Liang Hong, you are still trying to make a new interpretation. I think that the disappointment with China’s novels is by no means that critics still read them widely. Of course, this is very complicated, but one of them is dissatisfaction with the outdated theme of the novels.


Who is Li er reading? It’s as interesting as asking people who they are. It’s very popular to read novels. Hundreds of thousands of novels are printed every time. You don’t read them, and I don’t want others to read them. In fact, it’s still a relatively general statement. It’s also interesting that the older the theme, the more you read it.
Liang Hong, I sometimes feel that I have a lot of thoughts now. Everyone has this stuff in their pockets, but literature is a very complicated thing.
Let’s not talk about the problem of Li Er’s excessive thoughts because it can’t be established. Let’s put it another way, maybe it can be established. It’s not excessive, but the rest is some scraps of surplus thoughts. Of course, this is another problem. When it comes to novels, my views are often contradictory. When we talk, you can also find that my views are often contradictory. This may be a good thing for writing, but it’s easier for expression than I naturally think that the text should bear some thoughts or be difficult. But when I read it, I feel that the main meaning of the text seems to be to give it. We have a personal perspective, personal perception, some fictional features, some documentary fragments and some experiences with some heterogeneity. I remember that we talked about Yang Zhengguang’s novels from two eggs. I was very impressed by that novel. I once met a Frenchman. He said that you recommended a novel from China. I said it was interesting, but no one in China paid attention to it. I said that Yang Zhengguang had actually read the novel from two eggs, but he said it was difficult to translate, mainly because the life language of Liu Zhi and me was difficult to translate. What is the theme of my novel? We are too familiar with it, and it is no longer challenging for China people. My other language has aroused my distant memories of life, and you have never experienced life memories. To some extent, it has reshaped your memory and extended it to your life. For me, I believe it is also a heterogeneous experience for many readers. Yang Zhengguang also came home from the 1900s. Now he has found such a way to write novels, which should be said to be great, but it has not attracted more people’s interest.
Liang Hong: I think Yang Zhengguang feels very good from two eggs. It is by no means a documentary, but some other things are slowly presented in the historical narrative. It is very humorous and thoroughly writes the secrets behind the characters, which not only achieves some historical information but also aesthetic feeling.
Li er, of course, I’m not satisfied with it. This novel is full of pleasure, close to the pleasure of self-protection. I can imagine that he is happy when he writes, smokes, smiles and makes a gesture. I can also understand the pleasure of seeing it rise from a tall building and feast on it, and then sit down and continue to write. Of course, when people are middle-aged, they are excited when they write about sex.
Liang Hong’s object doesn’t keep a distance. It’s so interesting. Just jump in and forget it. It’s hard to exceed the limit of every family. Of course, this is also our digression today
Difficulty writing
Liang Hong, I found a very interesting phenomenon. You didn’t have your name in the pioneer’s home, and you were reluctantly included at the latest. You seem to be particularly opposed to others putting you in the late generation’s home. On the other hand, it is really difficult for you to enter your famous tutor. Once he died, he showed special heterogeneity. From the embarrassment of daily life to the absurdity of people, he wrote in depth what do you think of you
Li Er talks about modernists, except for a few people, you will find that almost all the literary groups are told in the form of tides, which is almost the knowledge of modern literature and history. A family can’t be included in a certain tide, and it is very likely that he will be forgotten. On the other hand, it is better that the personal achievements of the individualists who have been included in the tide will be discounted. It is better that they can become famous quickly and maintain a certain personality at the same time, but this kind of thing is not up to their families to decide. After the age, the tide of modern literature and history is still different. The tide of modern literature and history is mainly except for the brothers It’s still defined by the literature advocating political inclination and beautiful taste, but the China literature after the 1990 s is mainly divided by the age of the family. The avant-garde is smaller than the root-seeking school, and the younger generation is smaller than the avant-garde and smaller than the younger generation. Then the latter is the post-nine. It is said that some time ago, critics were still arguing about who came first, whether the concept was you, Zhang San or I, Li Si. It is said that the last person thought it was Wang Ma, and who knows that the tide problem would not interfere with me.
