposes a time-based structural model that shows that writers no longer believe in the unconfirmed form of time: who gave time the authority? Why do we believe that everything in time is real? This revolution, liberating writing from the prison of time, the writer can finally say to time, I am free.

· Unfortunately, although Chinese writers have begun to pay attention to the structure of the novel, the word “structure” is just a noun in many people. It represents a completed formal law and is a system that can be explained. . The establishment of this new system involves the deconstruction of tradition, but what is the structure of the writer in this system? - The "structure" here is a verb. A deconstructed writer will not be a good writer. A truly outstanding writer is deconstructing and presenting a new artistic order and spiritual truth of his own structure.

· I want to mention Borges again. He has a great influence on Chinese writers, but most Chinese writers have only learned some of his maze rules and have not seen his novels have an extraordinary structural ability. We followed Borges in his novels, and in the end there will be a feeling of being close to infinity. Borges is using this spirit of infinity as his writing power.

· In contemporary novels, it is difficult to read the real reality and spiritual situation of contemporary people, which is undoubtedly a confusing thing. I don’t think that writers don’t want to experience contemporary reality, but if they want to maintain a contemporary writing position, the first question that comes oncoming is that what is full of our vision is the real life thing, what kind of Does the value stand into these realities and reveal the real nature of the reality? Nor is it in this era of chaotic value, writers have unanimously abandoned the burden of social mission, do not want to stand on the stand of sociology or cultural chemistry, and a new value has not yet been established.

· I remember very clearly that when "new realism" rose, there were indeed many people who thought that it was writing contemporary reality, but I think that the trivial, pale, and wandering life is only everyday, no contemporary. Sex. The difference between everyday and contemporary is: one is to write life, the other is to write for survival; one is to write emotions and the other is to write spirit. Strictly speaking, the "new realism" style of contemporary life portrays only the contemporary living environment, not the contemporary contemporary reality, because this trivial life has a broader spiritual background and a more internal source of deprivation. Was omitted. ——