[**Beijing**].
Yu cultivated. 
Writer Zhu Xining (1926-1998).
Hua Taiping's Family Biography, written by Zhu Xining, Sichuan People's Publishing House.
Zhu Xining's "The Family Biography of Hua Taiping" has a charming atmosphere: it is itself, it is a different kind. In 1980, the writer started writing, during which the manuscript was destroyed, and the manuscript was changed seven times, with the original plan of one million pages, and the final manuscript was more than 500,000 words. The unfinished regret does not detract from the ambition of this book—he tries to write a book of life with his family autobiography, to complete the examination of the soul, and to carry the reflections on the history of the nation, the tradition of civilization and modernity. Even, this book is more like a secret agreement of the self, and does not care about the reader or the publication, and has no expectation horizon. Relying on his early experiences, the writer summons the field of memory and uses the literary space to return to the life world of the northern countryside.
Reflections on modernity and nostalgic reminiscences.
Although Hua Taiping Family Biography is named after the family chronicle, it has the Spring and Autumn penmanship of writing the transformation of the national heart and consciousness. Hua Taiping's home is actually the hope of China Taiping, and the isomorphic support of the family and the country. It corresponds to two space-time systems in **, the former is the front of history, the latter is the regional background of family displacement, and the life of the court and the opposition is reflected in the narrative. It is like the chant in the "Book of Songs" about the lineage of the Zhou people who rose in the west and continued to advance eastward. ** Also far away from the ancestors, starting from the Taigong's Kanto family business, after the defeat of the First Sino-Japanese War, the grandfather's family was displaced and moved to Guannai. The pain of family hatred, national sorrow and chaos has become a writing complex. "The Family Biography of Hua Taiping" became a concentrated presentation of Zhu Xining's late style and lyrical tradition. Reflection on modernity and nostalgia are equally important and unified.
* Only the events of the two years after 1900 are written in a very large volume, forming an extreme contrast in the density of the narrative. Time is expanded by spatial scenes, and memories are delayed or even detached, which is easily reminiscent of the modernism of Proust and Joyce. The faint and unobvious plot is diluted and diluted, and countless details of life are stacked on top of the early experience. Zhu Xining is like a poetry collector, watching the ceremony and patrolling the people. ** The obsession with dialect slang and the fascination of farm life is no less than the ethnographic writing of an anthropologist. So much so that we have the illusion that in addition to the turbulent times, there is another parallel world: the long scroll of folk customs life.
A descriptive prose style that overrides narrative and achieves the sensory effect of a slow and slow rhythm. These are condensed on the writer's natural inspiration for the coexistence of heaven and man and the earth. **Mostly in seasons and festivals as the preface of the chapters, to convey the narrative logic: should be born according to the time, and the way of heaven is left to nature. Farming and crops are related to personnel and interpersonal relationships, and are a sign of the rise and fall of a family. Even if the farmer is playing a trumpet and has no words, he is also endowed with a dialogue with the land and livestock, which is an emotional connection close to the primitive, wild and fleshy. The description of the seemingly branchy vines also has deep hints. For example, my father contrasted the trumpet with the hymn to convey the contrast between identity consciousness and cultural psychology. He is shy by nature, his skin is too thin, he can't pull his face down to shout, "after all, he is not a native farmer."
My father's life world is the daily life of the countryside, complicated and trivial, and the cycle is the foundation. Cotton fried bales are spun, cotton bales are harvested, rape is planted with two wheat cloths, the crop cycle and the historical process are intertwined, and the time experience of the agricultural era is expressed from the perspective of the passage of time and personnel with material affairs. It is very similar to the fetishism and naturalism contained in the French New ** School, which uses objects to generate memory perception and consciousness linkage, and reconstructs and freezes the world of experience. Zhu Xining's white description of northern folk customs not only inherits the vitality of the art of speaking in the Song and Yuan dynasties, but also reproduces the encyclopedia of secular fireworks in "The Legend of Marriage in the Awakening World". In my opinion, the documentary significance of this work to the history of social life is no less than its literary value.
Integration and translation of value.
Importantly, the writer has cultural self-confidence, and the Hua family is not afraid of the collision of civilizations, but firmly believes that Chinese tradition can achieve self-consistency with the West in a compatible and absorbent manner. **There are not only errand workers who blindly look down on foreigners and have no reason to oppose foreigners, but also flattering foreigners who "don't know how tall and big foreigners are". "There are very few who can treat foreigners like my father without humility or arrogance. "This stems from a kind of historical wisdom. To treat the West, we still have to rely on the virtue of obsession, and moderation is moderation, dialectical and rational.
