See the world in a grain of sandThe half-petal flower says human affection(Review).
Tian Hongbo. and Mr. Wan Junhua met on the small ** writer network. His name is often seen in various newspapers and periodicals, and he is also very active in forums, throwing out a work almost every three or five days. It wasn't until I served as the moderator of the Guizhou section and had dinner with him in a "trough" that I learned that Mr. Wan was still the head of a functional department. This makes me even more impressed. Recently, I have watched some of his works and have some feelings.
The first is to skillfully use short sentences to enhance the charm. It is not difficult to find that Wan Junhua's small ** language is mostly composed of short sentences. Generally, the structure of short sentences is relatively simple, not easy to appear sick sentences, and the generalization power is also strong, the meaning is clear, and the reading is catchy, making it easy for people to remember, and then leaving a deep impression.
It tends to be polished, powerful, personalized, and each sentence has a meaning, which accurately captures the characteristics of the object being expressed. It is short and sharp, angular, and extremely inspiring. For example, his "Old Venture into the City": "The sun rises in the east, and the old venture enters the city." I haven't been to the city for a long time, and I can't imagine that the city has changed so much. There are more buildings, they are higher, the roads are wider, and they are beautiful. No, there are also patches of flowers planted along the roadside. With just a few strokes, the prosperity and beautiful scenery of the city and the joy of Lao Mao's first entry into the city were reproduced through the blending of scenes. If it is handled by ordinary authors, it may take a lot of pen and ink, and Wan Junhua's success lies in increasing the taste of **, giving people a sense of urgency and a realistic sense of scene.
Another example is "The Director is Lost": "The car is driving on the highway. Xiao Wang, the director waved his hand: Stop. It turned out that the director wanted to be convenient. The door creaked open. A minute later, the door slammed shut again. Xiao Wang flew away like an arrow in a BMW. Such a cumbersome process, but the author only used dozens of words, and the connection was natural and compact, that is, the relationship between the director and Xiao Wang was explained, and it also laid the groundwork for the later director to "lose", and it was also very scene-sensitive, without procrastination, allowing people to add the "blank scene" left by the author piece by meaning, so as to make it more in line with the reader's imagination. Therefore, it can be said that the plot with sharp turns can only be better represented in rhythmic language.
Another example is his "Return to the Heart Like an Arrow": "The New Year is approaching, and the snow is coming." It has not encountered a blizzard for 50 years, and the transportation in the south of the motherland has been completely destroyed. Although there is only one pause in this passage, there are several pauses when the reader reads it, because the author uses words such as "Nianguan", "50 years", "Blizzard", and "South" to divide the meaning of the sentence, concisely explain the development background and environment of the story, and make a good cushion for the appearance of the characters and the development of contradictions.
In this way, the short and concise language of the little ** brings a pleasant rate stimulation to our readers.
The second is to see the big with the small and win from the "small". First of all, Wan Junhua is good at grasping small things and seeing big things from small. Most of his works have reached the realm of what Buddhism calls "one sand and one world, one tree and one Bodhi". For example, in his "The Garden of Life", he writes about my girlfriend Xiaofang's family sweeping the graves of their relatives after death during the Qingming Festival, and the discussions and feelings around the special "boundaries" such as the county and section levels in the cemetery, as well as the words and performances of relatives in the memorial service, suggest the philosophy that corruption and unhealthy trends have the tendency to spread to the underworld. Set the scenes of people's ordinary lives in this special environment to trigger the reader's philosophical thinking about the meaning and value of life. It can be said that the small is big, and the small is known.
Secondly, Wan Junhua will select life scenes, excavate and perspective with a unique vision, refract the various states of life in the story, and reveal fresh and profound ideological connotations. For example, "The Director is Lost", writing that the careless driver Xiao Wang, on the way to send the director to his lover's house in a BMW, because the director wants to be "convenient", so he "loses" the director on the road, feeling that "a big disaster is coming", waiting for the director to fall, but unexpectedly the director had an affair on the way to be lost, and since then there has been a third "home", not only did not blame Xiao Wang, but on the contrary, he was very happy with the story. Almost the entire story scene is set on the road, that is, "making a dojo in a snail shell", and a painstaking operation has been carried out on the word "small", which vividly portrays the director's greedy face and makes people think deeply.
