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The Great Northern Wilderness is a magical land.
She is famous for the rugged and magnificent natural scenery in northern Xinjiang, the legendary color of reclamation in past dynasties, modern agriculture, and the epic entrepreneurial achievements of thousands of demobilized soldiers and urban educated youth in Qian Qian.
The development of the Great Northern Wilderness dates back to forty years ago.
As early as 1947, the third revolutionary civil war was not over, and the smoke of Liaoshen campaign was still pervasive. At that time, the Northeast Administrative Committee sent a group of pioneers, represented by demobilized soldiers, to the Great Northern Wilderness to reclaim land and establish state-owned farms, which opened the prelude to the new China Land Reclamation.
Before and after the founding of New China, eight servicemen went to the Great Northern Wilderness. Some are collective posts of the whole army; Some have changed jobs from various services and arms. Among them, 1958100,000 demobilized officers and soldiers exploited the Great Northern Wilderness, with the largest scale and the deepest influence. At that time, Guo Moruo wrote a poem for 100,000 officers and men with enthusiasm, entitled: "War with the Earth! 》
Among the people in the Great Northern Wilderness, there were also 1956 young volunteers from all over the country. 1959, 50,000 young men and women from various cities and counties in Shandong came to support the continued construction; Graduates assigned by institutions of higher learning and secondary specialized schools; There are also decentralized cadres and "reformed" people who have suffered unfair treatment. During the "Cultural Revolution", 450,000 educated youths from Beijing, Tianjin, Shanghai, Hangzhou and other cities came to the Great Northern Wilderness one after another, and later most of them returned to the cities, just as Wang Meng said in The Fruit of Passion and Pain (published in the first issue of Great Northern Wilderness Literature 1983):
"Many people who have left have returned to where they came from. But they are not who they used to be. In them, there is already the seriousness and solemnity, struggle and pragmatism, openness and strength of the Great Northern Wilderness. Of course, there will be trauma, but it is more spiritual than creation. "
After 40 years of hard struggle and tortuous development, Beidahuang has finally built a socialist reclamation area with more than 100 state-owned farms, spanning more than 40 cities and counties in Heilongjiang Province, with more than 30 million mu of cultivated land, all-round development of agriculture, forestry, animal husbandry and fishery, and comprehensive management of agriculture, industry and commerce.
The Great Northern Wilderness has become a historical term.
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The Great Northern Wilderness is a heroic epic. She calls for the literature of the Great Northern Wilderness.
The great changes in the wasteland through the ages, the ups and downs of reclamation, and the joys and sorrows of the pioneers' fate. . . . . . It provided inexhaustible primitive mineral deposits for literary creation, thus bringing the spring of literary creation in the Great Northern Wilderness.
Both a pioneer and a creator; Holding a plow in one hand and a pen in the other is the characteristic of the literary creation team in Beidahuang.
They draw nutrition from the boiling life of reclamation, and write a series of works that exude the earthy atmosphere of the Great Northern Wilderness with the attitude of the owner of the wilderness and the fiery enthusiasm. In 1950s and early 1960s, most of these works took the description of the arduous pioneering work of the people in the Great Northern Wilderness as the general theme, and shaped the heroic image of the people in the Great Northern Wilderness, with precious revolutionary passion, ideals and sentiments shining in them. In 1970s and 1980s, his works revolved around the general theme of "four modernizations" and the reform of reclamation areas, accompanied by "reflection" and "scar" literature. . . . . . Breakthroughs have been made to varying degrees in the diversity of themes and genres, as well as the profundity and authenticity of works.
For more than 30 years, the literature of the Great Northern Wilderness has developed from scratch, from small to large, just like the development of the wasteland. According to incomplete statistics, * * * has published five novels, thirteen short stories, three collections of reportage (field historical stories), eleven collections of essays and children's literature, and six collections of poetry. Some works have also been included in various anthologies, some won national and provincial newspaper awards, and some have been translated into foreign languages; Some have been reprinted, and some have been adapted into TV dramas and movie scripts. These works have a wide range of themes and rich contents, which have shaped the images of all kinds of northern wilderness people in different periods and years and displayed colorful scrolls in northern Xinjiang.
It should be mentioned here that in the late 1960s and early 1970s, 450,000 urban educated youth came to the Great Northern Wilderness, adding a large number of new forces to the literary cause of the Great Northern Wilderness, among which a large number of young writers with creative talents emerged. Although they moved from the reclamation area, their literary creation began on the fertile soil of the Great Northern Wilderness. After the downfall of the Gang of Four, they published a large number of literary and artistic works describing the life of educated youth in the Great Northern Wilderness, such as Zhang Kangkang, Liang, Xiao Fosun, Li Longyun and Chen. . . . . . They have become literary rookies active in China's literary world, and their works are integrated with the tide of reflective literature in the new summer.
As Master Wang Meng said: "Special conditions and special fate make the Great Northern Wilderness the cradle of literary youth-much harsher than the bamboo basket my mother shook! Because literature is the product of life and struggle, passion and pain, meditation and standing. . . . . . "
If there were no specific historical conditions, the large number of soldiers and urban educated youth transferred to the Great Northern Wilderness might not have emerged and developed into today's face. This dialectical unity of historical subjective and objective factors is the origin of literature in the Great Northern Wilderness.
The literature of the Great Northern Wilderness is a newly developed literature. She reflects and shows the life and characters of developing the land in the Great Northern Wilderness, and has a strong local flavor and earthy taste of the Great Northern Wilderness. She contrasts with other literary works in Northeast China and Heilongjiang Province, especially showing the unique features of the magical land of Great Northern Wilderness.
