Anyone who has read "Everything grows in Fengtang" will write a book review for your reference.

When I heard about the book "Everything Grows" from my friends, I didn't have any thoughts and even hesitated. When I read one twentieth, I felt a feeling in his mouth, a little Wang Xiaobo and a little Wang Shuo. When I saw one tenth, I remembered the same experience of growing up in medical school, and I couldn't help blaming myself: look at others, they write less time than you, write better than you, and people are awesome. My doctor of medicine is an MBA, and I am terrible at English. I used to be complacent about "abandoning medicine and joining literature" Now it seems that with Feng Tang's obstruction there, cudgel's heart disease will never get better. When I saw one fifth, my heart was not so blocked. This guy is just as stupid when he writes novels. When she wrote them, she tried to be brave and the aphorisms bubbled, but she inadvertently opened the pen but couldn't get it back. Her ability to organize the plot is like a cabbage seller. This point he himself admitted in the postscript: "I originally wanted to write a process, that is, to write only one state." I want to write a story, but I only wrote one life. Originally, I wanted to write a lovely character, but the character as a whole was complacent and self-satisfied, and it looked like a slap in the face. "Shi Tao said that he would never give new novels again. He wanted to have a rest, but after reading Feng Tang's works, he thought it was better than Shi Kang's, so he had to work as a broker for a publishing house. I have also seen Shi Kang's things, and several of his music codes are also a kind of height there. I met him once in Sanlitun bar, and I felt that he was very polite and handsome, and he was the kind of person who fascinated people without paying for their lives. I can't help liking him. That's why I don't comment on his things-I'm not interested in eggs when I see chickens that can lay eggs-and what's valuable is that I know nothing about Feng Tang except from the perspective of texts. In the writing of this novel, Feng Tang's glib tongue, second-rate narration and first-class images of critical moments are absolutely unparalleled in the world. This paper introduces the exploration of "the charm of words" here, because words do have the charm of Rubik's cube. For some people, they can't play with six noodles all their lives, but some people can make six noodles in two and a half minutes and then bring back six colors. I believe that if there is a translation, the achievement of this novel will be greatly reduced. Feng Tang wrote about his messy growth, and he dedicated this book to his mother. Fortunately, it is not dedicated to the mother of the world. There is no other mother in the world who is willing to read this book except an intellectual. This is his own "mother", which looks awkward. But Feng Tang, after all, tried to reveal the mystery of growth, and he also prepared a "book" to seek advantages and avoid disadvantages. He tried his best to go to a place, but the result of his memory was to indulge in the black hole of growth. The lubricant of words did not let him choose between "meeting readers' reading expectations and restoring life". He said that he "lingered for a long time and finally chose the latter". He believes that "even if a time machine is built and a regrettable youth is relived, the incomplete story is still incomplete, and the place where the jerk is still an asshole." "In the last chapter, that is, Chapter 23, Car Wash, the boy who" calls himself "Qiu Shui said," My story is over. " I said, "I'm not finished yet. What happened afterwards? "Then, after asking, the story is over. At this point, Feng Tang's writing experience has revealed his clumsiness. A story with emotional growth made readers immersed for a long time before they found that the protagonist was not the author, which made them feel teased. It's his business whether it's for the end or for convenience. When he does this, we have to let the uncle in charge of the medical dormitory knock at the door, so that his straight place is soft and his scalp is hard. Take this as an example to warn him not to do it again. The most deadly danger of writing a book review is to make a statement, either flattering or killing officials. The policy of "stick and carrot" has always been very common in book review writing, and it has been tried and tested. Feng Tang and The Growth of Everything will also be baptized in this eternal situation. But obviously, smelling him or stinking him, he doesn't care. It's bullshit to say it. See for yourself. Fiction of Non-pure Era —— Reading Feng Tang's Everything Grows; Zhu Yong's Everything Grows is a novel with non-traditional meaning, which tells the experiences of a group of students during their study in medical college. However, many elements in the novel are unconsciously ignored or consciously excluded by the author Feng Tang. In this novel, we can't find a complete story, and there is no touching conflict climax. Readers who try to find pleasure in the story will undoubtedly be disappointed, but this novel is not boring because of it, and it is