Liang Hong’s novel style is becoming more and more simple, more and more interesting and vulgar, which is also criticized by critics. When the literary world lacks a big spiritual direction, this kind of beauty of daily life will lead to a middle-class aesthetic tendency, which will beautify life and make it illusory and aesthetic.
Li er’s interest and vulgarization don’t mean novels. It doesn’t matter if novels are vulgar at all. From the perspective of novel history, the significance of novels lies in their vulgarity. Novels in Four Great Classical Novels are vulgar, Grand View Garden is vulgar, and Liangshan in Shui Bo is vulgar.
Whether it’s true or not, Buddhism stresses the great realm. The question is whether you can be true or not. You must be true, not false. If you sew clothes with your mother’s hands, it’s vulgar. That’s true. If you parade around in a fake brand name, you have to wake others up to see and see. I’m not vulgar at all. That’s false or bad.
Liang Hong, what I’m trying to say now is that one page of the magazine is drug abuse, one page is bar, and the other page is KV private room.
Li er, you can suck it, but you can’t become a drug addict or a barman when writing. In other words, if you want to enter writing, you can’t be an empirical exaggeration, but an empirical doubt. Analysis reveals that even if daily life is a mess of novels, it should be able to reveal it in order instead of further adding chaos. In novels, daily life should also be a breeze blowing through life. It is really a reed like Pascal said or a bone flute like Kutcher, so it should also blow. I said that these are not melodramatic. What step have I done to read?
Liang Hong, today’s clarity is also meaningful. You should be a very good place to introduce daily life into the text, not narrative introduction, but a change in the great historical view. But when it is generally accepted, it may mutate, and it may have no critical vision or discriminating ability, or it will form another materialization when the daily life poems are restricted. Just like you said just now, bar-ism and drug addiction have created new problems, and the value is becoming more and more diverse. Finally, it is an experiential materialization to upgrade the experience to beauty.
Li er: yeah, nothing but my little experience. It’s an empirical exaggeration tendency.
Liang Hong quoted you as saying that daily life is a huge trap, which can easily take away people’s criticism. It’s a rat trap, and it becomes difficult for you to escape from rebellion. This is very prescient in 1998. It tells the family that they must keep some vigilance when entering the narrative of daily life. In the afternoon poem, you wrote that he compromised, and he did a lot of things, but at the same time, he also deconstructed me. Although the family narrative seems objective, I have told them that this kind of life is doubtful, but later in the novel, the narrative suspicion and vigilance are gone.
Li er said, as you know, frontier people are very skeptical about life, and they must save their ability. People are a high-level intellectual. If such a person doesn’t compromise, he will live by compromise, including you and me. It goes without saying that I have given the pen character a certain ability to reflect. He knows what he has compromised, what he can do after compromise, but my doubt is that when you write about such a person, who is a province-saving person and whose personal life is still a tragedy, how will he read at this time? How will he feel about writing? That sense of emptiness arises at this time.
Liang Hong, is this also the poetic power of daily life? You can reveal all this in the state, but you can give some explanation or even the slightest meaning. You drag the characters, including yourself, into the abyss of doubt and see the light from it.
Li er, I admit that what you said hit me, but I want to say that this is not a problem of daily life poetry. It can be said that the real situation of modern people is that we keep secrets in the situation. When this kind of novel is written, you will feel cold all over, but you must be able to withstand it. You must mobilize your strength to penetrate that emptiness.
Liang Hong, you smashed us in the clear wind, the moon and the day, and then you left it alone. What are we going to do in the abyss? This is where literati are awake and afraid.
Li er, of course, I’m trying to explain. I want you to write a novel. I want you to recognize that your novel is an art, so it’s not a solution. I’m trying to explain it. Otherwise, your novel is not actually explained by our law. Then you have to let people know what you can’t explain through your writing. This is actually an explanation
Inverse form and talk about life
Liang Hong, let’s talk about it again. I think there are some things you haven’t talked about in the past
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When Li Er writes, he thinks more about another problem, which is also a pessimistic idea. When humanistic knowledge really loses us and deeply doubts ourselves, in fact, we rely on others to talk, and this other person is not us, but another race and another culture. When we say this, it also includes a recognition of our own failure situation. But besides quoting western words, we seem to be telling the truth. We have been nagging for a long time because other people’s words are not in line with our own situation. I simply call myself a novel rap mute.
Liang Hong and China are facing a double lack of contemporary knowledge. First, the lack of literature is in a broken period. It can be said that the lack of literature is that your secularity is more negative and negative. Another lack is that you can prove that you are here by quoting western words. Your position is more ambiguous and ironic, which means that your situation is even more ridiculous. The knowledge body brings you not a sublimation of faith or idealism, but a blow to China’s knowledge. It is not a confusion of knowledge, but a judgment of your position.
