Could you please release the article 10 recommended by Yu Hua, Su Tong, Mo Yan and Wang Shuo? ...

Yu Hua: 10 short stories that have influenced me New World Publishing House recently published 10 short stories that have influenced me, jointly published by the four most powerful novelists at present. With the insight and understanding of first-class novelists, the four writers have carefully selected the novels that they have studied and practiced hard for decades and have the greatest influence on their creation. Readers can see that the hearts of writers are interlinked, and there are great differences or overlaps among writers, so as to have a further understanding of the personal literary characteristics of these four writers. In their prefaces, several writers made a very profound and emotional analysis of each work they chose, and this newspaper extracted some contents from it for readers to read. Yu Hua: Warm Journey: Herring (Duken), Exile (Kafka), Izu's Song Girl (Kawabata Yasunari), Nan (Borges), Fool Jim Pell (singer), Kong Yiji (Lu Xun), Tuesdays nap time (Marquez)1I first read Izu in the winter of 1980. I met Yasunari Kawabata in a dim apartment near Yongjiang River in Ningbo, Zhejiang. Five years later, in winter, at the water's edge, I read Kafka in a room by the Haiyan River in Zhejiang. Thank goodness, I didn't read them at the same time. I was young and ignorant at that time. If the style of writing is too strong, my reading will be overwhelmed and unbearable. In my opinion, Kawabata Yasunari is a symbol of infinite softness in literature, and Kafka is an extremely sharp symbol in literature; The gaze in Kawabata Yasunari's narrative shortens the distance between mind and things, while the cutting in Kafka's narrative enlarges this distance. Kawabata Yasunari is a maze of the body, and Kafka is an inner hell. Our literature has accepted these two completely different wills, but it also implies that the vastness of literature sometimes exists in some hidden consistency. Kawabata Yasunari once described how a mother felt when gazing at her dead daughter: "For the first time in her life, her daughter's face really looks like a married bride." Similar examples of resurrection can also be found in Kafka's works. When the village doctor examined the festering wound on the patient, he saw a rose-red flower. This is the first time I have read. Born after death, flowers grow on festering wounds. As far as I know, Lu Xun and Borges are symbols of clear thinking and quick thinking in our literature. The former is like a mountain rising from the earth's surface, while the latter is like a sinking river. Both of them point out that thinking is clear at a glance, showing two different ways of thinking. One is the chilling day in literature, and the other is the disturbing night in literature; The former is a soldier and the latter is a dreamer. Kong Yiji and the South, which are selected here, are both models of cherishing ink like gold in narration and skinny images in literature. In Kong Yiji, Lu Xun omitted the description of Kong Yi's first few visits to the hotel. When Kong Yiji's leg was broken, Lu Xun began to write about how he came over. This is the responsibility of a great writer. When Kong Yiji's leg is healthy, we can ignore the way he came, but when his leg is broken, we can't avoid it. Then, we read the swan song in literary narrative. "Suddenly I heard a voice,' Heat a bowl of wine.' Although the voice is extremely low, it is very familiar. No one was there when I watched it. Standing up and looking out, Kong Yiji sat on the threshold under the counter. "First came the voice, and then everyone. This story is extraordinary. When "I warmed the wine, took it out and put it on the threshold", a chilling description appeared after Kong Yiji took out four pence. Lu Xun only used a short sentence, "I saw his hands covered with mud, so I came with this hand." (Excerpted from Warm Journey, Yu. Su Tong: wakefield (Hawthorne), Wanka (Chekhov), Buhler de Sufu (Mo Bosang), Gimpel (singer), a rose in memory of Emily (Faulkner), Araby (Joyce), the third party (Borges), (. When it comes to short stories, masters have left immortal voices in this field. Sometimes I think that the original motivation of fairy tale writers is to write for children to sleep, and short stories are like adult night stories. It is best to read under the lamp, and it is best to read one before going to bed every day. You are moved, or moved, or smiling, or disappointed. If you have a bone in your throat, if you read it, it means that this short reading time is not wasted. Cultivate this habit and achieve a day's life. Of course, the premise is that there are so many good stories on the pillow. Zhang Ailing is the only China writer in this anthology. To clarify, I don't think she is the only one with a name in the history of China's short stories. I chose Hongluan Jubilee because this work is full of China literary accent, simple vernacular, exquisite and picky everywhere, and a metaphor is as painstaking as Li Bai's poem. Just like the second sister-in-law Er Qiao and fourth sister in this article, they carefully selected clothes for their brother's sister-in-law's wedding, but Zhang Ailing said that although everyone thought they were the most important roles in the wedding, "For Er Qiao and fourth sister, (bride) Jade Qing is the last snow-white word reflected on the screen, which is a wonderful preview for the next good movie." The most powerful metaphor in Zhang Ailing's novels is this