The poet Haizi once built a grand imagination space in his series of long poems "Seven Books of the Sun", which was described by Luo Yihe as: "East to the Pacific coast, west to the two river basins, with Dunhuang and pyramids as the polar centers respectively; It reaches the Mongolian prairie in the north and the Indian subcontinent in the south, and it is run through by the mythical clue' Kun (South) Peng (North) Change'. " This is an attempt to reshape the collective memory of mankind with poetry. Laozi, Zhuangzi, Homer and Dante gathered in Haizi's Chinese characters to name this space together.
As another series of novels named "Book", The Book of the King, with its amazing writing ambition and imagination, has formed a cross-genre response with Seven Books of the Sun. This is a painstaking book far from the contemporary writing fashion. Its imagination is a mixture of all kinds of myths and epic prototypes at home and abroad, and it continues the imagination pedigree initiated by the Bible, Homer's epic, Chu Ci and Zhuangzi. This is a world full of hieroglyphics: water, mountains, rain, fire, sheep ... This is an era in which you can gain wisdom by looking up at the sky, an era in which pictographs and monosyllables dominate: the king is named Destroy, the wizard is named Qiu, the boy is named Mang, the girl is named Yao, the general is named Ke, the sheep is named Ke, and the camp is named Soap and Orange. Young people shouted at the morning sun with a wordless song: Ouch Ouch-this is really an idle era.
The writing of the book of the king is a great self-transcendence for the author. Previously, Straw House, Red Tile, Gone with the Wind and polished rice were all stories in real life, but this time, the author finally put aside reality and entered a fantastic world, and these characteristics of "beauty", "classicism", "childlike innocence" and "tranquility" gained a brand-new display platform. The Root Bird is the closest to the King's Book among the author's previous novels. This is a story about a teenager riding a white horse to find his dream. The content of the dream is a girl, which is a typical teenager. "The spring dream has gone without a trace." The Book of the King tells the story of another teenager. In this story, the responsibility and commitment to the oppressed plays a leading role, which is a real adult ceremony for a teenager.
The author writes with the freshness of discovering the world for the first time, and he gives those monosyllabic names an extremely elegant image. This is a return to the origin of Chinese, and once again face up to the beauty of Chinese. "Thinking about the Millennium and Wandering in Wan Li", the author gallops freely in infinite time and space, and constructs a quiet world of mountains, rivers, forests and wild flowers. "Quiet" is the basic feature of this imaginary space, and it is also the narrative temperament soaked between the lines. Those battles and killings only set off the indestructible silence and vastness of the world with their isolated noise.
The imagination in The Book of the King has certain elements, that is to say, it is not a concrete and detailed imagination, but similar to the "imagination prototype", which has precipitated the wisdom of several generations and is rich in extensibility and germinal. An infinite book that takes off from the flame, a lovely golden beast that can eat gold suddenly, an infinitely extending rope, a "city of public stones" that only obeys the mother stone, a man with three shadows, a sword that will bleed endlessly, and a magic umbrella that will cover the sheep of the sun savior ... This is a world where everything is animistic and epic elements are everywhere. It once existed in China's ancient myths and Zhuangzi, but it stayed away from China's narrative works for a long time. 2/kloc-At the beginning of the 20th century, The Book of the King rediscovered the passion of China people, and formed a dialogue and dance relationship with Calvino's whimsy, Borges' mysterious wisdom and Wang Yang of Zhuangzi.
The end of the yellow glazed glass in The King's Book is also the climax. Yao, the "Three Shadows Man", went to Magic Mountain to hunt yellow dogs, and wild chrysanthemums opened all the way. This is a war without weapons and wounds, only the girl's warm dance and light blue shadow. The yellow dog chased the shadow, which became thinner and thinner and finally disappeared. This description of the disappearance of "beauty" is amazing. The disappearance of a beautiful girl is so calm, almost for the first time, and the word "death" in literature is so understated.
This is a novel on the road, a multi-episode serial "road movie". This is a kind of vagrancy and a kind of growth. "Mang" changed from a child to a real king in exile. According to the writing structure of the novel, The Complete Book of Kings will consist of four novels, showing the course of Mang's taking four peaks in turn, and will rescue "people who have lost sight, hearing, language and soul" from these four mountains respectively. This framework continues the "eighty-one difficulties" model initiated by The Journey to the West, that is, the hero of the novel is doomed to encounter obstacles repeatedly, but the ways and situations to overcome them are different. The book of the king may be more dangerous than the "81 difficulty", because there are many similarities in the design of conquering four mountains: the attack targets are all mountains, the four animals guarding the mountains are all dogs, and the enemies they encounter are always "extinct" troops. This repetition in the framework inevitably requires subtle changes in details and the eruption of imagination, and how to write "different" in the last three novels is a test for the author and a temptation for the readers.
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