Liu Liangcheng "Benba": The form of childhood and dreams of the nation

Under the inherent summoning of "academics should become the initiative in the process of contemporary literature", the "Chinese Modern Literature Research Series" set up a column of "Special Selection of New Works" in February this year, and the recent further expansion of the "Series of Series Specials Selecting a new research workshop "invites more young commentators to participate in the discussion of the work. As the editor -in -chief of the Series, Li Jingze said, "special selected works" is "trying to choose a work that can constitute a phenomenon and contain some academic challenge", and look forward to "historical depth, broad social, cultural, and aesthetic vision, reflecting the reflection of Ambitional thinking and criticism. "

We have a common concept and effort with the continuous support of young students and promoting the ecology of young people over the years. Starting from this issue, this newspaper and the "Special Selection of the New Research Workshop" will bring readers one after another. Select works "Discussion. It is hoped that these youths with things that open the text and the complicated connection between the world at the moment will go to a more vast distant place.

Shen Yan: I mainly focus on the "mother's belly" today and discuss the hometown metaphors in "Benba".

If we are familiar with Liu Liangcheng's writing, we will understand that his creation starts with prose poetry. For example, we all familiar with "A Village" and "The Sun of the Yellow Sand Beams" is his masterpiece. The chapters such as "Blowing the Wind" are popular. As a "rural philosopher", Liu Liangcheng's thinking about his hometown has been running through literary creation. "Hometown" should be called a key issue to discuss the literary creation, and it is also an important one to understand Liu Liangcheng's works.

The picture book "The Lord of Baoma" Liu Huimin/Xiong Xiuli

When the epic "Jiang Gel" was adapted from the epic "Benba", when he presented the "hometown", it was very different from Liu Liangcheng's earlier literary creation. "Hometown" is hidden in "Benba", "virtual", and its "practical" and "grasping point" are the "mother belly" with metaphorical meaning in "Benba". The title of the book "Benba" has multiple meanings. On the one hand, what happened in the country and its land, on the other hand, the original meaning of "Benba" was a treasure bottle, which is the mother's belly of people and everything. Hometown of life. The main plot that constitutes the book "Benba" is the moving home, catching and seeking, and dreaming games. These games are brought out of the mother's belly and uterus. Moreover, the distance between Honol, Helan, and Harbin King's abdomen determines the strength of these three game power. There is a detail in "Benba" that is impressive, that is, Honggou and Herlan leave their mother's belly is forced to be helpless, rather than actively choosing. "Mother's abdomen" is a beautiful and naive nature, symbolizing the origin of the real world. Interestingly, no matter how hard Helan and Honggul worked, they couldn't return to the beginning after all. They have been trapped in the vortex of time. This just symbolizes the hometown that is expected to reach. In addition, Herlan and others in "Benba" involved the search and tracking of the "mother's belly", and also involved the nested structure and narrative of the text. The author cleverly uses the dream structure in the dream to start the story of the whole story through Herlan and others to find the "mother's belly" as soon as possible.

"Benba" uses the children's perspective from the "mother's belly" to tell the complexity of the real world. Through the beautiful but indescribable mother's abdomen metaphorical hometown that the world cannot return. It is also in this sense that the "Benba" ditch connects the Epic World and the Real World, and puts the real world with the epic world to deconstruct and reflect each other. "Benba" writes epic, and it is the real world we have experienced.

Writer Liu Liangcheng

Appropriate: Liu Liangcheng's works have formed a unique expression of people and things that know each other in both prose and novels. They deeply penetrate the soil, fly to the world for nine days, penetrate the soul, and seek the world where the heart is intertwined with people. The novel "Benba" was produced on the vast and flowing grassland. The story is rooted in the time of observation, and a light dream is born. Instead of writing a hero's dream -like epic, it is better to talk about the dreammakers and dreams. process.

