I have long heard of the black-box operation and clique tendency behind Mao Dun's literature prize. Today, it seems that it is. The greatest contribution of Mao Dun Literature Award is to dedicate Ordinary World to contemporary youth. Next, it's a shame that both cats and mice can win this prize. This shows that the so-called calm professional standard and independent literary personality standard of Mao Dun Literature Award are just a cover, which has become a feast for some writers and critics.
First of all, let's take a look at how the final judges of Mao Dun Literature Award booed Jia Pingwa. The first is Xie Youshun, a "young talent", a professor and doctoral supervisor of Chinese Department of Sun Yat-sen University. Xie Youshun's critical method is a typical "wise man" method. Its advantages are keen artistic intuition, not hypocritical and rigid writing style, but its disadvantages are pleasing, lack of profound theory and even lack of its own critical thinking. Today we will talk about "criticism of the lower body", tomorrow we will talk about "magic pen", the day after tomorrow we will talk about "Lu Xun" and the day after tomorrow we will talk about "Qian Mu". What is his own thinking? A critic does not have his own unique critical point of view. How can he criticize? Xie Youshun, a close friend of Jia Pingwa, has always been known by insiders. Usually two people blow and applaud. Jia Pingwa grossly praised Xie Youshun as a "genius critic" and Xie Youshun grossly praised Jia Pingwa as "the best writer". How does Xie Youshun praise Jia Pingwa? "Shaanxi Opera is an extremely important writing leap of Jia Pingwa in recent years, especially his meticulous description of rural changes in China and his deep concern about this change. The depth and breadth reached are beyond the reach of similar disciplines. " "Everyone knows that Jia Pingwa is an important writer who is good at telling stories, but in Shaanxi Opera, he uses trivial details and language to promote the whole narrative. This is an artistic adventure. I am very happy. The judges affirmed the important value of this artistic adventure with a wise eye. " I think Xie Youshun wants to impose his views on others.
Look at another judge, Chen Xiaoming, and say, "Shaanxi Opera is a very grand work, which basically represents the writing level of modern and contemporary literature in China, and it is a work that I personally attach great importance to. No matter from the perspective of novel art, or from the narrative history of China and its future trend, the power of this work is unique. " As early as in the scholar Chen's blog, he wrote that the writers closest to Nobel Prize in Literature in China are Jia Pingwa and Mo Yan. When talking about the reasons for recommending Jia Pingwa, he said: "Jia Pingwa is a great writer with distinctive local characteristics, just like Mo Yan. To say typical local or Chinese language features, Jia refers to it first. " Since 1990s, criticism has become more and more technical, formatted and quantified. Personality is the soul of learning, and emphasizing academic principles destroys personality. This kind of criticism has certainly lost its critical spirit. I think an excellent critic should be quick-thinking and energetic, criticize the shortcomings of the times, cover up the gold, clear up the fog, clarify right and wrong and make things clear. The author dares to question and criticize, speaks directly, hits the nail on the head, speaks quickly, has a clear point of view, is sharp and provocative, convinces people by reasoning, is artistic, and has strong sensitivity and penetration. Excellent critical writing should be rich in heart, profound in spirit and directed at the soul. Of course, in my opinion, even cool comments, as long as they are not out of the morbid psychology of grandstanding, are always much better than those of relationship criticism, human criticism and money criticism. As a responsible scholar, Chen Xiaoming must give up his academic criticism and habit of always peddling conceptual terms, and transform his academic language into information easily accepted by readers and spread it effectively through the media. Throughout Chen Xiaoming's literary criticism, concepts are everywhere, western theories are eaten alive, and life experience is lacking. After listening to his courses at Peking University, I became disgusted with literature. Strictly speaking, both Xie Youshun and Chen Xiaoming are manipulating criticism of good people, which is far from the true spirit of criticism. This is a disease, a serious rickets. The basic spirit of writing is love, and the basic attitude is sympathy, especially for the disadvantaged groups and the unfortunate. This is the yardstick for judging great literature. Why is this common sense not respected?