"Heavenly Bath" is written in front of nature, and the colleagues who travel with them "naturally decorate", take off their clothes one after another, and have no distractions and enjoy the story of swimming. The location of the story was chosen in Xianchi, and the "abnormal" actions of several colleagues were written separately, which can be said to have extracted the scenes, details, and sides of very typical significance and generalization, and completed a frame sketch in life, a silhouette, and a shot, reflecting the imprint of the times in everyone's heart. And at the end, after everyone returned to the unit, "it was as if this naked bath had never happened" is not difficult to understand, and there is a hint of wonderful meaning, and it has received the effect of "seeing the world in a grain of sand, and saying human affection on a half-petal flower" (Yu Dafu).
The third is to be based on reality and reflect life. It should be said that Wan Junhua has rich life experience, which has laid the foundation for him to base himself on reality and reflect life. His small ** takes a wide range of materials and forms. He understands that the key to impressing others lies in the profound meaning conveyed through his works. This is like an acupuncture doctor taking acupoints, choosing the "acupoints" of social life, and using a keen eye to discover the momentary shots with typical significance and generalization power through the complicated life. For example, his three small articles, such as "Looking for Inspiration", "Out of the Snowy Night", and "Returning to the Heart Like an Arrow", are all based on the southern blizzard incident that shook the country in early 2008. Through the short length of the article, it shows a lot of social capacity, and reading it makes people's hearts washed.
For example, "Looking for Inspiration" writer A, essayist B, and essayist C "go to the Central Plains with profound cultural heritage to find inspiration." A series of stories that happened along the way. Such stories can happen at any time in our lives. Wan Junhua set it as the core of a story, and then vividly expressed the discoveries he usually accumulated in his life through the "rediscovery" of the protagonist of the work. For example, the "wall culture" and the blocking of national highways due to heavy snow have made it reach the realm that the writer Han Ying said, "life is the foundation, thought is the soul, skill is the key, and the three are integrated".
Out of the Snowy Night" writes the story of the driver Xiao Wang who faces a choice of blocking the road in front and making the road behind difficult to walk in "heavy snow and freezing ground", so as to challenge himself and get out of the haze of heavy snow. Wan Junhua told us through this ** that successful Xiao ** needs to be based on real life and deeply reflect real life. Because every event and every phenomenon in life contains many kinds of meanings, excavation is to find out the one that no one has seen and never seen in the many meanings it contains. When we read this work, we can't help but sweat for Xiao Wang, who is facing a choice, "crossing the chilling ditch", but his bravery still gives us inspiration: in the face of difficulties, retreat is advance, and advance is sometimes the bottleneck of bravery, depending on how you choose.
"Returning to the Heart Like an Arrow" writes about me and several migrant workers being blocked by heavy snow in the waiting room of the train station, which triggered a series of stories about family and friendship. With his own life experience and life experience, Wan Junhua deeply captured the commonplace details in life through this heavy snowfall, integrated his own understanding and perception of the southern snow disaster and life, and wrote typical details from a new perspective to express more profound themes and eulogize the truth, goodness and beauty in life.
In fact, the most important feature of Wan Junhua, who grew up on the shore of the Gan River and grew up in His Excellency King Teng, is that he writes about life by copying it, stabbing evil and promoting good. This can be seen everywhere in his work. Of course, any writer's work naturally has its inevitable shortcomings. For example, some of his small ** are written "full", leaving less room for people to think, such as ""Big Belly" Turmoil" and so on. Some works are too straightforward and let people see them at a glance, such as "Pond Fish", "New Life" and so on. But I believe that Wan Junhua, who writes more and more, will continue to make up for his own shortcomings, make his works more pure, true and beautiful, and dissolve into this era that is hot and worthy of a small ** book.
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About the authorTian Hongbo is a member of the China Micro Society and a member of the Heilongjiang Writers Association. He has published more than 300 works in more than 60 newspapers and periodicals across the country, such as "Young Writers", "Shuofang", "Xiao** Monthly", "Baihuayuan", "Mangzhong", "Guangxi Literature", "Yangcheng Evening News", "Tianchi", etc. Among them, Xiao** "Glass Heart" won the first prize of the Fifth National Small ** Grand Prix, and many works were selected into "Xiao** Selected Magazines" and various anthologies. Collected and published a small ** collection "The Nth Date". He is currently working for an agency.