Huang Xiaoyang's life

On Earth is as colorful as a kaleidoscope. The author tries to cover everything with novels. Among them, there are many witty remarks, witty remarks and amazing imagination. The ideological and artistic elements in the book are varied and complicated, which is the dream and truth for half a century.

Things:

"Every era has its representative writers, and Huang Xiaoyang is the leader of their generation."

Diao Dou:

Most novelists in China focus on stories and take documentaries as objects, so that their spiritual personal interests are subject to the universal laws of sociology. On the other hand, Huang Xiaoyang is an exception. He has always known that novels are bigger than stories, fiction is more important than documentaries, and his novels often start flying where other novels stop. "The World on Earth" is a work experienced by people, not a work flown by people after China's entry into the WTO. Its complexity and clarity, seriousness and absurdity, philosophical thinking of images and gamification emotions release a bird of China's novels with postmodern spirit, perhaps an eagle.

Chen Yingsong:

Huang Xiaoyang is a gifted narrator, and he is definitely an alternative in the literary world. His overflowing language is often suffocating, but it is also full of fun to read. Just like whitewater rafting, a group of tigers came out of the stream. He always dreams of restoring the truth of our world with a symbolic or allegorical world, which is a writing ambition. But a writer without ambition is not a good writer. Xiaoyang is a writer I admire.

Hai Nan:

Life on Earth is the most fascinating of all Huang Xiaoyang's works I have ever read. The span of time and the constant change of space seem to push the image of the fate of all beings in that period to us. The novel has an epic temperament, including grief and absurdity, sincerity and repentance, just like the stars in the night. The anti-traditional creation of the text excites me more. Undoubtedly, this is one of China's most impressive Chinese novels.

Huang Maoyou:

The characteristics of Huang Xiaoyang's earthly life can be summarized by a sentence in The Wedge: "They are like potatoes, crawling in the soil and leaving in all directions, providing unexpected surprises full of nutrients at any time." The narrative of the novel passes through a virtual "Bianjing" and a corner of contemporary China that is undergoing great changes. It also oscillates multipolarly between fire and ice, crime and punishment, time and light, farce and poetry, heaven and hell. Although the fantastic light in Bian Jing and Li Guoan's wandering life in the secular world are worlds apart, they are external and internal, interwoven into a profound irony in the distant echo. The difficult narrative shows the author's courage and spirit. This almost forgotten form of exploration enthusiasm, like a bonfire in the dark, is so lonely and so unscrupulous. Time Shines Like Water, which the author salvaged from the whirlpool of history and reality, seems to have more love and pain than the drowning teenager and Li Guoan's car.

brief Introduction of the content

This book consists of two parts. The former tells the story of a famous Li Guoan in the past 50 years, with China in the second half of the 20th century as the background, and describes in detail how a person born in the 1950s experienced those special times with profound significance (Great Famine, Cultural Revolution, Great Series, educated youth going to the countryside, returning to the city, college entrance examination, reform and opening up, family planning, official corruption, various world situations of the dual-track system, inflation, economic contraction and inflation, nepotism, etc. The latter is deduced from posthumous title, who staged a legend of a traveler looking for elegance and elegance, and told the story of the appearance of "New". It is to examine our life from history, space and religion, and it is an endless pursuit of life.

◎ Why is it named "Human World"

First, there is a life story in Zhuangzi's novels. They discuss the ways of dealing with the world, others and themselves. This novel is based on a person's fifty years, and through the construction of officialdom and love field, he choked. And this officialdom and love, that is, lifestyle. Key words such as human heart, destiny and society twinkle in the text, just like the stars in the night. Don't leave people who drift with the tide; However, the changes in the world are different. Therefore, it was named "human".

Second: the solution of intercropping observation. It is a person who sees the world and sees the joys and sorrows of the world of mortals. After all kinds of experiences, the hero saw behind the fame and fortune after being ruined. This world is bitter, and its real name is Bianjing.

Characteristics of works

This novel consists of two interwoven lines. The reality is heavy, it is fifty years, and it is as urgent as lightning, showing a kind of ukiyo-e painting effect, which is the hiss of the magnificent long river of time in the world; The heart is empty, an instant, and infinitely long. It is broadened and deepened by various ideas, just like a day in Dublin in Ulysses. Words are opened and become the door of knowledge. The author's persistence and seriousness in writing attitude are amazing. Its brushwork is long and vigorous, and it is a novel sprouted with the best imagination. The author captures the poetry in the depths of everyday things, and the beauty of sentences is touching. The author's ability to grasp reality is even more surprising.