Liang Hong, now it seems that you still have some pioneering qualities from the death of your mentor to the pomegranate tree bearing cherries, etc. People say that you are the last pioneer. Although the name is joking, it also tells the question. What do you think is the pioneering quality in your article?
Li er, I think you probably admit that this is because I haven’t cancelled the difficulty. For me, the difficulty is that my motivation to write is to challenge myself, and the difficulty has been cancelled. My writing fun is gone.
In Liang Hong, there is a similar negative trajectory, and many companies have a process of evolution. From fiction to realism, from form to story, it seems to be a kind of negation, but you are very constant than the theme language or a certain style. Do you think so?
Li er, I feel that my writing will become more and more realistic, and the short stories will become more realistic, and the form will be less exaggerated. Like forgetting, I won’t write it again. It’s coloratura to prepare. I feel that it has changed in my early years. When my tutor died, I didn’t feel that way. When I wrote later, I still felt a lot. I knew where to explore the style, and I also roughly knew my own direction.
Liang Hong’s current novels are not about your choosing a certain style, but the theme determines your style. The theme style is isomorphic, not about how to tell a good story, but more complicated things, such as afternoon poems, where the theme is the style, so the style is the theme.
Li Er, I can still remember that Mr. Cheng Yongxin was very good at editing, but he was rejected. He made such a concession, and my heart kept beating drums. Later, I realized that it was not Mr. Cheng Yongxin who gave up, but a new editor who gave up. However, although I played drums in my heart, I still knew in my heart that this novel should be a more important novel for me. The influence of this novel was that people kept mentioning it in various elections in the following years. It was difficult to accept at that time because people didn’t know how it was different.
Liang Hong, what do you think they don’t agree with? Is it because of the beauty of style or the theme? They don’t agree with your description of knowledge and spirit.
Li Er’s greatest possibility is that no one has ever written knowledge points like this before. This is a very embarrassing way to write knowledge points. I try my best to win in chaos. I want to write a feeling of turbid waves and dusty. At the same time, the novel is composed of various kinds of knowledge. Every sentence seems to have its origin from allusions. All kinds of knowledge monsters are caged and come from the bottle. But despite knowing so much knowledge points, he still manages to solve his physical problems and even some problems. He seems to have solved it, but it actually brought him more trouble and made him feel more defeated. It seems that before the novel, it didn’t seem that he did.
Liang Hong, it’s shocking to hear you say this. It’s already a great intellectual challenge for Li Er to write how to read you. Maybe your complicated and demanding requirements for the Ministry also make it difficult for you to write and will become a fatal obstacle.
Li er, then I’ll accept my fate. When these obstacles really crush our department, it deserves it.
Liang Hong’s generation seems to have lost the ability to love, or that in you, love is either in its body or questionable. Great love has lost its sustenance, while small love is doubtful. You look at your eyes to observe and analyze everything, which seems particularly empty and indifferent, but on the other hand, you are writing about love endlessly.
Li Er has many such causes now. Generally speaking, this generation is tightly controlled when writing. I said that it is not control, but literary control. They seldom express their feelings. In the decade, they were influenced by new criticism. new criticism paid attention to literary control and a sense of form. For a long time, the literary criticism school probably had the greatest influence on China. new criticism’s philosopher school probably had the greatest influence in the early stage, Frankfurt School probably had the greatest influence in the later stage of modernism. For a short time, it might be French new novels and Latin American new novels. Of course, I didn’t do it. The research in this field is such a rough feeling. I think they largely constitute the apathy and alienation of this generation’s knowledge background. Yes, many novels, including Camus’s, are also like this, but you can’t say that the family has no feelings or that it is difficult to fill the gap because of strong feelings. However, I have never agreed with the new novel school that the simplest way is to be true. He can’t write.
Liang Hong, but there’s another problem here. When you look at love too empty and no longer become spiritual support or belief behind it, you will find that without support, the weather is very small and there is a lack of some far-reaching spirit, and this kind of emotional penetration ability is not enough to resist the impact of various things, which makes people feel that there are few love components in you.