The form of dreams is the form of literature. In novels, Liu Liangcheng uses dreamy literary brushwork to show the birth of oral epic and the vast world behind the text. He connected the historical context of the grassland nation through three games brought from his mother's belly. Liu Liangcheng persistently looking for a huge huge thing hidden in the time and space iceberg sinking, with idealism and heroism, rooted in realism, the heroes in his pen are not just eternal youth in epic, wine banquet, prestige, prestige, and prestige He returned triumphantly, as well as the guilt of escaping years and growth. The ordinary people who returned to the eastward in the difficult times played the role of heroes in the epic to save the tragic experience of the "Qi" of the oral traditional heirs. Real life and characters are the shadow of epic. Herlan and Helanqi have crossed the boundaries between dreams and reality. Under the chanting of an epic of a generation of epic, it has built into every parallel world with flesh and blood, laughter, and tears.

Liu Liangcheng is like a blooming poet in the traditional long river. He uses an epicist -based toolbox and surpasses the structure of the epic. Helanqi. The protagonist of the epic "Jiang Gel" is Jiangger, and the protagonist of "Benba" is more like the "Qi" of the story of Benba. In the same story, they sang with different voices, echoing each other, scattered and matching, and interlocking. The characters have taken root from the unstoppable dream of the dream, and they have come in the inertia of dreams, growing into their own appearance, and appear on the front desk of the epic from the backcourt of the dream. The reality and epic life exchange synthesize a circuit that continues to extend to the surroundings. As long as the poem is, the world is big. In the documentary "The Everyday of Literature", Liu Liangcheng tells the understanding of dreams

Fan Yingchun: This is first of all a book about time. Time is no longer linear flow here, but is distanced. As a result, the most essential irreversible and homogeneity of its time has become the existence that can be paused and can be doubled. "Benba" redefines birth, growth, aging, and death. The people live in games and dreams. The dreamers have the initiative, can kill people, and change the direction of the story. Everyone is an actor in the world of Chumen, and a person who creates Chumen. Even if it breaks the limitation of time, it still enters the ultimate dilemma of people: killing, loneliness, and wandering. There is no pain in the epic, but there are still people in the epic.

Chapter 4 Back to the content of reality and build an epic scenic spot, it gives readers a sense of crossing. The two narrative time has a split and collision, but it has also achieved an unexpected effect. Our real life. Two times have always coexisted, but no matter which time, people have never stepped out of their fate. "Benba" is a "sad story of time" within the epic and outside the epic.

Outside of time, "Benba" is also a book of returning home. The people are going back to the grassland, and Herlan wants to return to the mother's belly, but the only way to go back is to grow old first, Honggur is old, Mrs. Aga is old. Go, all the women in the country are old, "always our other hometown". If you want to return to your hometown, you will have to return to the linear logic of time. Return to the starting point after aging and death. This is an endless cycle and a real eternal return.

Teacher Hong Zicheng wrote the preface written by the collection of Chekfuwen that between "God" and "Godless", separated from the vast space. Benba may be this vast space. Liu Liangcheng completes a spiritual exile through "Jiang Gel", and also completes the redemption of being chased by his dreams. "Benba" is a concept, a free area full of contradictions and dilemma. All the desires themselves are presented in the way of confusion and constant dreams. The epic singing and the writing of "Benba" itself are also a game of text, and the game must be completed with the continuous completion of the game. In this sense, Benba is also an eternal game space. Therefore, Benba is not only the epic and legend of the Mongolian people, but also the state of natural, life, and spiritual survival. It is a place where integration, chaos, and complexity.

