We are from the edge and the center

I like to walk on the streets, stare, observe the city of the city's past and now, or what will happen in the future. That's right, you Chengdu's editorial department is such a team.

In long -term observations, we found that Chengdu is a city full of fantasy. It shuttles its time and space folds, from the title of the sun god bird to the science fiction capital. Essence

On the other hand, we also discovered that Chengdu is also a grounded city. The streets of hot pot are fragrant and coffee scorching ... Chengdu's unique complex personality.

At 15:00 pm on July 2nd, Ba Guang divided culture, Yuefu culture, and YOU Chengdu in the Chengdu store in Fangshu, a special chat game- "When we are pursuing the truth -whether the science fiction and reality are far away from reality, ? "

Under the auspices of You Chengdu's senior editor of Nan Fei, Dai Haoran, the founder of Lefu Culture Tu Tu and the director of Baduang's cultural product, gave his answer from the perspective of publishing editing.

As the founder of Lefu Culture, Tu Tu includes the first time the book "Chinese Story" and "Poet Fourteen" that have been modernized by Chinese folk stories, and "Seeing Women's Trilateral" ("Autumn" created by Grandma Yang Benfen and greatly praised "Garden" and "Floating Wood" and "My Fragrant Fragrance") and other works.

And Dai Haoran, who is both the director of the eight -shot cultural product and a senior science fiction editor, executes the editor -in -chief "Galaxy Edge" series. In the past few years, he also took the lead in making many excellent writers, such as: "Small Town" and "Mars Orphan".

This year, for Lefu Culture and Ba Guang Division Culture, they are all the sixth year of writing books, one represents "Earth Ballad" and one represents "the sea of ​​stars".

· From left to right: Dai Haoran with eight light points and Yuefu culture

Both are full of "distant", and even "feelings" in ordinary readers. When asked about his "far away", when he was tied into the big pit of writing, the two said this:

Tu Tu recalled that one day, her daughter also asked him, is it his way to write a book? For him, he didn't think about what is now and what is far away. This is the process of looking for the road.

Different from Tu, Dai Haoran's practice process needs to be traced back to the university. At that time, he read Chinese and it sounded like a book. He wants to find a place where you can read a book and can discuss a book with many people. Later, he had done games, magazines, and advertisements. After going around, he found that he had to choose a job that he had to deal with the book ...

· Moderator you Chengdu senior editor Nan Fei

In this way, from the sequence of "distant", and the three keywords of the subsequent "real" and "daily", the two began to collide and discuss the splash splash.

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N: How to start writing books and be out of control?

Tu: I can understand the concept of "distance" and why we long for a distance. Because there is some possible dissatisfaction here at this time, and then there is some imagination in the distance. However, imagination is only imagined in the end, or you still have to find a way to arrive. For me, writing a book is the road to arrival.

We just posted a new book called "Book of Creating". There is an ordinary person who is obsessed with ancient Chinese sailing boats. He wants Zheng He in the Ming Dynasty to build a boat to Africa. Can I copy it? He spent a long time, and finally did 6 years of data research. Finally, he restored a warship of the Ming Dynasty. It was 19 meters long. He really made this ship. Moreover, this classical sailboat has no motivation, and it really drove to Hawaii and San Francisco. In this story, why did he do such a thing?

I think his distance is not in Hawaii or San Francisco, which the ship is going to arrive, but the process of making this ship. This is its path.

Therefore, it is not far away, but the road itself.

Dai Haoran: For me, with the process of exploration of my life: Where should I go, what should I really do? The book gave me the answer. My editorial career is only 9 years old. I am very firm. I also like to be editors. I like to publish the industry. This is the first.

Furthermore, I am a science fiction editor, the core mother of science fiction, which is essentially "distant". In science fiction literature text, the concept of "distant" is very large and wide, so that it exceeds personal experience and exceeds general experience, which is the charm of science fiction in itself.

It is my own life experience, and my perception and understanding of science fiction has allowed me to engage in science fiction publishing in Chengdu until now.

