Literature after entering the 21st century, the rise of a new generation of writers on existing powerful rewriting of reality, and the formation of the spirit, Cheap nfl jerseys, is obviously one of the most important writing picture of contemporary.
To understand these ten years of literary change, it is impossible not to face the different attitudes of these young writers in facing themselves and facing literature.
It has been pointed out that Chinese writers generally face the problem of "middle age dilemma". Since modern literature, many writers of important works, almost is done as a youth, after entering middle age, some people don't wrote some of them even wrote, in his writing about the works of history are no longer representative significance.
This is especially true today.
Some writers, young and talented, can enter middle age, writing works that either repeat themselves or merely maintain a state of writing, with little creativity. From this perspective, the study of the writing history of Chinese young writers shows the true level and basic condition of Chinese literature.
Youth represents hope, vitality and courage. People who are pessimistic about the current situation of literature tend to look at youth and hope that the status quo can be changed. For example, Mr. Lu xun was pessimistic and critical of many people in his lifetime, but he did not blame the youth for his heart, which always had the goodwill and expectation of youth.
Indeed, it is almost entirely initiated by young writers to observe the changes of contemporary Chinese literature in recent years. It is their writing practice that has finally completed the transformation of literature once and again.
The writing of young writers, both past and present, is filled with a desire for change.
They face literature, there is an impulse of liberation, of course, after liberation, there will also be new repression, cheap hats, and the development of literature is in the process of liberation and repression. It is the subject of literary change, and in the process, writing constantly seeks new possibilities and directions.
Initial, in the new period literature focus on change, the relationship between writing and reality, the writers at that time, voice shout out really, eager to break through the inherent political imprisonment, to express his wounded heart, hazy poet, scar literature writers, their writing, are permeated with the effort. The vanguard literature, such as su tong, yu hua, ge fei, north village, out early, and have a good literary training, they are not content to depict the reality, and more thinking about the problem of language and form, the so-called from "what" to "how to write" shift, literature began to return to ontology - this is an important turning point in contemporary literature, it has changed the relationship between the writing and language. Then the rise of women's literature, the emergence of the post-1970s writers, changed the relationship between writing and body, experience, and desire. "Writing in the lower body" and "writing at the bottom" were hilarious, and literature seemed to go from focusing on "how to write" to "what to write".
, so to speak, the 30 years of contemporary Chinese literature, what has been written and exploring how to write this one clue, literature and reality, literature and the relationship between language and literature and experience by comprehensive changes, the abundance of the literature, possibility is constantly open. Today, these artistic or spiritual changes have become an important part of the development of contemporary literature.
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It was only after the rise of the generation of writers in the early 2000s that I felt that profound literary fracture had truly occurred.
I read their work, have a strong feeling, not only great changes have taken place in this generation's literature concept, even their way of playing, the work mode of transmission, and the previous generations of writers, also has the difference.
Although it is mechanical and unscientific to name a generation of literature in a generation, it is also an indisputable fact that there is a generation of literature in a generation. In particular, when the "80s" writers first appeared, their works still had their own commonalities, and it seemed as if they could be referred to them as "after the 1980s".
Almost all the previous generations of writers, is through the journals, to shape their own literary critics and literature influence, the literature status, but now, by the journal, critic of trinity mechanism of literature, and literature on "after the 50" generation of writers, seems to be dissolved, replaced and is made of the press, media, meet readers club new trinity mechanism of literature.
Meeting behind and press, media and readers, has been active in the consumer and the market - and because of this generation writers don't shy away from market problems, therefore, their writing, most of the readers is the presence of writing, they are not written in the chamber of secrets, but pay attention to the reader's feelings, also care about and reader interaction; Through blogs, readers' meetings, or media reports, they can always feel the presence of the reader, wholesale jerseys, the presence of the reader, and the positive affirmation of their writing value.
The change of the context of writing will inevitably change their literary conception.
Reading some of the works of the "80s" writers, I often think that the postmodern society, which we have been talking about for a long time, may really come. The fragments of experience, the shallow reading, the cutting depth, the consumption symbols and interest, etc., these are the distinctive features of many "80s" writers, and also a symbol of the post-modern society.