still very interesting to read. The life of medical school, readers can roughly imagine, except that the test tube is sliced, and then a lot of chemical element names make up the drug names, which don't look like life-saving drugs, but are a bit like chemical weapons. If a person's life program is pre-regulated and determined by some invisible formula, and there is no possibility of change, you can see the other end from one end. In this case, not only all fortune tellers will be laid off, but more importantly, this monotonous, trivial, stable and lasting torture is more cruel than short-term pain, especially for those young and immature faces. The author's talent is that he can find interest in birth in boring reality, from the study of human physiological tissue to the concern for inner soul. Life may be gray, but observing gray may also become a hobby, not to mention gray may be a unique color in the bizarre chromatography. It should be said that it is this empty life that provides Feng Tang with mocking material, otherwise the unique wit of young people will be wasted, and the desire that has not been extinguished will not be confirmed. Those old doctors and teachers have become the background and symbols of their living conditions. He didn't really laugh at them, but at his future. On the surface, he is deconstructing, cynically denying the existing order, but Feng Tang is serious inside, full of loyalty to youth and love, trying to quietly build a staircase leading to the truth in falsehood and chaos. Even after many years, fate has tampered with their faces, and he will still fondly recall: "At this time, we will miss the secret of seeing the moon and stars in Yanyuan. Communication between yin and yang is unimpeded. The sky is above, the earth is under our feet, we are backed by big trees, and everything is one with us. The only regret left by Yanyuan is that none of us knew how to call the bed at that time, and our paradise was silent. The secret lies in the sound. We need to howl, but our hands cover each other's mouths. "Although this novel has some traces of" life flow ",as mentioned above, it tries to separate the work from the story, cancel so many coincidences and suspense, and keep the form of life itself, that is, the novel moves forward at the pace of life, but we can still see the author's role in promoting the work. If it is a simple reproduction of life or a technical production, is it a "work"? If there is anything special about this novel, I think it mainly lies in the author's emphasis on interest and achievements in language. In a sense, he pays more attention to interest than the thing itself, so it is still a work with strong subjective factors. The meaningless course of life gained meaning in his narrative. I think of Ouyang He Jiang's poem: "A group of hopeless aesthetes rely on their trust in fictional things to promote their lives." ("Snow", see "Who Will Stay", Hunan Literature and Art Publishing House 1997) After reading the novel, what left the deepest impression on people was not the clear clues and true forms of things (events), but his observations and feelings. His description language can be completely divorced from the plot, has independent value, and can be widely circulated among the people like Stephen Chow's quotations. For example, he described people's elegance: "drinking in flowers, cooking cranes and burning Qin, eating human flesh buns stuffed with Xi stones." And the record of a critical moment: "If I reach out my index finger to touch her fingertips at this time, I will see lightning;" "Spit and seven-color flowers will grow on the ground; Immediately after the horizontal knife, she was pregnant with Confucius. " This novel can still bring us pleasure after ignoring the structure and skills, and it obviously has the characteristics after the 1970 s. Perhaps some people will doubt whether this work has the identity of a novel, and perhaps it is better to classify such autobiographical works as prose. Whether to insist on the story as the first element of the novel or to think that the novel can have variables and the possibility of expansion will make a completely opposite judgment on this book. But this is not important, it is neither the author's business nor the reader's business. The success of a novel never depends on whether it adopts traditional or non-traditional means. As the writer Zhou Xiaofeng said, if we think a flower is beautiful, why should we care about its family and cell structure? More need mysterious beauty. Since Kundera, discussion can greatly participate in the performance of novels. Even in the traditional novel family, Hugo once wrote a whole volume of architecture in Les Miserables, and architecture alone can become a monograph. When I talked about this topic with the writer Qiao Liang, the message I got from Qiao Liang was that this is an "impure age". Because the world is increasingly connected into a close whole, the interaction between things is inevitable, and the world has entered an "impure era." Then, in the field of literature, the blurring of stylistic boundaries, the dilution of stylistic features and the interactive integration are naturally not sensational.