Writing of the Youth Portrait of the Town -Fan Dunzi's novel "lyric era" read

Text/He Kaikai

In November 2021, the youth writer Fan Dunzi published his first novel "lyric era". The author took time as the line, surrounding the structure of "in his hometown -leave his hometown -return to his hometown". A series of lifelike characters such as Yang Mei, Zhang Rocket, Guo Jinlong, etc., outline the group portraits of young people in the town.

Yang Dapeng is a rural youth. He changes his destiny through the college entrance examination and finally stays in the city. His sister Yang Mei has suffered from pediatric paralysis since childhood and can only stay in the countryside to live in the countryside. In contrast to the two phases, although Yang Dapeng was in the city, his heart could not be safe. Rural culture has relatively stable characteristics, while urban culture has considerable liquidity. The city is like a huge magnet that attracts the youth in the countryside, allowing them to get out of the countryside and try to integrate into the city. Guo Jinlong's motorcycle, as a new type of travel tool, entered the countryside for the first time, and became the envy of everyone for the first time. The update of the tool, the update of the concept, and the impact of the original rural ethical order, everything is re -shuffling, everything is breaking. Motorcycles have become a symbol of Guangdong, a symbol of wealth, and deeply stimulated rural youths. They began to go south to find a dream of wealth.

Marx said that when capital comes to earth, every pore is dripping with dirty blood. In fact, money and wealth, implied desire and degeneration, and their own lives fall into a kind of disorder and nothing. Family structure is facing challenges. The marriage ethics in the countryside has one -to -one correspondence. From certainty to uncertainties, from stability to liquidity, the footsteps of social changes to opening and diversity, and the monotonous of rural life has been relieved. In the open looking at the local and the distance, Yang Dapeng kept thinking about leaving the countryside and entering the city on the "tree". Unlike the young man who dropped out of school early, he entered the city through the college entrance examination and bought a house in Xi'an to settle.

For his hometown, Yang Dapeng showed a complex tangled side. He grew up from his hometown, walked out of the countryside, and was even ashamed of his wife Liu Na. He hated his hometown, and he also loved his hometown. He knew he could not do without this land. From the perspective of Japanese sociologists, the "discovery of the landscape" has two meanings. One is that the natural scenery and things that already existed were placed under a specific observation perspective to make it the object of a specific perspective. The meaning of its own meaning has become a "landscape" with a new meaning. The other is the moment of the historical process, where the retrospective construction is built, so as to shape the unpredictable category as a self -confidence. This process will use the "discovery" posture to cover up the construction behavior of its own construction. In other words, in the hometown and leaving the hometown, the "landscape" is both subjective and indifferent.

We should think about why Yang Dapeng is difficult to place his emotions. The long -term loneliness and lack of companionship in rural life, the family itself is not sound, the mother's departure, the father raised his brothers and sisters alone, there is no feeling for the family's dependence and warmth. His childhood trauma experience made him lack a sense of existence, and his life in the city was unsatisfactory after marriage, which gave him an urge to escape. In the flow between cities and villages, emotions are difficult to cut properly. The deep level lies in the nature of the city lies in the transaction. The relationship between people and people is a state of tension. Imagine, trying to re -reach a warm and harmonious interpersonal, to get rid of the pain and anxiety deep in the heart.

Yang Mei is Yang Dapeng's sister. As a brother, she instinctively wanted to protect her to protect her and even marry Liu Na because she was similar to her sister. Yang Dapeng transformed into a "escape rabbit" network online chatting with her sister Yang Mei, wearing masks from beginning to end, maintaining this love and connection. The communication with my sister has the performers. The "I" in the play is a performer, a omnipotent person, and the younger sister Yang Mei is the audience and a limited person. On the surface, it is a netizen chatting. Anti -alienation communication; similarly, "I" has become a writer, writing novel "Looking for Baymeter" and "My Father Sleeping in the South", forming a structured paradigm of "play in the play", creating a grass -snake gray line, Fu Fu, Fu Fu, Fu Fu, Fu Fu, Fu Fu, Fu Fu, Fu Thousands of miles, note the dramatic effects of each other and handwritten.

The novel "lyric era" is from the perspective of the protagonists Yang Dapeng and brothers and sisters of Yang Mei. His father's south did not know the news, and the grandmother was full of mysterious words. Through the family, the different families of different characters in the village and towns are connected. Focusing on the changes of the protagonist, the townships are constantly moving forward to shape the fate of the three generations of three generations such as mules, Yang speakers, Guo Haiyang, and Guo Hongxing. The writing of personal history and family history, local history, and social history, the sadness and joy in the past 20 years fits up and down.

In Shaanxi writers, there are a series of classic images of the image of youth, such as Sun Shaoping and Sun Shaoan in Lu Yao, Lu Zhaopeng and Bai Xiaowen in Chen Zhongshi, the golden dogs, cited students in Jia Pingwa, and the Yi Qin in Chen Yan's pen. E waiting for. Compared with this, Yang Dapeng and Yang Mei in the writer Fan Dunzi have many similarity and differences when writing young people. The times are developing forward, and the fate of the characters is the product of the times. The loess of Shaanxi is heavy, and the sound is cool and sad. People who grow on this land love here and hate here, and it is inseparable from here. There is no need to groan the pain of life, but also like the author's title "lyric era", hug the earth true, and choose to settle with the world. Personal profile: He Kaikai, post -90s, a master's degree in the Academy of Arts of Guangxi University, a member of the Jilin Provincial Writers Association, a member of the Jilin Provincial Literary Critics Association, and a special commentator of "Works" and "Writer Weekly". He studied at the middle and middle -aged writers of Jilin Province of Lu Xun Academy of Literature. The works are found in newspapers and magazines and new media platforms such as "Literature and Art", "Wen Wei Po", "Chinese Graduate", "Chinese Literature and Art Review", and "Chinese Young Writers".

Edit: Liu Qihan

Source: Literary Newspaper

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