◎ User comments:

User comments (1):

The novel contains two stories, one is to imagine the scene of a couple in Bianjing before their death, and the other is to take Li Changan's personal experience as a clue, which lasts nearly fifty years.

In the first part, a fictional city builder looks back and imagines the lovers and looks at them from the perspectives of history, space, religion and other philosophical significance. The object has expanded from the perspective of "lovers" to a grand and eternal life experience. At the same time, those contradictory, changing and causal philosophical factors have the meaning of original sin in the west.

In the second half, the story tells not only the rite of passage in Li Changan, but also the history of a country. The whole story tells how the post-1950s generation experienced various special periods with profound significance in China's modern history and grew into the person today. The special times created that generation, and their hearts were stirred by many extreme experiences.

The author of the novel seems to have the ambition to reveal why China is today's China and why politics is the secret of today's politics by analyzing that history. At the moment of narration, the narrator often suddenly pulls away, looks back at events and scenes from a distance, and adds everything around him to form a multi-angle, all-round and three-dimensional scene. As a result, rich imagination can be seen everywhere in the novel, and everything in the world is used without exception. Fragmented, picturesque scenes, all kinds of complex images appear. In order to express a feeling and what the characters are thinking at the moment, the narrator does not use direct and specific words, but lists other events and scenes, and uses synaesthesia to connect them with the reader's existing experience of these events and scenes to achieve the purpose of expression. At the same time, the novel also presents all kinds of literary, film and other artistic allusions one by one, and the narrator almost jumps out to find a tacit understanding with the readers.

The speed of the picture, the movement of the novel, the presence and exit of the author can all be switched again in an instant.

The whole novel is full of compact philosophical meaning.

The use of parallelism in novels is particularly amazing. The narrator treats external things with the thinking that exists in the world, and advances them one by one in slow motion from an interdisciplinary perspective, presenting similar things layer by layer, with tense language and dazzling rich and complex images. Read and look back at the world from an interdisciplinary perspective, including mysticism, physics, history, chemistry, religion, psychology, tarot cards and so on. The novel is particularly ideological.

When reading a novel, a neurotic narrator expresses philosophical thinking with images beyond ordinary people's experience, and ridicules the times with slightly contemptuous attitudes and slightly exaggerated metaphors and descriptions.

Reading novels can make readers feel that there are various nameless emotions in the narrator's heart at the moment of expression.

The novel is a review of 50 years since the founding of the People's Republic of China, but it is no longer described in the tone of sadness, regret (or pleasure) of people who have experienced special years, but with a little practical joke, and even with that special era as the background, it expresses an alternative interpretation of the laws of social development and the long history.

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The abyss of crime and punishment

-There are all kinds of stories about Huang Xiaoyang's novel The World on Earth.

Taolin

Every crime will be punished. What is terrible is not sin, but taking the initiative to commit crimes in order to find punishment.

-This is the most secret dilemma on the survival level since human society entered the state of modernization. The dilemma is that the so-called "God" no longer exists, and people have gained a temporary freedom of soul. At this moment of freedom, many "principles" such as existentialism, anarchism, socialism, feminism, materialism, deconstruction, philosophy of life and philosophy of will were born. The goal of every principle points to the happiness of the world, but no one knows where the actual result points. This truth is that all the thought masters deified by us just built a gun and pointed a guy at the future, but they couldn't see who the gun hit or killed. Just like Nietzsche, a madman, killed 6 million Jews through the Nazis. Because of this, in the whole two or three hundred years, modern human life circle has become a mating field of interests and a slaughterhouse of ideas. A group of materialistic and eloquent lunatics, careerists, megalomaniacs, atheists, paranoid patients, clever businessmen and super liars lead stupid people and enthusiastic poets to fight on the sphere of the third planet in the solar system. Everyone has the possibility to speak for "truth", everyone becomes the spokesman of "people" and everyone should devote himself to some kind of "ism" related to the form of wealth. In the end, everyone is faced with the Black Death, which has no meaning and destination. The whole life state of human beings is tragic in the process of world modernization, and it is rich and tragic from the physical point of view. However, it is full of comedy in metaphysics and black humor in aesthetics-because everyone's purpose and behavior are ridiculously reversed, because the senses and spirit are seriously disordered and staggered, because people's sloppy, arrogant and cruel love is particularly eye-catching, because God died on earth but looked at it coldly, with a cold smile on his mouth ... Finally, because people. Then create punishment, and finally hide the crime and punishment together in the infinite gap between heaven and earth, so as to increase the heavier pressure on this already heavy human being.

