Liu Liangcheng X Yang Qingxiang: "Benba" -the when there is enough time 丨 Phoenix Book Review

Liu Liangcheng

Yang Qingxiang

The writer is the believer of his fictional world first. Only by religious self -confidence can the writer have the courage and wisdom to tell a fictional story to the end, and eventually can be accepted and believed by the reader.

Yang Qingxiang: "When the Altai Mountain is still a hill, the Buhe River or the stream is flowing, there is enough time to grow up all things. Jianger was 25 years old at that time, and the beautiful man Ming Yan was 25 years old. Everyone in Pakistan was appointment at the age of 25, and no one went forward for half a step. "When I first read" Benba ", I just made me amazing. It is a particularly interesting setting when staying at the age of 25 or not. My question is, why is it 25 years old? Is it the revelation from the epic or the perception of life?

Liu Liangcheng: "When Altai Mountain is still a small earth," this is the creation time of Jiangger's epic. I like the world that has not grown up. But I ca n’t squeeze into this existing world to make articles. The epic story is too interesting and perfect. Telling such a story, we can not tell the ancients.

The only possible writing is the time to open a novel that belongs to me outside the epic.

My original idea was to write a novel about time by using an epic background. Literature is the art of time. Write time, instead of taking time as a narrative, this is what I pursue.

"Jiang Gel" touched me, it was the poem "Everyone lives in the 25 -year -old youth" in the epic. "Benba" starts from this epic, and does not think too clearly when writing. But I know the novel is written. As long as my language enters, the language dominates that world, and the miracle will happen in the next sentence.

The outer layer of the story of "Benba" is an adult who lives on a 25 -year -old youth. In the epic age of what is said, there is nothing in the human world, depending on imagination and saying. Imagination and saying are an absolute ability and power. In the novel, I gave Jiangger's ability to murder the dream. He defeated Mang Gusi in his dreams, led the tribe to 25 years old, and decided to stay in this youth. Stopping at the age of 25 is a national policy that Jiangger thinks and leads the whole family. His opponent Mang Gusi did not expect this level, so they would be aging. Once a person will be aging, a fatal enemy is out of thin air: time. Jiang Gel's father Wu Zhonghan was defeated by aging, and Jiang Gel didn't want to follow him.

The inside of the novel is the story of three children. Jiang Gel's power to stop at the age of 25 was threatened. First of all, he hid the king of Harbin who was not born in his mother's abdomen. Mother belly outside of time. Later, King Highei was forced to be born. With the help of Hulan's moved game, everyone in his country returned to his childhood. The "everyone lives at the age of 25" in dealing with the Pakistani country, and the countermeasures of King Harri are "they don't grow up, we don't grow up." From the youth to the long -distance wilderness, it has made them safe.

Yang Qingxiang: From epic to novels, there is indeed a structure conversion. Epic often uses the mythical narrative structure, and the novel will use the narrative structure of the story. In the sense of "fiction", myths and stories are connected, but the former often tells the experience of miracles or extraordinary experience, while the latter pays more attention to daily and peaceful experience. The interesting part of "Benba" is to make the two a creative integration.

Liu Liangcheng: Epic belongs to the "god structure" world. It does not have reasonable or not. It is said that it is said that the sun rises from the west. Modern novels are fiction and require internal rationality. The writer is the believer of his fictional world first. Only by religious self -confidence can the writer have the courage and wisdom to tell a fictional story to the end, and eventually can be accepted and believed by the reader. "Benba" uses the epic background of "Jiang Gel" to find the time of time to accommodate a novel between the god structure and fiction.

Yang Qingxiang: Back to the novel itself, the "game" setting in this novel is great. Each game is actually a game in our daily life. For example, catching and hiding, such as playing with home. The key issue is that you use a very organic way to use these specific games as a tool to combine the pursuit of freedom and the soul. In my opinion, there are four directions in the "game" in "Benba". The first is a game of tools. It is actually a technique of the non -technical era; the second is a method of narrative. Describes, structural stories; the third is that it has a spiritual, free, and aesthetic dimension, and the game implies a non -utilitarian life and values. But the most important dimension is the dimension of ontology based on the previous three, that is, the game originally constituted human life, or even a basic rule of the universe. It is a game in the sense of the argument. In this sense, "Benba" has highly philosophical games in an oriental way.