I have heard a lot of comments that Li Er’s pattern is small and the weather is small. I don’t think it is because of the lack of love, but because I am more concerned about my personal fate. Borges said that China people are of course more difficult, but in fact, it is very difficult to call a person Ji Ji, especially for writing. This is definitely not to say that the family doesn’t want to worry about Ji Ji. How is this possible? Instead, it is to say that the family writes from personal experience. In this case, your love will appear smaller, and whether you often write is stereotyped and skeptical. It is definitely not straightforward. This is of course different from romanticism. Since romanticism is accidentally mentioned, you will find that a lot of it is actually a kind of romanticism that has aroused widespread recognition. Of course, in my opinion, it is false romanticism. The love inside can’t stand scrutiny or stand scrutiny at some time and place, but it can’t stand scrutiny afterwards. Can Zhang Jieai not forget that Zhang Jie will talk about it later?
Liang Hong: In this era, love no longer dominates power, which reduces the other levels of life and emotions to show more complicated things, but at the same time, the stylistic power may also become smaller and lighter.
Li Er is not necessarily. I am very moved by the shame of reading Coetzee’s novels. Coetzee puts love on the microscope and analyzes it from different sides like a pathological analysis. When you see him analyze it like this, you will feel cold and cold. In this way, people will no longer resonate as strongly as reading romantic novels, but sigh and think, which is also very calm. Gide narrow-minded Coetzee is the same in spirit and temperament. Compared with other countries, he is very calm, but compared with Coetzee, he looks a little rough. Just like now that we are in the back home, they may think we are very romantic. When I look at shame, I feel that the novel is full of skin and kisses. It is very sincere to describe the feelings of teaching girls, but in the eyes of girls’ boyfriends, he is also a self-protection in the school, but it is indeed a kind of love. The novel has written all kinds of love for his daughter, his father and daughter, his daughter’s homosexual love, his lover’s dog’s love for colonial blacks after her rape, and one of them is at the most dangerous border. Kutcher is really like an expert in solving cows.
Liang Hong, do you think that our nation can’t understand these spirits?
Li er, I can say that we are used to the black-and-white way of thinking and have no ability to walk on an interface.
Liang Hong, but maybe it’s not home. Maybe you said earlier that this situation is also a great choice of narrative methods. During this period, I read HanDong Zhu Wen Bi Feiyu and others. I feel that when I try to write my feelings in a new disassembled way, it often seems too dull. In some places, I get along with it quite simply. HanDong, you can clearly feel at home, trying to write the war between the sexes in a relatively objective or convergent way, and I also hope that human nature, especially in love, can be reflected from it, but it is a bit like water accounts.
Li Er’s family must be skeptical about the things described in their novels, but you doubt it because you are sure that the novel will achieve its depth without doubt, but the novel will achieve its height without an affirmation.
In his narration, Liang Hong reflects his own views and thoughts immovably, and at the same time, he can make in-depth thinking about his own narrative events. It is always a big problem for Wen. It is by no means a problem for one generation or another. However, the problem of this generation’s choice of narrative methods has suddenly emerged. In the contemporary political context, you can’t discriminate the meaning of specific events because personal judgment is meaningless. Perhaps it is because everything is shrouded in great discourse that it is very difficult to judge the meaning of events. Because individuals love dignity and believe in ideas can never be the most suspicious place in China’s life.
The most remarkable thing about Li Er and Coetzee is that he never misses a doubt, including love.
The third series of dialogue between critic Wei Tianzhen
Listen to the heartbeat of the world. Dialogue 1 of Wei Naizhen
Strange, Real, Second-hand, Virtual, Wei and Naive Dialogue II
What should Jia Baoyu do when they grow up? Dialogue 3 of Wei Tianzhen
Postscript of appendix
Listen to the heartbeat of the world. Wei Tianzhen 1 Dialogue 1
The first question I asked was that I was born in the sixties. I hope I am not considered lazy and nervous. I don’t think it is appropriate to organize many families into a group in the sixties, but the sixties are an exception. People born in the sixties are very different from us before and after, not to say who is bumpy, who is rich and who is poor, so who is tall and who is low, who is superior and who is inferior. People in this age group are just getting confused or reading quotations at the climax. In other years, a child is likely to be able to read poems or recite Tang poems by himself. The degree to which children in the 1970s are praised depends on their recitation of quotations from Chairman Mao. A child’s mind is pure white paper to draw the latest and most beautiful pictures. Our white paper is full of quotations, and many quotations are deeply engraved in my heart. When I am an adult, I read ancient poems and tried to occupy the position of some quotations, but the ancient poems are forgotten as if they were floating on the quotations, and the dust was blown away by a gust of wind. This experience will definitely be for a literati. How do you understand the group born in the 1960s?
