A writer's artistic achievement depends largely on his absorption of the regional culture of his own growth experience, especially in the field of novels. In other words, the excavation depth of regional cultural background plays a vital role in the depth of the novel. Zhang Ailing, Lao She, Shen Congwen, Lu Yao, Chen, Jia Pingwa, Mo Yan, etc. Of course, more examples can be cited. To some extent, the regional cultural background is a writer's spiritual label. A writer has been wandering around here all his life. If you leave this area, the credibility and literary height of his works are questionable.
Ba Longfeng is a writer I know very well. We are similar in age, similar in school education background and slightly different in life experience. We are more familiar with the mountains, rivers and customs at the foot of Longdong Plateau. I think this regional cultural background is the source and spiritual highland that supports Longdong writers (including Ba Longfeng, of course), and it is also its remarkable literary label. This magical land was inhabited by humans 200,000 years ago and has a civilization of 7,000 years. The ancient farming civilization, pre-Zhou culture and yellow culture were bred here, and the famous red culture was bred, which produced a large number of great thinkers, writers and scholars who stood out in history, such as Wang Fu, Fu Xuan, Li Mengyang and Mu Shouqi. A large number of influential writers and poets such as Li Xiufeng, Jia Zhilong, Chen Mo, Lu Xiaolu, Ma Busheng, Gao Kai, Guanglong Di and Yang Yongkang have emerged. Of course, there are many more. What's more commendable is that the contemporary rising Longdong poetry group ranks among the twelve regional poetry groups in China, which has attracted the attention of many poets and critics. There are ten kinds of literary periodicals in seven counties and one district of Qingyang city, which occupy a very important position in Gansu literary and art circles. In recent years, Qingyang literature has developed rapidly, producing a large number of influential writers and poets in novels, poems, essays and reportage.
In recent years, Ba Longfeng's creative momentum is very good. He has completed three novels with more than 1 10,000 words for three consecutive years, such as Yunheng Qinling, Never Losing My Love and Silk Road Love, which has had a certain influence in Shaanxi and even the whole country. In particular, Yunheng Qinling Mountain has a great aura and attracted the attention of many critics. As a novel about War of Resistance against Japanese Aggression, the author is based on the regional and cultural background of Xi. The novel is expressive and penetrating.
Of course, from the text, it is entirely possible that the 650,000-word "Yun Qin Heng Ling" will have a greater impact and attract more critics' attention. On the other hand, the regional cultural background limits the literary height of novels and the social influence of works in some aspects. For Ba Longfeng, the most important link in his growth process is in Longdong, not in Xi 'an. His spiritual connotation is also in Longdong, not in Xi 'an. His internal language expression system is also in Longdong, not in Xi 'an. Historically, Longdong was under the jurisdiction of Guanzhong six years ago, and its cultural background has many similarities. But after all, Longdong has been separated from Guanzhong for more than 200 years, and now Longdong is no longer under the jurisdiction of Guanzhong, and its customs and habits have already undergone earth-shaking changes. What I want to say is that Ba Longfeng is weaving a novel with a strong Guanzhong regional cultural background with literary resources of Longdong regional cultural background. So, how much Guanzhong culture did he present? Is it superficial or profound? Is it spontaneous or spontaneous? Is it original or stale? Is it original writing or falsetto singing?
Regional cultural background is a writer's soul DNA, which is unrepeatable and independent. Of course, these things can collide and blend with each other, but they cannot be dissolved and covered.
But unfortunately, in Hengling, Yunqin, Longdong, which has a strong regional cultural atmosphere, has been obscured, and it has been dispelled by Xi's rich cultural heritage. In essence, Longdong has lost its significance as a regional cultural background in Longdong. Xi 'an's cultural heritage has not reached its spiritual level, and its inherent things have not been emitted. Strictly speaking, a writer's writing must return to the source of the soul, be loyal to the writer himself, and proceed from himself in order to expand outward. I mean, Ba Long Peak should be based on Longdong, the deepest loess layer in the world, and show the breath of regional cultural background, thus laying the foundation for the thickness and depth of the works. Of course, I have no objection to Mr. Ba Longfeng writing with Xi 'an as the regional cultural background. If Mr. Ba Longfeng walks between serious literature and best-selling literature, this writing is understandable. If Mr. Ba Longfeng still has a higher and further literary ideal, I think it is the only way to start from my hometown and write with my hometown as the regional and cultural background. Because countless literary masters have verified this with their works and their writing process. (End)
About the author: Li Anping, a member of the Chinese Writers Association, has published a collection of essays on novels, essays, Rotation, Wind in Language, and comments, Word of Mouth. Words are scattered in Time, American Literature, Northern Writers, Yellow River Literature, Huaxia Prose, Feitian, Yanhe Literature, Yan 'an Literature, Peony Literature, Lianyungang Literature, Tokyo Literature, Snow Lotus, Guangdong Prose and Contemporary Prose. Selected in Selected Non-mainstream Prose of China, Selected Works of Representative Writers of China Prose, Scarecrow's Belief: the Best Prose in Tianya Decade, China's Outstanding Prose of the Year 20 1 1, China's Prose Selected 300, and China's Essays1949-20/kloc-.