What kind of work is Jia Pingwa's Qin Opera? Readers express their opinions. One thing is certain, this is definitely not touted by Xie Youshun and Chen Xiaoming. First of all, I think the language of Shaanxi Opera is terrible. It is said that Bai Ye, a literary critic, couldn't read any more, but he had to bite the bullet and finish reading. Li Jingze even asked a friend from Shaanxi to read aloud in xi dialect to understand the meaning of some dialects. Then how can Anhui people like me understand it? His semi-literate and semi-vernacular language, similar to the novel style of Ming and Qing Dynasties, mixed with Shaanxi dialect, is a deliberate melodramatic writing. Literature is first and foremost the art of language. At this point, he might as well be sincere and unpretentious. Secondly, in terms of cultural personality, Jia Pingwa has a morbid mental factor and narrow psychological structure. His persistence in China's traditional culture is a survival strategy, which is also the result of his personality. He advocates great prose writing, but most of his essays are slim and light. He is not a follower of mysterious culture, but a mysterious scholar. He keeps claiming that he is a farmer, but in fact he is an old-school scholar. "Qin Qiang" gives me the feeling that the whole article has no skeleton, no spirit, and it is scattered and chaotic. The feeling is that it is far-fetched to stick together the life pictures of Shangzhou countryside. The characters are messy. The whole article is hundreds of words. I can't explain clearly. It makes people look uncomfortable. Coupled with the unclear protagonist, the characters are pale. Bai Xue, Xia Feng and others make people feel like a paper painting without flesh and blood. Time is chaotic and the background of the times is far-fetched. Although the work is still vivid and unique, on the whole, it is really rough. However, critics also have different voices. Li Jianjun, a famous critic, said that Jia Pingwa's "Shaanxi Opera" was not well regarded, and he thought it was "a work with exaggerated form and poor content". I totally agree with this view, but my attitude is more pessimistic. Jia Pingwa won the Mao Dun Literature Award, which is not only the sorrow of Mao Award, but also the sorrow of Shaanxi literature. Compared with Ordinary World and White Deer Plain by Chen, Jia Pingwa's Shaanxi opera is still far from perfect.
Jia Pingwa's award is a disgrace to the judges, Mao Dun's literary prize and contemporary China literature.
Let me talk about my views on Jia Pingwa.
From "Jia Pingwa" in those days to "Jia Pingwa" today, it is really different! Today, Jia Pingwa has become a "literary tyrant" in Shaanxi, enjoying the special glory of the writer, quite like Zhuang butterfly in the Waste Capital.
Jia Pingwa has been living in a claustrophobic and backward closed space like Xi 'an. He has the cunning of a farmer, but lacks the simplicity of a Shaanxi writer. His spiritual character has never been stretched, and he has been depressed since he was a child. In his youth, he was introverted, shy, introverted, unsociable, afraid of people and extremely introverted. He is full of mysterious curiosity and fantasy about gender relations. After all, as for the barrier to women, on the other hand, he is addicted to obscenity, especially in his novels, such as The Waste Capital, Dogs, Tales of Taibai Mountain, Blanc and Meteor. Jia designed many disgusting plots of women making peace with animals. Some critics point out that this is "sex", and such a morbid sexual psychology is disgusting. There are too many such examples. There is also a novel in which a woman died in bed for no reason. When people open the quilt, they see that it is full of blood, and there are several corn cobs soaked with blood under the quilt ... In "Wasted Capital", this sexual repression is suddenly like a flood that breaks its banks, describing something sticky and wet. He always loves to play with women and keeps spiritual conquest and possession. His consciousness of "lewdness", "lewdness" and "lust" is full of novels. The exhaustion of sexual desire is also a sign of loss of creativity. Since then, Jia Pingwa's novels have plummeted. Jia Pingwa lacks the health, diligence and simplicity of farmers, but has the old habits of feudal literati, which are delicate, fragile, pedantic, claustrophobic and cowardly. Is this the paradox of fate?
Jia Pingwa's failure, fundamentally speaking, is the failure of being a man. I have read the Mystery of Jia Pingwa written by Shaanxi writer Sun Jianxi for a long time, which introduces his childhood, schooling, marriage, creation and winning prizes in detail. In my opinion, Jia Pingwa is an out-and-out loser in life, but he is just a diligent and prolific peasant writer, doomed to miss out on great writers, and no matter what prize he wins, he can't get rid of such a mediocre fate. Jia is a farmer. In his autobiography, he is either crying or full of ostentatious words, and he can't see his understanding of the bottom of suffering, or there is no great suffering at all. Objectively speaking, many children from rural areas are self-motivated, willing to endure hardships and work hard, which is his advantage. However, it must be said that many defects in his personality, such as sensitivity, excessive self-esteem, vanity and strong sense of comparison, are the driving force for his progress to some extent. However, if he becomes famous and has a family, all these advantages can be carried forward. Jia Pingwa is far from "family background". His first works were also written for the blackboard newspaper of the water conservancy site. To this end, he is full of the inferiority of a countryman. He wanted to enter the circle of intellectuals, but he did, and never came out. Mr. Lin Xianzhi brilliantly pointed out that if we are proud of the pedigree of "peasant writers" without a clear sense of role, things will become the protectors of the upper class because they lose the vigilance and self-criticism of intellectuals.