Liu Liangcheng: Unlike the beginning of the heaven and earth starting in "Jiang Gel", the story time of "Benba" began at the game: in the early years of "there is enough time to grow up all things" Wu Zhonghan felt crowded. He launched the mover game for people to return to the childhood that did not occupy how many places, and used the hiding game to hide half of the people on the earth and find the other half. However, Wu Zhonghan did not look for those who hid in accordance with the rules of the game. Instead, on the vast grassland that half of the people hid, the country was established. Those who hid, at first they were afraid of being found and hidden. Later, no one was always looking for them to show their bodies deliberately from the hidden place, so that the babe found them. According to the rules of the game, they must be found to come out of the game. However, the Baba people have forgotten them in the game. As a result, the war between the hidden (Mang Gusi) and the Bada began. The only purpose of the hidden person to launch the war was to let the Baks discover and find themselves. The game turned over, and the Baba became hidden. The game mobilized Wu Zhonghan hid to the elderly and was caught up. He used the dream game to hide himself in a dream that would not wake up. His son, Jiang Gel, led the Baba to hiding in a 25 -year -old man forever. Hon Gule, who was unwilling to grow up, stayed alone in his childhood, and his brother Hulan stayed in his mother's belly and did not want to be born. Mang Gusi provoked Benba again and again that the two children of Honor and Herlan played the heavy responsibility of saving the country. At this time, I was hidden at the end of the novel, and the story returned step by step.

"Benba" makes time casual, pause, reversible, and the magic of a hundred years comes from the game. The three games of the moving family, catching and hiding, and dreaming are the new story of my epic space. The game's description has gained a wide time, and the novel is relieved from the epic background. I have the freedom of the epic.

Although "Benba" tells the story of the past, a writer who lives in the 21st century reflects a new understanding of time and space in our contemporary people.

Yang Qingxiang: This semester I told graduate students "Contemporary Writing and Contemporary Criticism", with 5 keywords of contemporary writing as the theme of the lecture, one of which is "expedition". I quoted the work "Benba", and I think it deconstructs "Expedition" in a game. The expedition is not only the expansion of the space, but also the theory of time, but "Benba" uses the way to stop growing and the game return loop to deconstruct this expansion modernity. I think this is a very important attempt. Even an important contribution of contemporary Chinese writing to world writing. In World Literature writing, Fitzgerald's "Return to the Old Boys" also involves this theme, but his "reverse growth" narrative is still too single, and "Benba" is obviously more complicated.

Liu Liangcheng: "Benba" is a writing outside the plan. It was originally a story of Turkhate, which is a "expedition" and regression story. In history, the Turkites moved west to the Volga River Basin from the Eris River Basin, and returned to their homeland more than 100 years later. I migrated the great migration on the road for the 100,000 people and millions of livestock, read many related texts, and also went to the vast Kazakh grassland when I came back to the east. Yi Xinjiang and Bucker Pall have done field investigations. The story route has been conceived. It has also written tens of thousands of words. The novel name "Donggui", the protagonist is a 5 -year -old Jiangger. The tribe took the Epic of Jiang Gel away and walked away in the country, lived in the pastoral land for more than 100 years, but was forced to leave.

In the process of writing Xiaojiang Gelzi, the story of "Benba" appeared. Before I wrote the "Diaba" of the Battle of Ancient Faith in the Western Regions, I wrote me for a one -time war. When I wrote a knife, I would hurt. I died in the death of everyone in the book. Essence "East Return" is the war and death that makes me unable to face. In the end, I decisively gave up, and the too heavy migration was treated lightly in "Benba". I abandoned a lot of stories, only retained 12 young people to save Helanzi, and let it tell it in an epic way. This is the most efficient. I am not drowned in the story.

But "East Return" is not barren, sometimes looking back at those stories that have not been written. They are alive in another time. Those who have been repeatedly thought about by me are still alive. Perhaps in the near future, they all live in, people, cattle and sheep horses, mountain forests, and grasslands have survived. All this is to come to the time of creating a novel for them.