Li er’s intellectual situation is very embarrassing. We need western words to explain our situation, but in fact, our failure or pain is our own paradox. Our situation can only be explained when we really become a part of the west, but that can prove more thoroughly that our failure is unified, the contradiction between knowledge and practice is broken or dislocated, and here is a new meaning. I am very interested in these problems, but I am unable to write this embarrassment. I don’t have that much faith.
Liang Hong should say that he has finished you well. Now, when we are talking, we have formed a set of metaphors. During class, I let the students analyze and make an impromptu speech. The analysis was very thorough and in-depth. At that time, I was very impressed that this young student was able to accurately understand such a sad situation of knowledge sharing in a distracted world with worldly knowledge, which has already affected a new generation of knowledge. This is a very terrible thing.
Li er yesterday, you asked me why I didn’t dare to write a novel late. It was a nightmare to experience a ghost world. You opened your eyes and saw that the department was a failure. Do you still want to go to bed?
Liang Hong, the ghost world, is the beginning of our life and returning to the topic. This kind of daily life poetry means that we must first disenchant the language and wash away the meaning attached to the language form. Professor Wang Hongsheng called your novel language anti-form, and the language recognized that such a poetic tendency is to be familiar with the form while the discourse challenges or rebelles against the form, while the discourse combines the facts and attitudes of events. The value statement is to cover the daily life world and feel the spiritual order of things. If we want to return the facts of daily life. The state must separate the factual attitude, that is, strictly distinguish the boundaries of factual statements and value statements, and change its language style. This anti-form and narrative feature is reflected in a series of your novels, in which Dr. Gachet’s rap-mute afternoon poems are dead, and the most typical one is the analysis of the phenomenon of knowledge-divided discourse structure. What characteristics do you think this anti-form tendency brings to your language style and narrative style?
In fact, if you are a writer, you will find that it is really difficult to distinguish the statement of facts from the statement of value, but I also admit that Professor Wang Hongsheng’s statement is really very reasonable because I always try to objectively or seemingly objectively state the facts, but when I state the facts, my language has a slight tendency to dramatize. I think it may be a bitter recognition of our dramatized life, but the basic fact is that knowledge is divided into life. Your actual method is fractal and other forms are exact, and most of the time it is mixed with meat, vegetables, flavors and tastes. What kind of situation is more shapeless than he seems, but it is too shapeless for others. I think the novel writing should at least give people a sense of presence. In my opinion, the sense of presence is accurate. Another way of saying it is that when you try your best to accurately state the facts, you will give people the impression that your value statement is divided into two parts.
When Liang Hong read your novel, he deconstructed, constructed, stated, speculated, affirmed and denied at the same time, presenting a very special irony rhetoric. Whenever he quoted western masters with great interest, he acted and acted, and I denied them. This is not only a writing about the distracted world of knowledge, but also a new language style. All kinds of paradoxical meanings are constantly wrapped up and moved forward, eventually forming a huge and complex meaning.
Li er: oh, it’s no exaggeration to say that I feel this is my understanding of knowledge and daily life. Miraculously, it seems that knowledge and life are always in a state of anti-union. After all, all kinds of words are mixed and cut, they are still chaotic, even if they are cut, they are still unclear.
Liang Hong, when you use this paradoxical language to divide your life into knowledge, your language style has actually been decided. In pre-modern knowledge, it seems that there is no such thing as dividing money into novels. Writing is done by metaphors or metaphors, but there are not many metaphors in your novels. It is the fact statement that makes the statement meaningful. On the one hand, it is the fact that the discourse department is constantly splitting, propagating and spreading, and finally it forms a very complicated structure, which is just like dividing, intertwined and interconnected. This is also the reason why knowledge is in two places at once. Knowledge is a very sensitive person, and he feels richer and more complicated about the world. I analyze that my reproductive body is a kind of knowledge discourse, which seems to be found in Lu Xun’s novels.
Li Er’s novels by Lu Xun seem to have no conflict in discourse structure, but Lu Xun’s essays are a little bit worse. This flavor makes me think that they are less lackeys than his one. Yes, when Lu Xun wrote the real story, especially when he wrote about his enemies, it was a punch line, pointing fingers at the east and cursing the west without dirty words, praising you, and scolding you for not letting people get into trouble. Whoever was planted in Lu Xun’s hands was a hornet’s nest, and it was a great misfortune.