Jia Pingwa started writing for only one purpose: to become famous and get married. For this purpose, you can endure all humiliation. So, in order to achieve this goal, he began a difficult exploration in imitation, and the result of imitation was only failure, and he did not establish his own spiritual consciousness at all. This is completely different from the writing purpose of Lu Xun and Shen Congwen. In order to "expose suffering and attract medical attention", the former (Lu Xun) saw the bitterness and struggle of the good soul of the oppressed from Lu Xun, and Mr. Wang paid more attention to the unfortunate in the sick society; In Lu Xun's works, the most typical is the silence, despair and numbness of Runtu and Ah Q under the oppression of fate. Lu Xun's attitude towards them is "mourn their misfortune and anger their indisputable". The latter (Shen Congwen) understands literature and society through some abstract principles such as life, life, humanity, love and beauty. "I want to build a small Greek temple. ..... This temple is dedicated to' human beings'. " "What I want to show is a' life form', a' beautiful, healthy and natural life form'." Both Shen Congwen, a countryman, and Lu Xun, a rebellious son, are different in essence, but they all have a modern value reference system as a reference, and they all have pains and struggles to change society, rather than tickling. The same description of the beauty of nature, Shen Congwen and imitator Jia Pingwa are completely different. As Kuang Xin-nian said, Shen Congwen's essays "Notes on Xiangxing" and "Xiangxi" set off the mysterious natural scenery and customs of Xiangxi with beautiful words, reaching the extreme of beauty. Shen Congwen absorbed the colors and techniques of words from Chu Ci, literature of the Six Dynasties and even the Bible. His works have achieved a high degree of harmony with white, Europeanization and vulgarity, reason and emotion, restraint and indulgence, classicality and romance, insipid and gorgeous. Shen Congwen is a rare artist with amazing artistic talent and pure artistic feeling in modern China. He used words as a tool to reshape national morality. Looking at Jia Pingwa again, with the sadness of life and the so-called political frustration, he wrote about the landscapes and natural scenery of Shangzhou with the mentality of escaping exile, and deliberately carved it for the sake of beautiful writing, but there was no spiritual value in the description. Mr. Lin Xianzhi pointed out that Jia Pingwa's Records of Shangzhou is fragmentary, miscellaneous and superficial, lacking a detailed description full of flesh and blood, and completely losing the vitality and personal passion that a work should have. In contrast, the state of Shen Jia can naturally rival each other. Even so, we should also see that there is an inhuman cruelty under the ugly and decadent surface of the sky falling down, devastation, cannibalism and dripping blood. After all, beauty is a luxury for an ugly society. Jia Pingwa is a man who is good at forgetting the past, but also a master who lacks the consciousness of "judging pain" and is good at resolving pain. A writer who ignores the shadow of history, whose mind is not in the present, is very suspicious. Over the past few years, Jia Pingwa has been busy wiping off the dirt on his body and wrapping himself in "beautiful writing" and calligraphy and painting. For the so-called "beautiful writing", he has been desperately searching in his study, crawling around in the boring knowledge pile, and inserting the standards of "celebrities" and "elegant people". The words have become sour, stagnant and trivial, and the clarity and temperament of the early years have disappeared. Hiding in the study or my own mental ivory tower, playing with words that have nothing to do with life and soul, playing between my hands, I don't know, will eventually become a soulless fake bone.
Jia Pingwa is said to be a "cultural peasant" because of his small-scale peasant consciousness in his bones, which contradicts modern industrial civilization. In his early works, he praised the pastoral scenery. When you encounter a little setback, you criticize traditional culture in the medium term. However, he is fleeting, his nostalgia, his narcissism, his sentimentality, his narrowness and his vulgarity. He is a farmer. Actually, it's just a show. Words are empty, and contents are empty. He advocates Taoism and pretends to be a modern celebrity. In fact, he has lost his foundation and is just wishful thinking about tradition. What is worth mentioning here is that Jia Pingwa's hatred and inferiority towards the city and his sense of superiority in his anti-civilization posture are actually farmers' consciousness, not civilians' consciousness. The latter is a kind of democratic consciousness with greater inclusiveness. Farmers' consciousness is unique to farmers, and it is a kind of quality and spirit cultivated in the slaughtered and imprisoned land, which conforms to the interests and requirements of farmers living on it. Among them, there are many beautiful things in human nature, and there are excellent ingredients that other classes do not have. But it also has obvious characteristics of narrowness, conservatism, patience and meanness, which is the tragedy of farmers from generation to generation. Jia Pingwa named his residence "Fengge", "Xujing Village" and "Shangshu". He meditates and meditates, and has leisure time to study photo albums. He also called himself a "flower slave", called the roots of indoor dead trees "residual beauty", tied a string to a curved body and called it "beauty piano", and wrote a poem saying: "The story of eternal farewell, a string finds a bosom friend." When others ask for books, they often give them Meditation and Zen Enlightenment. Where is the pain of such a writer about "the slave is in the body" and "the slave is in the heart"? It is really a cruel aesthetic for Jia Pingwa to play with farmers' lives. In his works, we can't see the thrill, impulse, depression, division, pain, despair, abyss and hell from the essence of life, and we can't see the pain of life being transformed into the pleasure of surpassing ourselves and the synaesthesia experience of human suffering. He desperately lacks the courage to exist, so he can only be invisible, neither dead nor alive. For a writer, he can have an affair or a point of no return, but the most fundamental thing is indispensable. There is often a person standing behind the article, a sound human soul. For Jia Pingwa, this is a fatal deficiency and cannot be simply repaired.