A novel is the first to create a time, and the last time is also time.

Yang Qingxiang: There is a very important theory in the narrative of the novel. The important thing is not the time of the narrative, but the narrative time. Although "Benba" tells the story of the past, a writer who lives in the 21st century reflects a new understanding of time and space in our contemporary people. That is, we are willing to live in a modern life controlled by our mobile phone, our mobile phones, and our Beijing time, New York time, and London time. We tried to liberate from this time, and games and dreams have become important others. Does this also imply a trapped of the present? The novel, as a "daydream", may provide an export of relief.

Liu Liangcheng: I have been thinking, what time is the time in dreams. I wrote in "False Turk" "The running in the dream is not worn." If the literary narrative is a "daydream", something is worn in this dream. Literature is a dream art. I even think that the writer learns literary expression in dreams. The dream method was secretly mastered by some people and became a composition method. We are all the graduates of the dark dream school. Dreams have become the hometown of time, and all the past and future time returns to the dream. A novel is also a hometown created by the writer. Yang Qingxiang: "Benba" is very unique to the time of time. Time in this work is not only a homogeneous physical concept, but also an energy field that can be reached. Time can be touched and can be changed. This may be closely related to your life experience. You will mention wheat and modern farming life in some works. I know you have a garden in Xinjiang. In the image, the wheat you eat is a first -hand wheat, and we all eat second -hand or three -hand wheat. The time for you to spend first -hand, and many people who live in Beijing and Shanghai may live Second -hand time, or in a sense of the remaining time, it is redundant, it is actually not meaningful -because it cannot experience the entire process of life changes.

Liu Liangcheng: I am 60 years old, and people in the city are quite young. The old man in the village. It is always a kind of life arrangement. At this age, you have to have an old and old attitude.

In fact, 60 years old, for me, the wheat green on the field 60 times 60 times and 60 times. Every time I see it, I did not miss the wheat every year.

Life is limited, going forward is an old age. Going left and right is a wide middle age. Walking in dreams is a 25 -year -old youth who will not be aging. At the age of 60, I wrote "Benba", "Everyone lives on a 25 -year -old youth", which is a book of tribute to time.

I have lived in areas of farming and nomadic junctions since I was a child. Our family has raised cattle, sheep, and donkeys, and I grew up in these livestock, and I am naturally familiar with grazing.

The difference between farming and nomadic life is to use and understand the differences in time. "It is made of sunrise and enters the day." This is the time of the farming society. Because the farmers' labor is facing land, it is not clear grass and seedlings at night, and almost all farm work can only be done everywhere. In the nomadic life, "don't eat night grass and not fat". The pastor turns around in the vast space, and the nomads have a vast grassland. Farmers work in their own one -acre three -pointer for their lives. The farming time is as tangible as the fields, and the years of people are deeply trapped in land. But our ancestors were looking at the sun, moon and stars, and the shift of the stars and the shifts of the twenty -four solar terms on the ground.

In rural society, people have a home in a time. Father, mother, grandpa, grandma, three generations of the same hall, or the fourth and fifth generations of the same hall. The old objects accompanied by others are also there. There are trees behind the house, small trees and trees, small trees are planted by father. The big trees are planted by grandpa and even earlier ancestors. When we get cold under such a tree, we will think of the ancestors of this tree, and once sitting in the shade of the tree, listening to the leaves of the leaves. In the cool afternoon afternoon, he also listened to the bird calling on the tree. It was also seen that the leaves germinated in spring in the year after year, and the leaves fell in the autumn. An old tree associates us with a long ancestor. In the old tree of the old tree, the ancestor's attention of the year. In such a reincarnation, when the time came to us, we grew up, the ancestors were gone, but the trees planted by the ancestors were still there, and the coolness left by the ancestors was still there.

Our northwestern tree grows slowly. When his son is born, his father will plant a row of poplars. The poplar trees will become a sister -in -law for 7 years. house. But the bigger beam was planted by Grandpa. The woods that make furniture have been cut and stored for many years. There is time to have ancestors in a house. When you are living old and living ancestors, you will know that something will continue to live, just like that tree.