All this has never happened in lyricism and imagination, but it is a living fact. This is a world beyond fiction and art, a world without fiction and hypothesis, and even lies are as real as stones. Its essence is beauty, just as a beautiful woman can only see her own beauty in the mirror. Only in the mirror of the novel can we see the image of the world spirit-of course, it also depends on how well the mirror is polished and whether it is transparent enough to capture the soul of the world. Huang Xiaoyang's Life on Earth is such a smooth and transparent mirror that people can't help but admire and sigh. Admiration is because of the beauty of the novel itself, and exclamation is what the novelist wants to say.

The overall story frame of life is not complicated. In the first person, the main body of the novel tells the life experience of a post-1950s generation named Li Changan and Li Guoan (before the end of the novel, the protagonist was still alive, but he regarded himself as a dead man). After careful layout and arrangement by the author, Mr. Li has experienced several typical events in China since childhood, and the changes of the times are closely related to his personal ups and downs. Attention is a precise connection: the Great Famine, the Cultural Revolution, the Great Series, the educated youth going to the countryside, returning to the city, the college entrance examination, the reform and opening up, family planning, the official collapse, the various worldly affairs of the dual-track system, inflation, economic contraction and expansion, crony bureaucratic capital, real estate fever, and the growing polarization between the rich and the poor ... Every time we go through a historical stage, the narrator will tell about the outstanding events that happened in the whole country during that period, and so will many events. This makes the novel very readable. In addition to paying attention to one person, we also pay special attention to an era, a nation that has made the fate of hundreds of millions of people ups and downs, and a nation that has been stirring for 60 years since the founding of the People's Republic of China. It is worth mentioning that, unlike ordinary citizens in People's Republic of China (PRC), this gentleman is a senior civil servant with China characteristics, or a senior bureaucrat, and his last rank is the mayor. Just as I saw the first half of the novel, I mistakenly thought it was a rebellious bildungsroman, just as I saw the second half of the novel, I mistakenly thought it was an authentic officialdom novel. Watch together, the more you watch, the less you watch. The novel is like a tight encirclement, and the so-called "Li Guoan" is just a butterfly "flapping its wings" in the novel world. When he used his birth to send out the first weak force, we can see that the novel text presents an infinitely rich three-dimensional sense on paper.

As for this sense of three-dimensionality, the author has repeatedly made metaphorical explanations in his novels, that is, about the structure of "Bian Cheng". This structure is a metaphor of the novel itself. The novel takes about a quarter of the pen and ink, endlessly talking about the ideal city, far away from the experience of the owner's existence. The narrator repeatedly stated in fantastic language that there are seven layers, lips and fire ... The existence of the city of rice as an empty image is undoubtedly the author's intention to express his feelings about the sky. Outside the city, the life endowed by the novel refers to Li Guoan, a corrupt official, whose life is full of satire and continuous absurdity. The three-dimensional sense lies in the tension between pragmatism and retreat. Borrowing from some Buddhists, the novel The World on Earth is a dream composed of illusion, reality and reality. Fantasy comes from the memory of the real Li Guoan in The Last Cabin. As a real nature, Bian Cheng is also hidden in fantasy, which is as vivid as a mirage and as unreal as a mirage. Similarly, I have experienced too many ups and downs, experienced the ups and downs of the world, and everything I have experienced as a "real" master is very suspicious in itself. From struggling to fill one's stomach, to becoming a pioneer of reform, a home of officials and a door of prominent power, I was in a state of fear and anxiety, which undoubtedly looked like a sorghum dream in retrospect. All these are the epitome of the heroes of the times during the great historical change. Indeed, in this magical land, nothing is impossible. But "possibility" has become too extensive, that is, using "magical reality" to express it, language still seems powerless. The reality in the novel is more disillusioned than the fantasy, and what has happened and is happening in reality will make the novel speechless. Because the hero of the novel is reflecting on his own evil, judging from the attitude expressed in his words, he often defends himself-"My evil is nothing."

If there are two layers of unreality in the dark clouds, it is the city as a "real nature". I think the author's description of the road is exquisite and wonderful, including Taropa, sand piling, ethereal castles written by designers, gods and goblins, glittering cities dominated by entropy principle and glittering people living there. At first, it was an allegorical existence, and the author was very interested in it. Therefore, Li Guoan, the real subject of this narrative, was played out by his own nickname Li Changan, and laid a legend that Zaha and Yahya were looking for each other. Therefore, we also embarked on the road of exploring this city. The details of the city's basic structure, scenery and human feelings are slowly revealed. However, in the author's repeated descriptions, Bianjing is even more confusing. It is too much influenced by the lyrical power of the narrator, full of poetry, with a Borges-style mystery, and at the same time carries the spokesman of the author's personal poetic feelings. So in the end, the more I feel that its meaning has been diluted a lot and turned into a pure aesthetic existence. Bianjing seems to be the embodiment of Sin City, a place where evil blood gas condenses into thin air in the vast universe, but it has become a bright color in fantasy, and a stage for a pair of lovers (Zahiya) who cross time and space to meet. This makes people have to imagine the influence of fantasy novel, which is popular on the Internet recently, on the author himself. I'm afraid it's because the imagination space left for novelists is too limited. China's young writers and writers, as well as readers who are exhausted by the high-pressure reality, seem that only * * * can reach a tacit understanding with each other in a mysterious field. Huang Xiaoyang is a model of young writers born after 1970s in China. She was born in the online world. The World on Earth has the skill of penetrating between reality and fantasy, so it can be regarded as an assembled model work.