This generation of writers focuses on the present, the writing of the absolute self, the experience of the writing, often presents the extremely personalised color; They have little interest in history or even the lives of their parents. They are struggling to ask, how is love, and habits in the love of self expression to boast about their own unique outlook (such as "we degenerate, vulgar, cynicism, but our heart pure"); Their imaginations (such as "I am a talking man, sell a dream for a living"), and the language (such as "the beauty of memory, the bones of the soul"); They are believers, is a consumer society and accepted in writing entertainment, idolization and symbolic way - these words, the prevalence of mental attitude, for the first few generations raised by classical and traditional people, is a new and great impact, it is of course a fracture, is absolute.
And so I think that the traditions and the classics, and the great explanations that we've had in the past about literature, are they really effective for the younger generation? At least, after the arrival of the "80s," as the most important literary protagonist in nearly a decade, everything started to look suspicious and the solid stuff seemed to go away.
But I am not willing to accept some of their literary tastes and literary ideas while focusing on these young writers.
Of course I know, "after the 50" also is changing, and presents the face of the complex, for example, the presence of the poet Zheng Xiaoqiong, for them it offers a new generation of writing practice example. Therefore, it is clearly dangerous to continue to look at "after the 1980s" with a holistic view.
Zheng xiaoqiong is also "after the 1980s", but her life experience, track of experience and spirit of vision are fundamentally different from other "80s" writers who only have urban memory.
- her luxurious life in shape by their peers, constantly remind us that there is another kind of life, a large number, a weak voice, expression of pain life, cheap snapback hats, waiting for the writers to describe, to identify: they this generation, in addition to constantly in love and love, there are tears from hunger, and on the streets of fear; They live in factories, assembly lines and iron sheds, in addition to campuses, bars and office buildings; Their memories of youth, in addition to love, electronic games, small endowment emotional appeal, and unpaid wages, wife of shop-owner eyes and also "year close to forty thousand root amputation" (Zheng Xiaoqiong in an acceptance speech said: "I heard that the pearl river delta has more than forty thousand amputation,... and I can" t's thin text will pick up any root amputation ") bloody...
Zheng Xiaoqiong said in the poem, "I don't know how to protect a silent life/loss of this name and sex life, this contract kept life" (life), she only rely on the literal records, rendering, to leave personal testimony for this kind of life - when I first read "I in hardware factory, like a single piece of iron" (" current ") this verse, really think this is quite a revealing one.
Just, and Zheng Xiaoqiong contemporary writers, most people choose the path is completely different with her words, their personal memory, confusion, and value should be also many young people who are in modern life's ups and downs, such work, once in the publishing world, seems to be only then, can represent the "50" in the spiritual outlook.
And I now wonder whether this kind of discourse has come to its limits.
Remember not long ago, a famous "eight" after "the writer said to me, he suddenly have a kind of how to continue writing anxiety, actually also is to find a kind of writing resources to support their anxiety, the anxiety of once appear, there shows a generation of writers began to desire to continue how classic, in the face of tradition, after all, in terms of literary writing," after the 50 "writer has not young, the history of literature, at their age, many writers wrote in his life have very important work.
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From this, I feel deeply that some of them have come to this change. Perhaps, my doubts in the following aspects are worth thinking about.
One, their writing vision, is generally concentrated in urban life, too unitary.
This means that, in addition to urban life, more anonymous, anonymous lives are hard to come by. Imagine another fifty years, in one hundred, if then readers trying to understand through literature today this day and age, they would have hallucinations, cheap jerseys, think that today's young people day and night after drinking coffee, eat haagen-dazs, traveling around the world, with famous brand, and more massive rural life, the flow of life, the underlying the suffering of life, has been completely neglected.
However, there are many "80s" in urban fashion, but the assembly line of the factory and the corner of the countryside also live a lot of "post-80s". Who will write the life of the latter? Generation if mostly in urban life, fashion, this will inevitably lead to the single, partial to the wider life of colonial - the new colonial literature, in essence, is a kind of life to another life settlement, a colonial experience for another, it can cause as a result, the silence of the crowd disappear, small voice of aphasia.