N: For Lefu culture and eight light points, "distant" and "edge" are a intention to escape. How to understand the relationship between the edge and the center in the process of writing?

Tu Tu: The so -called "edge" and "center", it is not fixed, it has been swimming. It is a relative concept.

For example, I moved to Chengdu and met Dai Haoran. He talked to me about science fiction. I know that Chengdu is a center for science fiction, because there have been "Science Fiction World" magazine, the world science fiction conference, and the world is about to still have the world. The science fiction conference is the center of the center.

In other words, science fiction itself is not a center. I used to edit in the Beijing News · Book Review Weekly and saw a set of science fiction books in "Science Fiction World" magazine. I think it is very good. I want to make a special report. I get this topic to the newspaper to discuss. Then, the first reaction of the leader is: science fiction, this thing is a bit niche. Although it is a bit niche, we can also support it. Essence Although we made this report, its definition is still clear, niche, edge. Later, Dai Haoran just said, with "Three Body", with "Wandering Earth", science fiction seems to look more and more centralized in the reading map of China at this moment.

Why does it change like this? It is a lot of words that cannot grow in an inherent and centralized system before. And these words themselves are going out of the soil. If you can't grow here, you will grow there.

So, Liu Cixin grew here. "Three Body" is a science fiction literature. At the same time, it is not only a science fiction literature. It has largely carried what the mother's topic should be expressed in the literature itself. It cannot be expressed elsewhere. Liu Cixin expressed it in the form of science fiction.

In the process of growing up, the center and edges are changing quietly. It is the core topic that is the core. It has been there. Through different themes and different expression forms, people of the generation and one generation have to tell, and they seem to be different. Looking back at the end, they are talking about similar things.

Dai Haoran: In my opinion, it is more like a power structure. The so -called "edge" and "center" are more like the relationship between recognition and disagreement: you need to approach such a center to get recognition at the edge.

After entering the Internet era, we will find another kind of power relationship in the "edge", which is the state of subculture. I do n’t enter your central state. I enter my own circle, and I do n’t need to get any recognition, and even say that there is a return state from the center to the edge.

In fact, the edge culture is undergoing another centralized shape.

N: Speaking of the book, can you share with us what you think, what are the most important principles or skills to edit a book?

Tu: For a editor, the first thing to talk about is not the skill, but the choice. For example: Dai Haoran's short -story science fiction collection is obviously not a good choice from a market perspective. But why do you want to do it?

For example: Grandma Yang Benfen wrote a memories of the last 30 days of mother, only 20,000 words, I feel very moving. Huang Xiaodan wrote that she wrote two manuscripts in the future. I couldn't turn it into a book. If I had a MOOK, I would put it in. It is a thought that the publisher will have. This thought later is: I love text very much. I want to do this book because I like it. This is the most important reason.

· "Autumn Garden" and "Galaxy Edge 008" MOOK

The second reason is that my favorite of this book can be passed. Edit can bring you your favorite translation so that you may also like it. Only in this way can this book become market possibilities on the basis of editing.

As for how technology is realized, just like the manuscript of "Autumn Garden" was first called "Life and Death in the Countryside", I felt that it was called "Life and Death in the Countryside", and it would not be seen by so many readers at this moment. In order, I wrote a cover copy for this book: In 1914, there was a person in the world in the world; in 1918, the word "she" was "her". Today, her 80 -year -old daughter told her to the world.

Use such a copywriting to determine the female perspective and determine her relationship with China. These are the two dimensions of the core of this book. To build these two dimensions, it has the possibility of resonating with ordinary readers.

Dai Haoran: The biggest prerequisite for editing a book is that the editor feels like this book. Behind all technologies is to echo the core of the text that wants to express.

For example: Like our "Galaxy Edge 008", there is a novel "Leap the Sky". It does not show a civilization, like "The History of the Roman Empire Deadial History" of hundreds of thousands of words. The novel shows a few fragments, just like the clip of "Human Stars", showing civilization to go out again and again, and may continue hope again and again. You will go out with your own exploration. Although this novel is very short, it has a strong sense of epic. As a science fiction editor, many times we are trying to capture such works.

