The situation of book publishers is different. As one of my creative subjects in the first half of my life, the mass publishing house can only maintain the fine print from a political point of view, facing the fine print "but we are yet we called and urged a thousand times before she started toward us". Under the historical circumstances at that time, we didn't want to have words against fine print when we treated a special person like Pu Yi. I once asked Yu Haocheng about his pencil marks. He said: "At that time, the political review was very strict and I was worried about changes." I understand that the meaning of "change" refers to the possible adverse consequences if Puyi is allowed to play freely without the approval of the mass publishing house. In fact, after the manuscript was finalized, Li Wenda was forced to revise the relevant contents. I understand the word "finalized" in Yu Haocheng's pencil comments as "published". Book publishers are well aware of the different weights of finalization and publication, as well as the works that suit them. 20 1 1 In the early spring, in the collectors' home, I saw Puyi personally proofread a manuscript of "Starting a New Stove" (referring to the first printed copy of "My First Half Life" sampled in June 1962) for nearly 100 times, and some proofreading contents were deleted by Puyi himself. Time is after March 1962. Also in Fang Bao's descendants' home, Puyi personally approved the above-mentioned "September 4th to prove this manuscript for the first time". In the second half of The Last Emperor, Jia Qunzhong Publishing House, People's Liberation Army Publishing House (1989 edition), and Puyi "left nearly a hundred ink marks with thousands of words changed" in the second draft of Heaven and Earth. I haven't read the original literature, and I don't know whether the "ink" is on the proof or the sample. I only appreciate some quotations from the book. That is to say, after Puyi was listed as one of the creative subjects of My First Half of Life by the mass publishing house, he left traces of reading and revising all the manuscripts by himself, which led to a rare phenomenon in the publishing history of China-"Puzhu Pupi". These precious historical materials will be made public sooner or later. The manuscript "The Pride of China People" written by Puyi is collected in the Puppet Manchu Palace Museum in Changchun, which is said to be a national second-class cultural relic. I looked in the computer, but I didn't see the original. In fact, this article was still written by Li Wenda and copied by Puyi. The author will discuss the cause and effect of "the pride of China people" in another article. What I saw was written by Puyi, who was related to my first half of my life, and a seven-character poem written by Puyi to Li Wenda when Pu Jie Aisingiorro prefaced this book: Four years' hard work helped me finish this book. For the cause of the party, for the people, atone, make meritorious deeds, and love a new life. The original poem is with Li Wenda's family. There is also an original edition in the library of Popular Publishing House: Working for the Socialist Cause of the Motherland and the Highest Ideal of Mankind, which is presented to Popular Publishing House. It was written by the author of My First Half Life (Grey Book) in Puyi Mass Publishing House 1960 1 edition in mid-spring of 1964. Because there is no clear evidence in historical materials, this article is not listed. 1From April to July, 1960, Puyi and Li Wenda made a revised version of "Grey Book" by "cutting and pasting" in the Old Xiangshan Hotel. I've seen the manuscript, and it's incomplete. As far as content is concerned, this is an editing process to modify Li Wenda's handwriting. At this point, the mass publishing house still stays at the editorial subject level of this book. It happened from February to August of 196 1 year, and the popular publishing house adopted Li Wenda's plan, rewriting the first half of my life. This article was rewritten by the author. At this time, the mass publishing house has become one of my creative subjects in the first half of my life. (Meng) According to