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Here we can't help but mention the hard work and indelible contribution of the older generation of poets and writers to the literature of the Great Northern Wilderness.
Ding Ling, Ai Qing, Nie Gannu and Wu Zuguang, who came to the Great Northern Wilderness in the late 1950s, enthusiastically cared for and nurtured the new seedlings of the Great Northern Wilderness literature at the extremely difficult moment when they suffered unfair treatment. They also greatly enriched the literary galleries of the Great Northern Wilderness with their own blood and tears, such as Du Wanxiang by Ding Ling, First Arriving in Mishan, Cowshed Sketch, Nie Rongnv's Great Northern Wilderness and so on.
Lee Joon's film "The New Biography of Veterans" successfully created the artistic image of the old war, a demobilized soldier in the early days of the Great Northern Wilderness, and laid a solid foundation for the development of the literature in the Great Northern Wilderness. In the 1960s, the famous poet Guo Xiaochuan accompanied General Wang Zhen to inspect the land of the Great Northern Wilderness, and the famous sentence "Engraved on the Land of the Great Northern Wilderness" (written in 1963 65438+ 10/2) sublimated the people of the Great Northern Wilderness and this magical land to the height of the times, and mentioned the realm of literary beauty, which is still northern Wilderness today.
General Wang Zhen, as the leader of New China Land Reclamation and the organizer of opening up the Great Northern Wilderness, we will never forget his enthusiastic concern and active support for the literature of the Great Northern Wilderness. He personally participated in the discussion of the script "Wild Northerners" and wrote to encourage the poet who "never put down his gun". . . . . . He also wrote a famous poem for the development of the Great Northern Wilderness:
"Mi Hu Bao Rao" turned fertile land in Wan Li into fertile land.
At the foot of Wanda Mountain, the hero established his country and his home. "
The new seedlings of the Great Northern Wilderness literature did not fall from the sky, but were deeply rooted in the fertile soil of Heilongjiang local literature. Her roots extend to the source of history and draw nutrients from the cultural traditions of her predecessors, including Biography of Hulan River, Village in August, Storm and Echo of History by Li in recent years. .
Similarly, we can also find the influence of Soviet and Siberian literature from some works of the Great Northern Wilderness, as well as some references from the literary works of Soviet state-owned farms and collective farms from the early days to recent years. Since the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China, educated youth writers and young writers in the Great Northern Wilderness have further emancipated their minds, absorbed the strengths of various foreign literary schools in terms of themes, genres and artistic techniques, enriched themselves and made innovations.
Judging from the existing literary works of the Great Northern Wilderness, the following points are obvious; The themes are similar, all describing the life of the Great Northern Wilderness, but with its large-scale agriculture and mechanized agriculture, it is obviously different from the general rural themes. However, with the passage of time, several years later, the theme expanded, gradually involving the history of wasteland reclamation, the struggle against the United States, the development of Japanese puppet troops, the Sino-Soviet border, the reform of reclamation areas, family farms and so on. Describing intellectual youth also involves college graduates; Later, the forbidden area was broken, and the author's brushwork began to involve insurgents and "right-wing" refugees. . . . . . Especially around the reform, strive to shape the image of the Great Northern Wilderness in the new period. Due to the incredible hardships and difficulties brought to the pioneers by the harsh land of the Great Northern Wilderness, as well as political, social and historical factors, the characters, plots and even language in the literary works of the Great Northern Wilderness are generally deep and dignified, full of ups and downs, full of color and passion, and their keynote characteristics can be summarized as one word "strong": some are magnificent.
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Since the literature of the Great Northern Wilderness is a kind of development literature, just like the literature developed by the Great Northern Wilderness, it will inevitably be marked with obvious marks in its tortuous development process. Not to mention a summer job after ten years of civil strife. The works in the 1950s highlighted the arduous struggle, collectivism and heroism of the pioneers in New China, which is undoubtedly a true portrayal of that period of history. This is also the strength and social value of these works. However, we have to see that these works are a little rough, lacking the profundity and authenticity of thought, superficial and not accurately and vividly reflecting the reality at that time. In addition, there are also traces of patterning in conception. Especially after the downfall of the Gang of Four, the Great Northern Wilderness has undergone profound and great changes, but the life picture, the fate of the characters and the implied contradictions in literary works are far behind the ever-changing great reality.
Ever since. The Great Northern Wilderness has become a part of the life of pioneers, poets and writers. Then, more and more pioneers are active in the literary front of the Great Northern Wilderness, and the real gains that this magical land should and may provide are yet to come.
The protracted editing and publishing of this series of books is to review the footprints of this eternal wasteland and the literature of the Great Northern Wilderness that followed. In editing, we try our best to keep the original appearance without making big changes.
Of course, we also hope that through this series of books, readers can systematically read some major works of Beidahuang literature in the past 30 years, and analyze and study the past lives, right and wrong gains and losses of Beidahuang literature, which will help to explore its characteristics and laws, thus promoting the further development of Beidahuang literature. Because the motherland has such a vast, fertile and magical land as the Great Northern Wilderness, the literary world is inseparable from the new seedling of the Great Northern Wilderness literature. Due to the limitation of time, conditions and level, omissions in editing are inevitable. Please criticize and correct me.
The Great Northern Wilderness Literary Works Selection Committee
1986 July