and that. I always think that such works are made in standard China, more casual than poetry, more rigorous than vernacular, and become novels in the process of approaching novels. ..... (Excerpted from "Xinghui Pillow" by Su). Mo Yan: The Room in the Lock Hole: Lighthouse Watcher (Xiankewei Branch), Southern Expressway (Coltart Sal), The Dead (Joyce), Officer Proust (Lawrence), The Old Man with big wing (Marquez), Justice (Faulkner) and White Grassland (Turgenev). Reading such a short story, we can feel the uniqueness of this writer. Just like you can see the whole room through a tiny keyhole, just like you can clone a sheep by extracting cells from its body. I think the maturity of a writer should mean that the writer has formed his own style, and the so-called style should mean that the writer has his own unique narrative tone that is not confused with others. This unique tone not only refers to language, but also includes the unique atmosphere created by all factors, such as the type of story he chose before, the way he handled the story, the form he used to tell the story and so on. This atmosphere is like a smoky pub, a candlelight cafe, a noisy Sichuan teahouse, a five-star hotel with music, a highway, a carriage shop, a river boat, a waiting room and a sauna ... in short, it should be different. Even if two mature writers tell the same story, the atmosphere created will never be the same. When I first read Lu Xun's Casting Sword from my brother's Chinese textbook, I was still a relatively pure teenager. After reading this novel, I feel cold all over and my heart is full of terror. Just like the man in black at the cold iron banquet, the king with a brow ruler in Tsing Yi and a pinch of white beard on his chin, the golden tripod burning with steaming heat, the pure green and transparent sword, and the three heads singing and dancing in the boiling water of the golden tripod chasing and pecking, they are all vivid. When I was apprenticed to a blacksmith on a bridge site, I saw the steel change from red to white and from white to blue in the fire, and I thought of the pure and transparent sword. Later, when I worked as a waiter in the commune slaughter group, I saw the pig's head rolling in the soup pot and thought of three-headed chasing. Once I entered this association, I felt that my real life was far away from me. I was fascinated by the singing of the man in black in my imagination. I often can't help singing loudly: ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah. Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah. When I grew up, I couldn't remember how many times I reread Casting Sword, but every time I read it, I felt new. Gradually, I confused men in black with Lu Xun, and imagined myself as wearing an eyebrow ruler in Tsing Yi from an early age. I knew I couldn't be an eyebrow ruler, because I was a coward who was afraid of death, and I couldn't cut my head off because of the promise of a black man like eyebrow ruler. ..... (From the keyhole in the room, Mo Wenwen. ) WANG Shuo: They once left me empty: Yingying Biography (Yuan Zhen), Leifeng Pagoda (Feng Menglong), the postman (Pushkin), the story for Esme (Salinger), worrying about the country and the people (Yukio Mishima) and the hairless Mexican (Mao Mu). In an era when there is no popular music to comfort us, novels are almost the only thing that leads me to be divorced from reality and indulge in fantasy. They always satisfy my spiritual desire to touch myself, and I don't panic when I'm not in the crowd. My emotional development was accomplished through novels, which brought me into contact with another world and instantly surpassed ordinary life. Generally speaking, I don't read novels for a better life, for seeking instruction, for getting the guidance of life philosophy or something. On the contrary, I read novels to make myself more pessimistic. Good things are often easily destroyed in novels. If you read too much, you will doubt reality. Everyday life is very dull, and heartbreaking experience generally comes from reading. Once you get used to it, it is considered as a rare enjoyment and security. Then I feel that happiness is a superficial emotion, especially those magnificent narratives that flaunt victory and success. I feel that most of them are nonsense and self-deception. Who is not struggling desperately, who wants you to inspire? I don't want to become a beast. I want to rely on beautiful novels to protect my humanity to a great extent, so that I have the opportunity to feel gloomy, desperate and tearful when thinking about myself, and feel kinder, more sensitive, more affectionate and deeper than others. Many times, I think I can find the truth of life from novels. This is my interest in reading, and I learn from novels the courage to degenerate and the power to resist life. The words are a little big, and it seems that the novel is used as a weapon again. Actually, just bosom friends. Talk to someone if you need to, but you don't need to. I haven't remembered calling for a long time. The ten short stories selected here made me feel something. Anyone who knows me can see that my preference is nothing more than emotional regression and ridicule. Biography of Yingying, Leifeng Pagoda, a white maid in Yongzheng period, and Master of the Post Station, a story dedicated to Esme, is a return of feelings. Hairless Mexicans, terrible necks, three statements about Judas, picking Wei and most of them are not your husbands. (Excerpted from "They once made me empty", Wang Shuowen. )