The core of my grandfather's teaching is to learn the measure of life and the wisdom of discernment. "It's up to my grandfather and uncle to help my father figure out a fundamental, truncating the strengths and making up for the weaknesses - we have a competition between the soil, the people, and the soil, and it is not difficult to compare who is long and who is short, so take the parents to make up for their own shortcomings;The shortcomings of foreigners are not only not wanted, but also looked at themselves in the mirror - if there is one, it will be changed, and if there is none, it will be encouraged. "On the surface, the Chinese family's learning from the West is actually a kind of local transformation, mutual learning between civilizations and mutual interpretation between China and the West. Whether it is Wei and Jin metaphysics or Song and Ming Dynasty science, there is a re-creation of grafting and misappropriation of ideological resources. The question is how to obtain the right of interpretation between body and use, subject and object. Obviously, ** characters look at the West based on traditional cultural subjectivity.
My grandfather used the Chinese "Book of Changes" to explain the Western scriptures, and compared them with each other, and could understand more truths. This is exactly the "mutual training" in the "primary school". Writers have internalized the tradition of scholars, Confucian etiquette and music, and Taoism into psychological accumulation, so as to realize the integration and translation of values, such as the combination of gratitude and faithfulness, loyalty and redemption, benevolence and fraternity. **Using the peanut metaphor to express his opinion - "When it was transmitted, it was still called foreign peanuts and beans", and now only large peanuts, small peanuts and soil peanuts are used to distinguish. The harvest of peanuts is different, people only collect peanuts and rice, not shelled peanuts. Foreigners also have a new look, understand Chinese feelings, and understand local worldliness.
A scarce image in the history of modern literature.
If it is out of place and does not conform to the rejection of water and soil, it must be "peeled off" to remove it first. This kind of belief based on pragmatism and secularization is a kind of "practical reason." In **, it can be summarized as: learn to be a good person, and understand the ethical value of reason. "One positive suppression of all evils, not only for magical ghosts, but also for people, is the foundation that my father has adhered to all his life. It has become a family style of court training, and if there is righteousness, then the yang is vigorous, "but hatred, greed, pride, deception, and jealousy of those ghosts are terrible." The writer uses the moral strength of Confucianism and the spirit of grandeur to explain the experience and cultivation of life. Li Er's father became a typical sage of the countryside and entrusted the ideal of the gentry.
Like us living here, Li Er's father and many families in Zhuangzi do not know each other, not to mention taking care of them - to live in a house, to teach in a school, to work for a good wage, and to have a friendship like father and son. This old elder who loves to think and think, a benevolent person who helps each other and helps, is "a top leader" who is also rare in the families of tens of thousands of villagers. He became a spiritual mark on my Father and a model for his actions. When writers talk about the prosperity of the Hua family, they always attach importance to the moral self-confidence and cultural edification of "more expensive than rich". My father's cultivation and reading is the unity of chanting and rumination, knowledge and action. He used both Chinese and Western scriptures to write imitation memorizations, tasted the size of the truth, and pondered the sour and bitter tastes. "It's not a big deal!It's useless, and you can't become the lord", "But the village is less of these, and there is no hope for life".
This is the valuable vision of **, which "discovered" the image of a peasant who is free from unconscious existence and contains spiritual beliefs and reflective power. Zhu Xining has a uniqueness that cannot be classified, constituting a different kind of rural landscape since the new literary tradition. I call it: continuing the tradition, being different from the tradition, reflecting on the tradition. His texts include both Lu Xun's national observations and the lyricism of the Beijing School literati such as the Abolished Name and Shen Congwen. However, he distances himself from the traditional literati-oriented enlightenment discourse, and does not accept the critical awakening and sympathetic compassion of the center to the periphery and from the top down. The kind of intellectuals returning to their hometowns, and the perspective of looking at the countryside through the city has been dissolved. Instead, it is the self-testimony, the growth of the countryside, and the consciousness of the villagers.
He created a scarce image in the history of modern literature—a peasant who mingled with foreigners, and a countryside full of modernity. It is like a neo-sensationist writer who has gone through fieldwork to present a mottled "local and foreign narrative". The essence of the chronicle of the northern countryside in * is a reconstructed, detached, impressionistic nostalgic writing. It can be said that the writer uses the complex details of life (what I call the hyperrealism of figuration) to constantly consolidate the memory space. In the face of realism, there is a deep repressed modernity and the lyricism of romanticism. This materiality, which is almost a "flow of life", carries the spiritual support of the intention to emerge and the emotion to be attached. (The author is a book reviewer).
Statement: The copyright of this article belongs to the original author, if there is a mistake or infringement of your legitimate rights and interests, you can contact us by email, and we will deal with it in a timely manner. E-mail address: [email protected]