Literature and art are always sensitive to the real world. In The Life of Man, the author describes Li Guoan's growth and promotion seriously. From the overall structure, I think this part is much more exciting than the description of Bian Cheng and other things, and it can even be said that it is very enjoyable to read. Perhaps part of this pleasure comes from "evil". The master lives a rather immoral life. He is not afraid to talk about his "dark side" and will always defend his position. This darkness is genetic, environmental and even universal human nature. Li Guoan is not made of special materials, but he grew up in an idealistic atmosphere, and he is also an idealist. But in the face of reality, great changes are taking place every day. Only the surging ideal is covered by a strong irony, that is, the only bright color in this person's mind is covered by the infinite desire of self-expansion. It can be said that the emergence of an old saying, "If you want to die, you will lose." For an individual, this is a tragic connection that can't control his own destiny, although the narrator tries to give himself various explanations in the sly discourse defense. As far as his character is concerned, the master is a very clever man, who is very aware of his inner self-restraint and cannot completely control himself. As for his growing experience, I think readers of the public security and legal departments can make more thorough comments. Novelists are not jurists or ethicists. The novelist's task, in the words of Milan Kundera the elder, is to "explore the unlit existence".

What kind of dull existence has Huang Xiaoyang provided us? I think the theme of the novel can be simply summarized as "the weakest struggle of a person in a cold and lonely environment". The so-called "thermal silence" here borrows the concept of atomic physics and is the author's own way in the novel. What the author refers to is "entropy", which is also known as the principle of thermodynamics. The world is a big stove, and everything burns in it. The text of the whole novel seems to be cooked in a pressure cooker and barbecued on the fire. Although Li Anguo was born in a family environment caused by murder, his stepfather brought him a relatively peaceful growth process. Childhood poverty and hunger are short-lived, but their living standards are higher than most of their peers. However, in that state, a short-sighted mentality grows slowly in a short-sighted mind, and the nihilistic attitude of nature cultivates a greedy quality in the depths of the soul. This combination of greed and desire has become an effective burning agent for the soul, which makes Li Guoan's growth full of adventure and speculation, and sometimes full of evil behavior. This evil deed goes hand in hand with the evil contained in the times, interweaving and influencing each other, which can achieve every step of Li Guoan's success. So in his view, all kind and weak people are just providing fish to absorb Xie Jing. Li Guoan is very shrewd, and the idea of "official standard" in ancient culture is almost an instinctive understanding for him, from power to money and from womanhood. Like Ximen Qing, he put his desire energy into full play, all pinned on the order of magnitude in the process of lust. And like all adventurers of our time, they finally seek self-destruction in the virtual financial market (such examples are everywhere in the business world).

As a thermodynamic principle, entropy has the same meaning as any scientific principle and has no value judgment. It only states one fact, and does not contain the tendency of good and evil. Moreover, what is good and what is evil cannot have a precise and unified standard. Looking back on his life experience, Li Guoan found that even though he was still alive in the end, there were still many lucky places. For example, he got a chance to succeed in his career because he molested a young girl, because "official corruption" promoted the development of local economy, and because he bribed an official to buy an official, he got a chance to come back. In fact, in the face of endless corruption in officialdom, Li Guoan is not very specific, but it is very typical. When I was reading Life, I couldn't help thinking of my father. This gentleman is exactly the same age as our parents. My father's experience is the opposite of his. He was delayed by the turmoil and didn't go to college. Naturally, he can't climb the nepotism of the power gate, nor can he use his power to accumulate his huge wealth. He worked so hard that he was laid off and unemployed. Even now, he is still struggling on the poverty line and working hard. My father is of pure working-class descent, and his fate is completely different. All the sources of teacher Li's self-loathing and arrogance are power, and the way of self-immolation also changes with the variation of power. In the entropy of self, whenever there is a choice between good and evil, Li Guoan usually chooses evil, which seems to be the subconscious function of some kind of power will. He is not very greedy for money, but he knows all kinds of doorways of money operation and uses it freely. He is not a pervert, but his sex life is also messy. Betraying marriage seems to be a natural thing for him, and he always speaks clearly about the messy things between the two sexes. He doesn't seem to be trying to win anyone's understanding, but to recognize the fact that an experienced world is in a state of burning desire. Compared with the faint outbreak of individualism, men and women around him, such as stepfather, mother, White Snake, Chen Yingzhen, Yang, Tian Yan, including his father-in-law, governor Tian and so on, all seem weak or depressed. If there is an entropy that really dominates the world in Li Guoan's eyes, then he is the entropy of loneliness. As heavy as governor Tian, after their daughter Tian Yanhe experienced such a deep injury, they all kept silent. Many women who have been hurt by Li Guoan have also chosen the silent lamb in the face of the seemingly high-pressure reality. I really don't know whether fate is protecting Li Guoan, or whether the author needs him to live safely in order to open the true face of the world in the state of entropy.