Li Bin: "Benba" is different from the novels I read. This is a new type of novel. I named it "Historical Fantasy Novels". The difference between "Historical Fantasy Novels" and historical novels represented by Yao Xuezheng's "Li Zicheng" is that traditional historical novels are a kind of realist novels. It has a historical basis. The realistic historical scenes, the historical narratives that are in line with historical writing habits as much as possible, and "historical fantasy novels" basically have no historical basis, and do not pursue the distinctiveness of historical characters and the realistic historical scenes. The "fantasy" and the "fantasy" of science fiction works in "Historical Fantasy Novels" are also different. Science fiction works are based on the development of modern science and technology. The plot has a certain scientific basis. There is no scientific basis for historical and reality philosophical thinking. China is bitter cold in the Northwest region, water resources are scarce, sand dust is violent, and the wind is rolled away. In such a harsh living environment, people have opened the ring for thousands of years in order to compete for the rich and beautiful residence of waterweed. Extremely cruel grassland war. The author of "Benba" lives in Xinjiang. He is too familiar with such history and geographical environment, but the author is unwilling to write such a history. The moving family in "Benba" is full of oriental wisdom. The essence of hide -seeking is to hide. Hiding will not conflict with the enemy. The highest state of hiding is hiding in a certain age. The more people who are hiding, the more full of strength. The essence of the moving home is to let go. At the beginning, people lived with cattle and sheep with water and grass, that is, the transfer. People have lived tiredly to tame cattle and sheep, but since Herlan taught the game of Rama Kingdom to move home, people regardless of cattle and sheep, cattle and sheep I also live well. This is actually the philosophy of letting go, which is related to the wisdom of Buddhism. Dreaming made me think of Zhuang Zhou Mengdie, and I also reminded me of "Dreams and Fantasy" in the Diamond Sutra. People who have worked hard for a lifetime may not be real in the end, but just a dream of others, what else do you need? Liu Liangcheng proposed the overall solution to the human crisis through these three games, but the novel finally returned to reality. The history of no pain is impossible in history. It is the opposite of real history. Such history is only the author's personal wish It is the historical utopian established by this "historical fantasy novel". Luo Yalin: First of all, the core clue of "Benba" is migration. Migration is a difficult and significant experience in the ancients. The ancient stories of various ethnic groups such as "Exodus", "Odyssey" and "Journey to the West" are based on the theme of migration. In "Jiangger", it was written that Honggul and He Shun Wulan could cross the Wanshui and Mountains. It was the expectation of the ancient nomadic people to overcome the difficulty of migration. However, due to the convenience of technology, contemporary people yearn for migration and romantic migration, which is reflected in the development of tourism. The contemporary part of "Benba" wrote about this paradox about migration and settlement: the herdsmen had just settled, but tourists in the city came to find nomadic life. The migration that contemporary people desire must not be the real nomadic life of the wind and sun, but the light migration of light and sand. This is consistent with the fantasy of the ancients. "Benba" tells the two sides of migration: on the one hand, the novel creates Helan, which can reach the distance in the "one thought", and write lightly to the extreme; on the other hand, the novel also writes really difficult, letting aspects, letting it let The real migration of the heroes died.

Secondly, "Benba" gives aging meaning. The heroes from ancient times to the present are afraid of aging, so they have "Feng Tangyi, Li Guang is difficult to seal", and "Lian Lao Lao, can you still have a meal." Hero Hero in "Jiang Gel" is a "doll for milk", which is the youngest of the hero to the extreme. But the aging hero appeared in "Benba". Hong Gul in "Benba" mainly did two things: he was captured by Jiangger, and later silently undertook the aging of the Baba. That is, Honggur in "Benba" does not become a hero by showing up his force in a state of extreme youth, but becoming a hero through tolerance, waiting, bearing, and silently. Aging is the fate of mortals, and such Honggul is closer to our mortals. "Benba" has transformed aging from various mythology from various myths and legends to the fate that should be assumed, thereby healing the anxiety of contemporary people about aging.

The relationship between "Jiangle" and "Benba" is like "Iliate" and "Odyssey". The themes of "Jiangger" and "Iliate" are war, force, courage, youth, while "Benba" and "Odyssey" constitute the second half of the story: the longing for and conquest for the distant place has become the hometown His memories and regression have become affirmative of waiting and patience with the praise of force and courage, saying goodbye to the infinite desire for youth and making people embrace aging frankly.