In fact, it is very common to divide families according to the age of birth. It is convenient to talk about it both at home and abroad. Secondly, it can be said that some problems have more influence on writing than childhood memories. But the problem is that writing is the most important thing, and the differences are similar. Childhood memories present different faces in different writers. What will happen? Different differences and differences will make it meaningful to separate individuals from groups and write.
Of course, I admit that those born in the 1960s had the same growing background, and their writing was definitely common, just as China was different from American families because they all had certain commonalities. Specifically speaking, I want to say that they were suspended from generation to generation. Compared with them, they had less ups and downs. Before the 1990s, they rarely experienced a huge gap in their lives, but they also experienced an important change, that is, some kind of physical culture fell apart, but in line with this, some kind of utopian impulse disappeared together. When did this change happen before and after puberty, and their world outlook was formed at that stage? I think this is a key point for understanding
I don’t think there is much conceptual thinking mode in their minds, and it’s not either/or dualism. Compared with their business, there are more barriers, resistance, anger and compromise, and they don’t agree with the ideology of the Lord. At the same time, they don’t agree with the hope of the sixties, but they don’t believe in hate, but they don’t hate much. At the same time, they seem to be on the scene all the time, but at the same time they keep a certain distance from the scene. They feel that their thoughts, emotions and thoughts are floating there in a kind of movement. In the mid-1990s, I wrote a novel entitled Suspending. At that time, I tried to express my feelings about this state through a complicated love story. I have compared this novel, but few people have mentioned it, which is enough to say that my view is not accepted by many people.
I want to say a few more words, and then subdivide them. In fact, people born in the 1960s don’t know this, but this generation has realized, for example, that I can’t sing the model opera of the Cultural Revolution songs, while those who are several years older than me just walk around with their mouths open, while I won’t sing it until the 1990s. You must remember that in the early 1990s, all the streets and alleys were singing the Cultural Revolution songs, which were sung not through the big speakers during the Cultural Revolution, but through tapes, rented cars, and through karaoke bars. It was sung at the TV variety show, which was a part of commercial culture, entertainment culture, red songs and yellow songs, but it was also sung by the main ideology before the southern tour speech. It was funny that I knew those Cultural Revolution songs at that time, which was quite different from the experience of people born in the 1960s who were several years older than me. I think the experience of people born in the 1960s was actually quite different.
Did you decide to be the master very early?
A: I read novels when I was very young, and I also wanted to write novels. My grandfather is very familiar with the Romance of the Dream of Red Mansions and the Three Kingdoms. My father was a Chinese teacher and wrote novels in his early years. This family environment may have some influence on me. I remember that there was a dream of Red Mansions at home before my desk was high. My father used to write inscriptions on doorplates, cemeteries and bridges in northern Henan, but my father’s original wish was not to let me be in charge, but to let me be a painter. I have a tutor. He is an actor of the county troupe who plays the villain in the Du Fu Mountain of Peking Opera. Besides acting, Wen Qijiu is also responsible for painting the set and the poster. The poster is painted directly on the wall, which is similar to a comic book. For a long time, I followed him to sketch in the wild. This man was particularly good to me in front of my father, but when he went to sketch, he changed to a different person. I didn’t bother to teach him questions. I squatted beside him and watched him draw, not as a gourd, but as a gourd, and then watched him draw a gourd, and then imitated him. Anyway, the painting experience is unforgettable for me, which may definitely affect me later and train my thinking ability in images and so on.