Why would I especially mention the poetry of zheng xiaoqiong, whose poetry reminds us that there are other voices besides lust, pleasure and the pain of the self? Once the voice is not expressed, the pattern of dialogue cannot be formed, and the richness of contemporary life can be greatly damaged.
Therefore, "after the 50" writers need to have a wider field of vision, in addition to their own realistic life, also need to have a better ability of fiction, in addition to watch his own heart, and learning about care about "the pain of others" - although there are "after the 50" writers in do, but in terms of writing this generation's mainstream, such efforts is not enough.
Of course, the limitation of this writing vision is not only the "80s" writers, but also the other writers. Over the years, the Chinese novel is increasingly simplified as the banner of desire, narrow as classes, life began to prostrate on the ground, and gradually lose the spiritual backbone to stand up, so sharp, dark, terminating a lot of writing, but it is difficult to see a with goodwill and the writing of hope, because writers on the writing perspective there are a lot of the imperfect.
Second, their mental temperament, often in a lonely anger, the pattern is too small.
"Indignation" is a remarkable feature of the "80s" writers. This rebellious mood can sometimes make them look good and have a lot of personality. But if the light has this emotion, and alone, in the end, the warmth and leniency of the heart, it is difficult to treat contemporary life with justice, and to treat people and the world fairly.
In life only see dark and discontent, anger blindly, including on the literary predecessors also can't see the achievements worthy of their respect, excessively narrow, stubborn, not the warm heart, to the lack of necessary respect history and tradition, this will inevitably lead to a person's spirit to humble, aloof.
Representative writers such as a "after" the 50 simple denial of bing xin literary achievement, attitude, it is not fair, because many people do not have adequate understanding of the poem of bing xin and her translation khalil gibran, tagore's work, and she for the children to write "send readers first" and a series of moving work - these are the value of bing xin's unique achievement, Wholesale nfl jerseys, in the history of literature is a groundbreaking significance.
It is not enough to have a fair view of people and the world. A writer, to understand, writing a broad of the world, sometimes need to anger, and sometimes need sympathy, sometimes need to distinct value judgment, sometimes need to open by ambiguous and vague contain infinite possibility, even in life, literature, more should be wandering in the ambiguous, vague, unspeakable, area, and should not be overly obsessed with value determination of joy.
Richness sometimes refers to complexity and fuzziness, and to be alone is often obscuring the most subtle and vivid parts of life.
Three, their way of speech, heavy funny, witty, easy to slip.
Actually, by reading newspapers, magazines, especially on the web, someone with a funny, funny, witty, everywhere gag talk, this way of words is not "after the 50" unique, it has become the mainstream of contemporary society. The popularity of this way of words, more like a writer after the loss of value of vision language deliberately looking for shelter, because in terms of reality, today's Chinese society is not only not humor, but is extremely heavy, so, if the writer of an era in front of such a grim reality, only keen on humor and funny, and love with Stephen chow or blindly "previous" speak of the way, how can he touched the topic has weight?
After the smooth wind, people become oily. That attach to the sliding surface of life everywhere, everywhere is a gag, any tough questions seems to be no longer exists, such writing, is actually a simplified reality in disguised form.
And I thought that if a writer was going far, or had something to sink, he would still have to have something solemn, not to light everything, to simplify everything.
Like lu xun's "ah Q zhengchuan", also full of humor and humor, but in the heart of lu xun, we can still feel heavy, solemn things.
Mu said in "modern Chinese academic theory criterion", lu xun "irony in Q a word, is not a solemn, not loyal. Its vitriolic, Jude above ridicule. The disease in the flowing into the heart, evil customs", I thought, this is a misreading of lu xun.
Only, many writers didn't see it, and the text is just located in the highest realm of interesting, interesting is an important way of discourse in literary writing, but fun behind if light, the lack of serious thing, it is possible to damage the lifeblood of a writing.
Of the "eight" and, of course, "writers have serious and painful writers, try to use overall conclusion to summarize or new century literature summary" after the "eight's writing, are invalid, even if they are from the same place, eventually to won't be the same destination; And the real hope of literature is that it always arrives and starts again.
The last bastion of individualism was literature, the last bastion of individualism, in the face of an age of total collapse and firmness It has become a symbol in itself -- and the years tell us that such a symbol is not optional.