Liu Yueyue: "Benba" can easily remind us of Alai's "King Gesar", but there is a big difference in the two. "King Gesar" belongs to "re -description", which is based on modernity. The myth of King Gesar; "Benba" is more like the "fellow humanities" of "Jiang Gel". It borrows the time and space of the epic "Jiang Gel", partial settings, individual plots, and the names of the characters, but "magic reform" of the character and the main line of the story. In "Benba", the story of Jiangger and the heroes was compressed as much as possible, and the hero character was weakened. "Benba" belongs to Liu Liangcheng, "Jiang Gel" is a hero, and "Benba" is "anti -hero". There is no hero in "Benba". If "Jiange" is a myth, "Benba" is more like a fairy tale. "Benba" is a book about time. How to express abstract time in abstract text? The way Liu Liangcheng adopts is to fix time, non -linear, and non -naturally. Entering the novel "Benba" seems to have entered a world full of "worms". Our usual and average time vector can be distorted at any time, which can be stagnated, accelerated or even flowing back. But even so, we can still see the author's fear of linear time. For this, you may have to return to the author's creative intention to understand. Liu Liangcheng once said: Among the earliest ideas of "Benba", Jiangele led the Baba people to build the dam of time in the dream every night, blocking the time from all directions to the country. Therefore, "Benba" is essentially how to resist time, but he has changed the way of resisting from "built dams" into a gaming "wormhole". , But the author's impulse has not changed. Under the appearance of "anti -time", this is still a book of time.

Herakley said, "Time is a checked child, and Wang Quan is in charge of children's hands." This sentence is very suitable for interpretation of "Benba". Liu Liangcheng has some kind of obsession with children's perspective. Banning the characters in childhood, for Liu Liangcheng, it means to observe the possibility of the adult world, and also provides the legitimacy of the game. The form of "light" has disassembled the heaviest propositions of survival, death, and existence of these adult worlds.

Shi Anshu: "Benba" is the creative writing of the epic "Jiangger". This creativity originated from his unique literary writing. Liu Liangcheng has a skill that can transform reality into poetry through literature and transform history into philosophy. In his own claims, literature and art are "talking about the ground on the ground" and "saying real to the virtuality." The key to this consciousness is to imagine that he is detached from history and the crowd, facing the world alone, and then transforming the historical relationship between individuals and worlds into poetic relations in the sense of the argument. So he likes to use the words "one person", such as "a person's village", "Xinjiang's Xinjiang", "a person's self -talk" and so on.

"Benba" also reflects this method. Honggur, Herlan and Harrine King in "Benba" may not want to grow up, eager to return to the mother's belly, or simply unwilling to be born. They are trying to resist the flow of time. Doubt. Because of this, they gamified the survival by moving the house, catching and seeking, and dreaming, and removed the heavy burden of existence. They are always trying to return to the beginning of love and hatred. This may be the connotation of Liu Liangcheng's "fairy tale epic about time".

Traditional epic is a specific history of the nation, but in "Benba", the history of the nation has become the abstract time game of Hunder, Herlan and Harrine King. What the game is explored at this time is not the fate of the ethnicity of history, but the general meaning of existence. In "Benba", there is no history, only time. In such a time, Honol, Helan, and Harbin King are no longer a symbolic image of the nation, but have become lonely individuals who are inquiring about time, and at the same time, and they have become "one person".

Therefore, the creativity of "Benba" is to rewrite the "epic of the nation" into "one person's epic". Of course, this "one person" is a lonely existence in the universal sense, so "one person's epic" is "the epic of everyone". In this regard, "Benba" is not only dedicated to the ancient nation, but also to every modern individual who confronts time alone.

Hu Yanyan: Lucari explained the reason why literary epic in "Novel Theory" in "Novel Theory" and regarded novels as a modern successor of epic. One of the important significance of "Benba" is to provide readers a re -lead to an epic entrance, and at the same time, it makes people think about the existence of novels.