The farming society is a slow time, it can't be fast. Because the accompanying people are all things that grow slowly. The seeds are sowing, waiting for germination, waiting for branches to show leaves, flowering and fruiting, this process is slow. Our farming civilization develops mature during the slow growth of rice and wheat. This civilization is good at boiling time. The farmer who promoted the seedlings wanted to change the speed of time. Although He Miao was killed by him, he tried to change the idea of ​​changing the growth rate of crops and resisted the time as an idiom. Now all the scientific methods that make crops grow rapidly have already realized his ideas. For the application of time, we have more ways than the ancients, but time is the same.

The dead and alive people, in the wilderness of time, the land connected to the earth, life is endless. We caught the tone of the ancestors' break, and the road that the ancestors had finished re -walking. What a warm and thick soil. Essence

Yang Qingxiang: Farming civilization and nomadic civilization are both human civilizations, and they are also a type of civilization that occupies human history for a long time. Although the civilization of the 15th century began to disintegrate, in fact, its various impacts still retained and constituted the inherent structure of human perception. Even in contemporary life dominated by the Internet and virtual technology, humans can still perceive the secret summoning of land, trees, rivers, birds, and beasts. In this sense, time is not in the sense of evolution, and different time concepts and time cognition are actually blended together. We have both the view of the time of modern technology civilization and the time view of farming civilization and nomadic civilization. It's just that sometimes we are confused by the current appearance and think that the possibilities have disappeared, and through reading, travel and creation, especially through specific labor, we may be able to retake the richness and complexity of time existence. sex. This is clearly reflected in Heidegger's philosophy. His philosophy of farmers' shoes is explained as "labor" and "sacred time". Liu Liangcheng: My mother has always lived in the lunar calendar, and she told us the date of the lunar calendar. She remembers every day of the twenty -four solar terms and instructs us to grow vegetables in the academy. The villagers of our Congligou are also planted according to the lunar calendar. It is not useful in the Gregorian calendar, it is empty, no content.

I was invited by the villagers to drink the last year, Qing Liqiu, and listened to a proverb on the wine table: I got autumn in the morning, and it was cool in the afternoon. In the afternoon, I really felt the coolness of the autumn day. The subtle changes in the solar terms were felt by myself.

In the long years, the ancients watched the seven -star Beidou in the sky, followed the traces of the direction of the Douxing Star, and inserted twenty -four road signs on the road a year. Whenever we walk into a solar term, as if we return to a hometown in time. From the beginning of the spring to the end of the cold, there are twenty -four solar terms in the year. In this way, we will not lose our direction in time. As a farming nation, we will know what the solar terms should do.

Every year when I was sown, my mother reminded me according to the lunar calendar solar terms. My mother said that one day was planted for a day, and she was familiar with 10 days late. On the day of Bai Lu after the autumn, my mother reminded us to quickly pick up the eggplant and spicy tomatoes in the vegetable field. Because Bai Lu is about to reduce frost as soon as it arrives. "After drinking Bailu water, the worm closed my mouth." This was my mother said that the life time of the worm was over, and I shut up. All crops are also closed, and the fruits that are not full can only be beneficial. Those are all over the north and south of the Tianshan Mountains, and they rushed from summer to grow, clustered to the beginning of autumn, and at the end of Bai Lu, it was already the end of growth. Everything worked hard to grow. Sure enough, as soon as Bai Lu passed, I saw that the vegetables in the vegetable field were different. On this day, Bai Lu became a long, gray, gray, losing growth of life solar terms after a long period of growth. This is what the twenty -four solar terms mean to us. It allows us to have a clear, time -old road when we go from spring to winter. There are twenty -four warm or cold signs, and twenty -four let us seem to leave at a certain time, and it seems to be back home. That home has been observed by the ancients one day and one day. The ancients were clearly explored in the years. The changes in the climate from morning to night were made clear. Just like the day of Liqiu, I can feel the changes in the morning and afternoon. When you were at this moment, I suddenly felt that the ancestors of 1,000 years ago were at the same time and space as you, at the same time, in the same cool wind.