It’s not much better for Liang Hong to fall into your hands, but your statement that you have stirred up a hornet’s nest has made me think about what kind of language style it will be when an event happens and is considered as a limited connection. The facts are constantly derived and the details drown everything. When the novel is flooded, the unified story of the plot disappears further and is replaced by the continuous derivation of the unexpected connection and the continuous complicated structure. This seems to be a new ability for novelists. This kind of derivation is especially sudden in your novel’s light and shadow, which has disrupted Sun Liang’s life one by one. In the end, you find that Sun Liang’s spirit has become a mess because Sun Liang was wrapped up in various words, which shattered him. Is this a kind of discourse derivation? Of course, is the novel linked up by relatively complete events? Is it wrapped up through genre derivation, interviews, oral memoirs, newspaper excerpts, etc. You are always a center, but the center is not accurate. All kinds of words have flooded the center and the core meaning of this center is presented. It seems to be very trivial and complicated. Its unique individuality keeps moving forward like a ball, sweeping away dust, feces, leaves and roses.
Actually, Mr. Nan Fan also realized this point in their review articles. Gefei is an intertextuality. I think for novels, it should be a basic structure and an individual narrative framework. Otherwise, it is also good to talk about or say that you should connect with a structure to connect a story with linear characteristics, and the intertextuality should not affect the smoothness of novels too much. Actually, my novels are also interconnected and have some coherence. Without rap, there will be no afternoon poems. Without afternoon poems, there will be no coloratura. They are also derived.
Liang Hong will also generate new ideas in his writing.
Li er’s writing will continue a novel where he left off, and another novel may. This is my state of mind, and your thoughts are constantly generated in writing. You can only express your thoughts by writing constantly.
Liang Hong, but that basic language style will remain. Such a language style actually contains knowledge, self-separation, paradoxical life experience, and returning to yourself. Do you think that your own life state contains your own paradoxical painful experience?
Li er wrote about him, you can do all kinds of analysis, but in the end, it is similar to a lonely boxer’s hands fighting with each other, similar to holding a candle while walking at night.
Lose the subject of action
One of Liang Hong’s obvious changes is the loss of action subject in daily life. In traditional novels or classic realistic novels, the character’s personality is sudden, and there is not a list of sufficient actions to show that the individual will break or enter the determination, rather than connecting with the very definite class attribute, family background, etc. In these cases, the individual subject asks for regular dramatic conflicts, which constitutes the novel-based narrative, but there are many characters in daily life, that is, the family describes the character’s verbal life style in detail, but still supports realistic characters. On the contrary, his face is more vague and abstract, so Kafka K is named casually, and Bian Sunliang can also appear at any time in your novel. With one exception, these characters have lost their initiative, which may be manifested mostly by their sense of heart and the conflicts in the external world of the characters are also fierce. Or, their personal realization can no longer be achieved from external actions, but it has not disappeared. It is a kind of mental life that talks about knowledge points in the living room, especially the process of naming magazines. This is very obvious in life that they have lost their ability to act.
Li er’s discourse life is an important form of knowledge-divided life, which has always been more prominent now. Of course, the loss of character’s mobility is not the loss of knowledge-divided modernism. No matter what his status is, the characters in the post-modernism almost lost their mobility. Before the modernism appeared, the fate of the characters was displayed by his mobility, just like a movie. Now many people choose to watch movies. I think this may be subconsciously. We cherish the memory of that classical era, and the shadow is a dream. We are returning to the classical era in our dreams. But now, if you look at western literary films to show your daily life, you can find a lot of people who don’t act, whether it’s Bergman, antonioni or Woody Allen. You can almost regard this as the general situation of human beings in the post-industrial era. They come from the bedroom to the living room and then to the cafe, and then a woman comes to the hotel to have sex, quarrel, break up in the Cold War, and then take a last look and then come to the cemetery. Although they are acting, their actions are divided into some closed nature. They are surrounded by a vast and indifferent world, they are always frowning and thinking about something, and they talk one way or another. They don’t talk, and the film is silent and shows us a lot of meaning.
