Bi Feiyu: Talking about five days

Bi Feiyu, born in Xinghua, Jiangsu in January 1964, contemporary Chinese writers.

In the mid -1980s, novel creation began, and novels such as "Breeding Woman" and "Wangjiazhuang on the Earth" were published one after another. In February 1998, he won the first Lu Xun Literature Award Excellent Short Story Award. In March 2011, he won the Yingshiman Asian Literature Award with a novel "Corn"; in August, he won the Eighth Mao Dun Literature Award with the novel "Passenger". In October 2013, the first non -fictional work "Northern Jiangsu Junior" Don Quixote "was published; In January 2015, the nine volumes of "Bi Feiyu Wenji" was launched.

Five Talks

Text/Bi Feiyu

short story

The relationship between the short stories and experience I desire is not very close. Relatively speaking, the good short story I love seems to be "less than things." Because "no things", the empty mountains are not seen, and they are also "less than things", so they see human beings. Sometimes, I think that short stories have the characteristics of oriental aesthetics. Oriental aesthetics is a aesthetics of hanging appetite. I often use a vulgar example to illustrate this problem. For example, a piece of lamb, you bake it, and the aroma it emitted makes you DC, you just want your life, but you really send it to your mouth, that is, that is. There is also a relationship between "big" and "small" here. How big can a piece of lamb be? However, as long as it is roasted on the street, myths appear immediately, "mutton" becomes huge, Shili Changjie is omnipresent, you can't see it, but it can't let you go. Own overwhelming and dominant advantages. This is the power of "taste". "Taste" is the attribute of things, but it is hundreds of times larger than things. The short story is a piece of lamb, the difference is that it was "baked".

How did the short story "bake"? I have no idea. But one thing is obvious, short stories are difficult to avoid its technical nature. It is dangerous to talk about technology on art issues. It is not as extraordinary as "doctrine", let alone "doctrine" deafening. However, technology has its practicality, and art also has its practicality. You can ignore it, but as long as you are engaged, you can't get around. Writing and art is different, different from music, and more different from competitive sports. Those things are unimaginable without special details. Writing is different, writing has its broadness, sometimes it can be written. This generosity is easy to cover up writing technology. Therefore, in the 1990s, there were many Chinese literature "events", many trends, slogans, and good novels, especially good short novels, which had a direct relationship with the generosity of writing. Writing is no longer art production, but is directly an art stock market, and even art futures, with the nature of buying short and short. A few years ago, I read an article. The article said that good novels must be the novel that is the least like novels. This is the saying of standards to avoid common sense, and this is still good. Watermelon is not like novels, liquid toothpaste is not like novels, puffiness is not like novels, and nose is not like novels. What can this show? It's just a word. Therefore, I insist on this view that good novels should stand the test of "meaning" (if meaningful), and it is also necessary to stand the technical text test.

novella

The middle part I desire should first have the characteristics of analysis, and the characteristics of the analysis ensure that the essence of things can be presented most fully. The essence is always strong and reliable. With such a background, most of the characters you want to depict will not move, so that the characters reach the incident at once.

This is not a profound truth. What we lack is unswerving practice, the desire, ability and courage of practice. We saw a lot of indulgence, and most of the indulgence works floated. Some critics followed behind, raising the creation of "people in things" to the height of freedom. Indulgence and freedom are completely incompetent. They are together, but they are even more divine.

Wang Anyi has a saying that I agree very much, and she emphasizes the "derivation" function of the novel. The word "derivation" has a formal logic, but in my opinion, "derivation" is the novel -especially the middle and long articles -the essential "judgment control" "Fiction Rhetoric"). From human behavior (or inner) to people, to people's relationships, then from the relationship between human beings to people, to human heart (or behavior).

In contrast to short stories, my desire is connected with flesh and blood. It is "passing", and it can be reached out, and the smell of lipstick and dinner is brought when they speak.

Be known as

"I" is the first person in the new era novel. Some people say that "I" should be the only person in all novels. This sentence is magnificent.

I admit that this is a big topic, and I even want to admit that this is a very meaningful topic. However, this is two different things. I am interested in this problem because of Li Jingze. It was "many years ago". Jing Ze and I sat in a house. He turned a magazine. Jing Ze suddenly dropped the things in his hand and said, how can he write novels if you leave "I"? Jingze didn't say it, and I didn't ask anymore, but this sentence stayed in my heart.

How can I write novels if I leave "I"? Is it "I" big? Or is the novel "small"? Zhu Sujin said that the writer should be larger than the work. I agree with this sentence. But I thought and thought, Zhu Sujin's words did not seem to be related to "people". realism

Realism is something I despise. That is a sign without imagination. After I became my father, my views changed a little. Xu Kun said: Being a father changed the endocrine of men. Xu Kun's language. Before being a father, I imagined my son. After my father, I stared at my son. This involves the problem of imagination and observation. Observation is meaningful. It reminds you that you are useful to others and say a little bit, it will make you a sense of valuableness. The imagination is definitely indispensable, but the value of observation is that it helps you build such a relationship with this world: this world is cut with you, you are not free; the world is not just you; the world is not just you The imagination, it still has to face it. This basic facts revised my views on art, and of course I also revised my view of the novel. The result of observation is: it makes me see the unsafe of the world. Strangely, I pay more attention to this world than ever. At the moment of imagination, his eyes are usually not focused, and in the process of observation, his eyes are full of vigilance. When I opened my eyes open, I realized that I was a man, a man who could not pay attention to the future and fate. Therefore, I want to say that realism is not entirely rhetoric, and it first stares and pays attention.

Narrative

The narrative is not a narrative, but you handle your relationship and your way of life. So the first element of narrative is your usual mentality of intervention, and then language. When I write a novel, I often have a bad motivation to myself: here is here, kid, you say, I think you say what you say.

This article is selected from "Space of Writing Full Words"

Edit: Liu Qihan

Source: People's Literature Press

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