The work was introduced to the contemporary experience, telling the story of the tour group, and took us to the rap. After we sat in the position of the contemporary listener, we started a rap about rescue Xiao Helanqi. Twelve young people took the road with the name of the twelve heroes they just got. The author used epic chanting forms to praise their appearance, legend and courage. At this time, you will really feel that the praise and praise of the epic is necessary. It is necessary to pave the comparison with the row. But these twelve young people are not real heroes, and when they are defeated one by one, you will feel the pain of epic. Just as Helan realized the migration in the dream through the cold wind, we also realized that the epic and novels were parted ways in this pain. The stories of these ordinary heroes give the modern people's minds, so they are shocked that the softness that has been blocked by mediocre life for a long time. This is the significance of the novel after the decline of the epic, and it is also the dream of waking up at the end of "Benba". To a certain extent, one eye in "Benba" seeing the sober and one eye seeing sleeping Harbin has become a realistic metaphor for modern people -on the one hand, aspiring, on the other hand, it cannot get rid of the world. Pursuing the lost nature is an important theme of literature. From Schiller to Pamuk, "the song of innocence" has been chased by the creators and researchers like the nostalgia of literature. Liu Liangcheng's creation has always been known for innocence. But in detail, Liu Liangcheng's innocence is different from Li Juan's innocence. Liu Liangcheng's innocence when he wrote prose is different from the naive novels. His unknown innocence and innocence of conscious pursuit are also different. What changes have brought about "naive" significance from fixing to abstraction, from perception to speculation, and from nature to history? And today we are talking about whether it is hanging everything, vaginalizing, or like Nietzsche's spiritual changes, after the camel, lion, and baby, return to a state of creative continuous opening and starting state? This is a cultural symptom today, which is worthy of serious thinking.

Liu Yangyang: I want to talk about the reading experience provided by "Benba" from both games and dreams.

The game is both a narrative method and an important plot of the full text. The moving home and the saving of the sacrifice will simplify the migration and war into a childhood fun, which will light the heavy reality, point to a free, native initial state, and reflects the novel's desire to return to childhood, childhood, and human nature. And dreaming games are the origin of all games and an important unit of the nested structure of the work. The leader of the game Honggur, Hulan and Harrine are children. As they decrease, their ability is getting stronger and stronger. At the same time, he has two vision of naive and worldly, and can show the original strength of life while mastering history.

In "Benba", "Dream" is the origin of all games. The dreams of nested dreams constitute a complete narrative of the novel. Dreams and reality present a parallel and interweaving structure in the novel. On the one hand, compared to real life, the epic of "Benba" is a fictional dream. On the other hand, if you penetrate the "Benba" world, the relationship between dreams and reality will be upside down. Not only that, dreams are often placed on reality. In part of the fourth part of the novel, Liu Liangcheng directly intervened in reality and described the pastoral activities organized by travel agencies. This was another interweaving of dreams and reality. However, in this part, tourists seem to be completely controlled by the world of Bask, and they involuntarily drink milk tea and embark on a long pasta trip. The real world seems to be the shadow and attachment of the world of the BAC. If before that, the novel has been breaking through various plot balances and reality, Benba and the present, then the balance of Chapter 4 is broken. The reality did not become a solid background of a dream, but in the glory of the world of Benba, it seemed dull and heavy.

"Benba" also describes the relationship between dreams and literature, fiction and reality from the dimension of narrative and creation. Liu Liangcheng said in multiple interviews that "literature is the art of dreaming." The writer seeks the truth of literature through the conversion of reality and dreams. In the works such as "One Man's Village", "Virtual Turk" and "Diabi", "Dreams" have become a highly self -consistent narrative logic, which has to point to a kind of thinking: as a "epic" writing Do you have to respond to reality in "Benba"? Does the novel's lightness of "dreams" point to a realism of realism? This may require more thinking and discovery.

Deng Xiaoyan: "Benba" is a strange work, which belongs to the work of Liu Liangcheng's Congligou period. In 2014, Liu Liangcheng went to Caigou Village, Muqi County. He said that "the memory of my childhood was reserved." "Benba").