Many solar terms in the lunar calendar are urged home. Our farming nation, fields, parents, ancestors are in their hometown. Chunyu used to be Qingming in the past, and it was time to go home to sweep the grave. When I got to the tomb, I saw several generations in the soil. The dead and alive people, in the wilderness of time, the death connects all things, and life continues. We caught the tone of the ancestor's broken tone, and the road to the ancestors was re -walking. What a warm and thick soil.

The Chinese have created the life time of the thousands of generations. In the family genealogy, the ancestral temple, and the ancestral tomb, the family has continued to belong to the family. My life is the ancestor's Chitose my hundred years old and the long lives of the descendants. When I was not born, I had lived with my ancestors. When I finished my ancestors when I finished my ancestors, I was in the blood of my ancestors and the blood of my descendants. This view of time was established in the slow and long farming time. In this long river of life, the disappearance of life grows from generation to generation. The individual life joined the long river of the ancestors and descendants, and we gained an overall life length. People in our traditional culture have gained such a life.

However, such a life time will not be seen here. With the emergence of several generations of children, this long river of life that belongs to the clan is obviously breaking.

Yang Qingxiang: The "home" of modern people has become a myth. One of the famous poems in Hollys is "Return to Hometown". This "home" is of course not returning to the era of swords and fire species in a physical sense, but also points to a kind of aesthetic pleasure and the opening of the soul. People not only live at this moment, but also live in the past and future. Time is three -dimensional, life is interconnected, and art and novels are constantly changing.

Liu Liangcheng: The time in my work has the common influence of farming and nomadic time. More personal time feelings. People live in time like fish living in water, and they don't need to know what time can live. But if you want to know? Perhaps literary writing is a creation of attempting to know what time is. When the writer writes one sentence by word, every word and sentence are perceiving time. Of course, the significance of time may be that we have no perception of it. Time quietly left. Fortunately, there is literature, which is endlessly growing, from the past, imagination, and soil -like language. Yang Qingxiang: The work where the work "Benba" is particularly valuable is that this work itself is an organic body of life. Just open one of them and can feel the joy, jump and reflection of life. This is for survival. This is for survival. A state of "true" seems to make people return to the naive childhood, which is also the source of all art and myths.

Liu Liangcheng: Maybe the game arouses my play. When we were young, we played a moving family and hiding and seeking. "Benba" puts the game in the boundless time and space of the Gobi grassland. That is the grassland I ran from a young age. I can see the distant horizon, with clear day and night. Once the author enters his own territory, he can call the wind and rain. The wind became my breath, and the mountains and the earth became my body.

Among the earliest ideas of "Benba", those heroes only fought with time. Jiangele leads the babe every night to build the dam of time in the dream, and blocks the time from all directions to the country to ensure that they are still young when they wake up. The peripheral Mangusus tried to destroy the dam of the time of the Pakistani country. All wars happen in dreams, and people do not use precious time after waking up to fight. What can be solved in dreams will never be wake up. Because the people who wake up will bleed and die, the person in the dream will live after waking up. In the dream, he was cut by the enemy, and he would not be painful to the day.

I wrote tens of thousands of words for the dam of time in this dream. Later, threw it. I feel that it is too tired to stop the time from the end of the barrier. Jiangle and the Boss are tired, and I am tired. The appearance of the three games later changed the fate of the novel. The game allows me to return to my fun time.

One day after the publishing of "Benba", the tens of thousands of words I rolled in the computer, I felt that I prefer the endless labor of the stone barrier dam. Everyone knows that the stone wall cannot stop it. Time, a time exposed from the stone seam can be grinded out of people's life, but the obsession of their stone barrier dams blocked the time. This firm obsession with fiction is produced in the heart of the writer. It must be strong like a creature in order to tell your fiction stories to the end, shaping, change, annihilation, and restarting time in the text.

The essence of literature is time.

Writing is the dam of the collapse of the collapse with words in vain. Time cannot be defeated, but as an individual, at least we still have time to resist time in vain and leave what we choose to choose in the text. We believe that good text will survive. Those texts that take time will always give us a moment of heart and stay.

Content source: Literature and Art News July 15, 2022

WeChat editor: Lu Yimeng

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