The loss of action may be more complicated for China’s knowledge, because we can all understand that in many cases, the value of China’s knowledge lies not in what he did, but in what he didn’t do. What he evaded should, he couldn’t or wasn’t allowed to participate, but was allowed to participate. He was encouraged to have enough conscience and retain his dignity. Instead, he had to evade it. In these respects, we look at knowledge and look forward to it differently. Remember that your mood will be bleak and the most significant thing in the intellectual world in recent years. Love may be a new leftist struggle, but I believe that even those who participated in it at the beginning, when looking back, will feel that many of them are actually quarrelling with each other. We have not been particularly serious for a few years, and another important reason for our discourse life is that our knowledge has become more and more detailed and our life has become more and more industrialized. Lawyers just talk about eating the defendant, telling the painter, and then deceiving a foreigner to buy paintings. Teachers just eat chalk and ashes, and the dividing line between humanistic knowledge and sexual knowledge has almost disappeared. Before attending a meeting, the word "you can attend a meeting in a very small and subtle field" has become very big. Perhaps it should be said that you are forced to do things in a very tight way. For other fields, you lose your ability to speak. All these make knowledge have a sense of failure and strength. I remember Mr. Wang Hongsheng’s opinion in that paper. He compared the scene of afternoon poems and said that there are two kinds of people in Li Er’s novels, one is thinking but not acting, and the other is not thinking. I have to admit that his eyes are very sharp
It’s really interesting for Liang Hong to put together the afternoon poems on the spot. I agree with Mr. Wang Hongsheng’s insight, but it’s hard to say that those people really have the ability to act on the spot. On the one hand, they are really acting. On the other hand, they are not a determined subject. It is still passive and pushed away by a certain situation. That is to say, although you write an action, it is an action that has ended, but you express a person who has no action or lost it.
Li er: Yes, I can say that.
Liang Hong, let’s go on to talk about whether it’s right to say that characters are changing from realistic external actions to mental life. It doesn’t seem to be a change in the way characters are described in the Ministry of Culture, but a change in the position of individuals in social life. You just mentioned the specialization of knowledge points, and now humanistic knowledge points are gradually becoming professional knowledge points, or many fields or regions where humanistic spirit has been linked are slowly sliding to specialization, which means that humanistic tendency or humanistic spirit will be in a state of decline.
Li Er: Yes, with the specialization tendency, the improvement and expansion of the institutionalized system, this situation can become more and more unified. The old-fashioned knowledge is divided into iron shoulders and moral skills. The legislative image of knowledge is gone, but they are fortunate to live to this day. Except for a few people, most people want him to show up. People see that it is not other than a whiner, and it is out of date. Of course, it is necessary to put it mildly, which can also be called world independence. This cultural atmosphere is really deadly. In this era, knowledge is increasingly becoming a craftsman with new words. Craftsmen sell biscuits, grinding and
Liang Hong’s cultural background has changed, and so has its knowledge and requirements for itself.
Li er, but at the same time, you have to admit that knowledge points are still people with broad vision. As a result, the problem is that he knows what kind of person he should be in the future, but he does not know what kind of person people or people expect him to be in his role. However, he is actually out of this expectation, and all kinds of dislocations will occur in the knowledge. This situation is both dramatic and tragic.
Liang Hong, in your afternoon poem, you wrote that the two things that the students gave to Professor Adorno in the May storm are also worth analyzing. Roses are analyzing feces. Roses are analyzing feces. Roses are a pair of poetic concepts. What does this mean? They have two extreme properties, but at some times they are homogeneous. Ugly beauty is empty, stinking, fragrant and noble. At the same time, they seem to be metaphorically living. This wonderful speech is equivalent to not saying anything because his opinions have not been adopted. Of course, everyone is saying that it will wither before it is spent. It is true that people dream of roaming.
Li Er’s rose is a classicized word in western poetry, a word with explanatory meaning. Shakespeare said that the flower we call rose is not as fragrant as it is when it is changed to another name. At the same time, Eco named his novel rose, which has the function of summarizing and explaining things. At the same time, of course, the word rose also represents a classical romantic and beautiful thing. Of course, the word feces is negative, but I quote this allusion. During the May storm, the students did send rose feces to Professor Adorno. Do you know those people from Frankfurt, Xima and those people from Malma?
Some time ago, I gave a speech at the Red Salon in Berlin, which is the most famous cultural event in Berlin. As soon as I entered the venue, I could see Lenin’s portrait and listen to the speakers. Some German philosophers also taught us to be private. I told them that China people had a natural affinity for Frankfurt. When I took over their hand-rolled cigarettes, I felt a strange feeling. What did they feel when they chatted? I felt that the person in front of me was Adorno. My speech was to give them a gift. That gift was actually a fecal rose. Why do you say that because of me? My mood is very complicated at the junction of East and West next to the Berlin Wall. When you and they discuss the reality of China, you should both reveal and argue, deny and affirm that you are in a paradoxical situation, but I found that they can actually understand my mood very well. At that time, I thought I was in the United States or Britain, and those readings may not be able to understand me.
Liang Hong, the United States or Britain, they are too far from the Berlin Wall.
Li er, we are very close to the Berlin Wall, because I look at the graffiti on the Berlin Wall. I think I can understand a painting. It’s very interesting. Brezhnev was always kissing in Germany like two dogs gnawing at the same bone. A friend of mine asked who was gay. He said, take a picture of you. I said, take Brezhnev’s kissing image as the background. He said, don’t do this. What the hell will people do with you?
Liang Hong, they can’t solve it
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