There is an important change in the creation of the rapeselon period, that is, the disappearance of the village. Earlier, Liu Liangcheng's work in the village was a key image. The loess beam was in "A Village of a Man", and the virtual village was in "Vanity". ", Also the local face, the village's body's body's detailed insects, livestock, agricultural tools, and even wind and dust, all in Liu Liangcheng's break free of gravity language, eager to fly. "Passion" and "Benba" are different. The former wrote the religious war in Xinjiang history, and the latter was a strange rewriting of the Mongolian epic "Jiang Gel". For Li, Liu Liangcheng looked at the history and memory of Xinjiang in the eyes of chaos. This new change is worthy of attention, because Liu Liangcheng lost his hometown before, and lived in the city, his works were centered on the village. During the Congligou period, Liu Liangcheng's hometown lost his hometown and lived in the village. In the later works, the village disappeared. In the sense of rural literature, Liu Liangcheng faces a new situation, that is, the village that entrusts nostalgia on the other side becomes this shore. How can the native writing continue? Or modern people who return to rural life can continue to express their nostalgia? If you can, how to express it?

One of the themes of "Benba" is to return home, return to his mother's belly, return to childhood, return to the grassland of Benba, and even be regarded as a hometown. The book also wrote: "When we are in our dreams, we wake up is the hometown of return at any time. When we wake up, the dream is a distant and vague hometown. We wake up in endlessly, we are back home." Does it mean that the hometown of modern people is an absolute other side? How will Liu Liangcheng continue his local writing, or he will turn his own literary transfer and go to another Liu Liangcheng?

Liu Daxian: Compared with the historical suspension of "Diaba", I think "Benba" is based on the rewriting of epic, and found a way to balance between light and heavy. After modernization, there is no place where the hero epic has been divided. Liu Liangcheng sang "Qi" with an epic, reintegrating the "chain of broken existence". The words "Qi" follow the way, letting the language become flesh, and a parallel world is rebuilt again in the text. The traditional epic is full of miscellaneous, duplicate, and stylized. It is intertwined with festival celebrations, folklore rituals, faith activities, etc., and does not constitute a complete story, or the story is not the purpose of epic. The field of "collective joy". The meteorological chaos of "Benba" shows the compound charm of the eclectic era. It is a poetic thinking or meta logic that is different from the rational and real logic of tools. And reverie.

Looking back at the history of Liu Liangcheng's writing, although his work is based on the theme of the country, the narrator or lyricist has never been a real farmer, but a "rural philosopher" that may carry the leisurely manner of the earth. Therefore, when we understand Liu Liangcheng from the rural level, we may simplify him. Local literature is the concept of modern literature. From Lu Xun to Shen Congwen, it has formed two veins of reality and romance. It does not include agriculture as industry factors. Writers may write rural areas, rural, agriculture, and farmers, but there is no agriculture. After the founding of New China, a new concept of "creation of rural themes" was born, and one more latitude was agriculture. "Trinity" in rural areas, agriculture, and farmers is a new quality of contemporary literature. Of course, there is a wave of literature in the new era. There are different aspects in rural narratives and imagination: the return of both local literature, rural reform novels, and the root causes of culture with the help of natives. The subject matter of the subject matter and the exploration inside human nature also has ethnic minorities, such as nomadic and fishing and hunting themes. Liu Liangcheng is unique, and it is difficult to understand and explain him with existing words reflected or expressive theory. I think I can discuss with the way of returning to nature. That is to say , Game settings, cheerful banquets, are a return from "Song of Experience" to "Naive Songs".

About the time and space in "Benba", there are more discussions in the previous friends. I want to provide a reference case. We know that Liu Liangcheng built a wooden barrier academy in Conglitou Village, Kazakhstan Autonomous County, Changji Hui Autonomous Prefecture, and stayed in many artists. I know a artist Wang Gang, who once watched a film in his Beijing Studio that recorded the art of the earth in Norizou. His work is called "Growth of the Earth", which uses the bulldozer to push the half -hill slope, and then plant wheat rapeseed. The huge ground relief is quite shocking even from the video. In October 2020, I took a look at the scene. After several years of rain and snow, the huge relief has slowly weathering, not so clear, but I can still recognize the face of hidden undulating people on the earth. This is exactly the effect that the artist wants to achieve. The artist is half completed, and the other half is handed over to the natural reincarnation, allowing time to appear in space. I think it should be a very interesting practice to compare "Growth of the Earth" with "Benba", and maybe some expansion of cognitive expansion.

Edit: Liu Qihan

Source: Chinese Modern Literature Research Series

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