You feel this kind of constant testing of eternity, constantly showing a civilization, a creature of a creature. This kind of work brings us a different impact that transcends our general life experience.

N: From the perspective of selection, Yuefu is more inclined to realistic themes, and Batuki focuses on science fiction. How to understand the relationship between science fiction and reality.

Tu Tu: The Han Dynasty had Ledu institutions to collect and organize folk poetry. Lefu was the reputation of literature from the Chinese natives and folks.

Its special soil, soil does not mean to stop in the soil. There are two things in my head. In addition to this level, there is something high and far away in the other level. In the publications before Lefu, these high -end things were not expressed at the literary level, but at the artistic level.

We have made some books about art, such as: "The Light of the Wind", the seal design collection of ECM records. In fact, ECM's aesthetic style is an extreme to reach beauty. Can I go to that extreme? It is such an attempt. In the process of writing, I also think on my skills, can I go to a certain point, whether it is made or what I make. Therefore, from this perspective, I don't think there is a book, and I don't want to do it.

In fact, science fiction is looking for a possibility. If I am not so satisfied with our world, is it possible to find it? In the end, all authors may find that the original world cannot be shaped, because no matter how it is shaped, it will return to the world at this moment. The world that we do not satisfy is the truth of the world.

Lefu is sci -fi because we seem to be looking for a possibility, including the possibility of subject matter, the possibility of writing.

Dai Haoran: Is science fiction and reality far away? It must not be. Anyway, we are doing long and original, and each book has a absolute flesh and blood in the reality.

For example: "Mars Orphan", this book takes the examination education and college entrance examination as a big background, showing the crazy educational measures under test education. In order to allow students to do questions, they all sink them under the swimming pool. Many readers read it, and said that this book awakened the nightmare. When I was studying, the days of brushing the question were this state.

"Small Town" tells a small town in the context of the third -tier construction. In this subject matter, we look at the form and content of China's performance very limited. What we can think of is Wang Xiaoshuai. Place in science fiction, I have hardly seen in this dimension.

Science fiction needs to be based on reality. In the words of Da Liu (Liu Cixin), the more realistic you portray, the more realistic the more you write as the news report. Because reality almost constitutes the absolute proportion of science fiction text.

N: There is no restraint in Lefu and Ba Guang points, but their temperament is very distinctive. How do this do?

Tu: willful. Although I am a boss, of course I can make a decision. In fact, the process of making a decision is not so easy.

Every time I persist, I want to try it. There is something behind this sentence. I said that when I want to try it, it does not mean the feedback of the market itself. I made a mistake many times, but I still want to try it.

Holding a mentality of "I just want to try" to do things, maintaining a "wayward choice" to do things, you have to face a possibility, that is, you may not even do it. It is just that Yuefu has a variety of luck, and it has been living until now. If you want to try it, maybe the god of luck will care for you, because people who are willing to try are courage and luck. Fortunately and courage are a blessing.

Dai Haoran: We want to do something different, powerful. Every time I communicate with our partners, I often use Gao Xunxun and Hayao Miyazaki to say those words. He said, come on, let's do something proud together.

We are indeed proud of each book we have made, and they have their reading value and necessity in a certain dimension. We are also looking for it and found our own things. This state is very good.

In addition to the editor, the reader must be brave, and the trial and error price of a book is very small. When you find a good book, it can give you a richer world.

The "natural editor "'s sense of smell of text tension re -ignited the love of friends and science fiction.

The two and a half hours of dry goods shared, and the last time was left to the five audiences. Some audiences asked questions about science fiction and reality; Dai Haoran also sincerely gave the audience's own answer.

The earth ballad and the sea of ​​stars will eventually meet, perhaps, and it will eventually be separated.

No matter how close the distance between fantasies and reality is, at least at that moment, we are close enough.

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Edit 丨 Xiaotu

Photography 丨 VANCY

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