Without the pain of existence, Jia Pingwa's novels are only fiction. His novels lack a distinct sense of modernity and a deep immersion in tradition. Only little men are narcissistic and sentimental about themselves. After reading Missing the Wolf, Gao Laozhuang, Reporting Illness and Shaanxi Opera, we can find that Jia Pingwa's novels are a complete failure: they lack the painful feelings of suffering reality and have no concern for human survival. Even the novel Impetuousness, which is favored by critics, confronts the corruption in the social transition period, such as playing politics, seeking personal gain, wooing cronies, rejecting dissidents, accepting bribes, flattering, taking the form, abusing power, engaging in localism and so on. The writer's subject still does not have the anxiety and pain that modern intellectuals have, and there is no latitude that requires the soul to pursue existence. For a long time, Jia Pingwa has been imitating Shen Congwen, Sun Li, Zhang Ailing, novels of Ming and Qing Dynasties, Laozi and Zhuangzi of Taoism and root-seeking novels. At the same time, Jia Pingwa has lost himself, and his subject has never really been established, let alone established. Without Lu Xun's modern consciousness of "a city without things", let alone how to face it. At Jia Pingwa's place, there was only escape, then escape, and his guest escaped into the package of Lao Zhuang. However, he is so deeply separated from the true spirit of Laozi and Zhuangzi. The butterfly of Zhuang in "The Wasted Capital" only looks like a modern celebrity. He lusts after women's bodies. How can he be truly detached? To be fair, Jia Pingwa's prose is well written, but it's definitely not as good as what Bao has heard. His advantage lies in the lightness and agility of his writing, which caters to the imagination of some frustrated and shrinking young literati. He can appreciate women better and understand women's psychology better. Women are farther away from the utilitarian battlefield than men, have a relatively quiet heart, attach importance to emotional life, and are easy to have a * * * sound with his value orientation. Actually, there is another reason. His impotence gave women a sense of security and narrowed the distance between him and female readers. There are two ways to write: tension and relaxation. Lao Jia takes an easy road, leisure, leisure, leisure. His "relaxation" is not a kind of calmness after experiencing great storms, but a kind of leisure to find peace in despair. This kind of leisure has never struggled in the soul. All great writing behaviors worthy of respect are actually the formation and relaxation of conflicts and an internal struggle between writers and reality and soul things. I always feel that Jia Pingwa is too soft and frivolous, not for the correct writing, but for a talented person, just a little evil and rancid. As Qiu Huadong said, this is a petty old scholar's thing, fragmentary, boring and rambling. I don't think he can write a book with length, thickness and difficulty. "Zhou Zuoren also had an erection for a while the year before last, that's all. How does Lao Jia compare with him? Before becoming a hermit, Zhou Zuoren fought side by side with Lu Xun. Unfortunately, Lao Jia is too clever to know when to speak and when to be silent. Seemingly detached, indifferent to Zhi Ming is actually a "wise" move for him to preserve his sanity. This is the ancient survival wisdom of China literati, and there is nothing wrong with learning. But in Lao Jia's place, he alienated the crowd prematurely and lacked the ability of self-selection, so his cultural personality naturally missed the opportunity to exercise. It is not difficult to understand that "settling your soul" has become the starting point and the end result of Jia Pingwa's writing. I have no intention of asking Jia Pingwa to actively participate in society and assume the sense of responsibility and mission of intellectuals, because he is not an intellectual at all. But as an influential writer, considering that his works have to face the public, I reminded him not to be so morbidly narcissistic.