Give what can be clearly stated to philosophy and what cannot be clearly stated to novels. In My Feeling about the Sky, Huang Xiaoyang vowed to express his views on quantum literature. Ambition is not small, but as the writer Mr. Bi Feiyu pointed out, the paradox of "explaining a simple conclusion with complex words" makes Huang himself somewhat secretive when opening his world view. What is not opened in the argumentative paper is free to stretch in the novel. It is obviously a bit stiff to apply quantum physics to literature, but it has a unique artistic effect when applied to the novel world. The following is the weight and function of a witty and interesting discussion in this paper. The narrator of the novel is a person who likes to express various opinions very much. Roughly speaking, the proportion of narration and discussion should be one to two. For a story-telling novel, this ratio is fatal. So I have to point out that due to the limitation of stylistic function, I think "narration and discussion are harmful to the article" Throughout the novel, the author likes to talk independently of the plot, from deception to violence to the symbol of the door to the ills of the times to the bad rules of officialdom and so on. It may be that the author is influenced by Mr. Wang Xiaobo. I think the author talks about himself with his extensive knowledge of literature and history, which is brilliant and even wonderful, but he is careless about the novel as a whole. Li Changzhi, a critic, criticized this shortcoming of Lu Xun's novels many times in his book Criticism of Lu Xun, which is also a reminder to the author. Because in many discussions, the narrative rhythm of the novel itself was not well controlled, and later it became more and more "urgent". This may be an artistic expectation of the author, but it has no good artistic effect.

Even so, flaws don't hide Yu's flaws. As a well-read and easy-to-understand work, The World on Earth is an important impact on the increasingly trivial contemporary fiction circle in recent years. On the technical level, the author absorbs all the advantages of modernist novels extensively, and is very skilled in irony, metaphor and intertextuality, and also incorporates new elements of fantasy novels and Chinese officialdom novels. In the words of Mr. Wang Xiaobo, it is a "difficult" challenge for all colleagues who write novels. This challenge is actually Huang Xiaoyang's first challenge to himself. He began to jump out of the state of self-feeling and have a pure gaze and concern for everything in the world. Compared with China's youth novels, the imagination, comprehension, depth, difficulty and aesthetic feeling of the novels have greatly declined. I admire Huang Xiaoyang's efforts. With the passage of time, Life on the Earth will surely rekindle the vitality of China's avant-garde novels in the new century because of its difficulty, strength and seriousness of questioning.

Through Huang Xiaoyang's thinking, I still return to the question at the beginning of the article. For a long time, I had great doubts about the reasons for writing. With the accumulation of life, this doubt has become more and more acute. Writing, like any simple job, can't strongly influence anything. We can see evil, and we can see that evil is looking for punishment and moving towards punishment. We are powerless because of our own weakness, or we are an organic part of evil, that is, a member who bears a heavy burden in that tragic paradox. So what should we say as "living people"? There is no causal relationship between good and evil. As a state of human existence, crime and punishment in the modern world are not purely legal, religious or ethical issues, nor are they purely aesthetic issues. Behind crime and punishment is the symmetry between evil and good, and the symmetry between entropy and anti-entropy, all of which contain the care and affirmation given by fate and the master in the dark. Modernization happens to human beings, which is a kind of progress and a point of no return. It can create a stone world full of hard truth, and it also includes the Shaman who leads to the future. There is universal significance in dripping water, but people are broad after all. If we seek beauty with patience and self-confidence, instead of punishment, we will turn right and wrong into aesthetic concern. I think this is the ultimate comfort to human suffering. Therefore, I wish Mr. Li Guoan peace at the end of the novel Life on Earth!