Literary Master 1983

Chapter 120 Yu Xuanfeng is coming (Part )
A middle-aged cartoonist named Hayao Miyazaki told Yu Qie: "I came to the Shanghai Art Studio once before, and I was very disappointed because I came here for the most 'original' purpose of painting. I love animations like 'Havoc in Heaven'."

"But the leaders of Shanghai Fine Arts Factory told me that they were destroying art for the sake of making money. I was so disappointed that I never wanted to come to China again."

Yu Qie said, “What do you think now?”

Miyazaki said: "I have found that in different eras, creative people are always in the golden industries of that era. The people who are really going to make 'Havoc in Heaven' now are actually Chinese writers."

Writer Haruki Murakami exchanged contact information with Yu Qie. He said that he had a "Chinese complex" in his heart. In some of his works, he unconsciously wrote some Chinese cultural images. He grew up reading Lu Xun's articles.

“China is not something I want to write about, but something I deliberately imagine. China is an important mark in my life.”

Yu Qie asked him, "Then why don't you learn Chinese?"

Murakami Haruki said: "Because Chinese is too difficult."

"If your novel is translated into Chinese in the future, and it deviates completely from the original meaning just because of the translator's language style, would you be willing to do that?"

"Even if you say so, I won't learn Chinese."

No wonder Haruki Murakami is fooled by the Nobel Prize in Literature every year. With his half-hearted attitude, it will be difficult for him to achieve anything.

How were the Nobel Prizes for those minority languages ​​in Asia won?

There are certainly reasons why the work is appreciated, and there is also the extremely outstanding contribution of the translator.

Osamu Tezuka, the manga artist, asked Yu Qie to bring a bouquet of flowers to Ba Lao. He said, "This is because I am grateful for the efforts of the writers and because I have watched the Chinese art film "Princess Iron Fan" before. This animation has a profound impact on me."

As we all know, Osamu Tezuka is the "historical shocker" in the Japanese animation industry. Without him, there would be no Japanese anime, which means that without "Princess Iron Fan", there would be no Japanese two-dimensional world and Akihabara.

There would be no Genshin Impact and Naruto!
In addition, the relationship between Osamu Tezuka and Hayao Miyazaki had broken down, so they sat separately.

Actor Ken Takakura approached Yu Qie and asked him, "Will there be a chance for your work to be adapted into a film or TV series in the future? I am willing to act in it for free to express my apology to the Chinese people."

Yu Qie said: "We have rules for making movies in China. Although the pay is not much, we still pay it."

"Then donate the money to the China-Japan Friendship Organization!"

Being in the middle of it, Yu Qie had mixed feelings. It can be said that many people in the studio were infected and truly believed that there would be unity in the future.

The translators on both sides appreciated each other and developed a friendship.

The audience is far from asking enough questions; they are eager to have more contact with Chinese writers and want to know more news.

There were many celebrities among them, but at this moment they behaved like old friends that Yu Qie had not seen for many years.

This may be a phenomenon that only existed in the 1970s and 1980s, just like the conductor Seiji Ozawa who visited China. This Japanese came north from Shanghai and was warmly welcomed by the leadership. This is simply unimaginable in the future.

We're friends!
As the interview came to an end, Kuniya Yuko mentioned the question she wanted to ask Yu Qie at the beginning:

"Yu Sang, why aren't you nervous in this debate?" Because my hundreds of millions of compatriots are supporting me? Because my 30 million compatriots overseas are watching me?
Yu Qie told the truth: "I often give speeches at meetings at school, and this is not a big deal for me."

"What if you were on NHK's evening news?"

"It's not a big scene." Yu Qie frowned and didn't feel anything different.

Yu Qie has never lost in debating with others, but at worst he still has the trump card of shooting.

The show was very successful.

The effect of live television broadcasting is far beyond the reach of traditional paper media.

The Chinese writers' group created a "whirlwind" in Tokyo.

The Yomiuri Shimbun described "Chinese writers" as "trying to engage with others more confidently. They dare to express themselves, hold different opinions, and say no!"

Among them, the young writer "Cotangent" was mentioned again. Reporter Matsunaga described it as follows: "'Cotangent' is a mathematical symbol in China, representing the ratio of the adjacent side to the opposite side of the two straight sides of a triangle... But I do think of when I was very young, when I was bullied by my classmates, I would take out the triangle ruler and use its acute angle to face the outside..."

"...I say, you dare to try? I will poke your eyes out!"

"This is probably like him ordering everyone to apologize, either do it his way or don't record it."

The Asahi Shimbun is the second most circulated newspaper in Japan. It is more "leftist" in nature. In the 1960s, it enthusiastically reported on Japanese student groups and conducted a comprehensive and in-depth interview with the leader of the group, Fusako Shigenobu.

This year, this newspaper became the first in Japan to release information on "what Japan actually did during World War II". Many years later, other Asian countries used this information to sue the Japanese government.

The Asahi Shimbun described the news from a side perspective: "The Chinese writer Chen Shunchen, who lives in Kobe, has always been known for being 'kind and gentle, serious and self-controlled, and never arrogant'... He almost never loses his temper with people, but for this literary talk, he hurried to Tokyo, and then learned that Ba Lao could not attend the talk... He was very disappointed for a while."

"However, after the meeting, he immediately said, 'Since I wrote Chinese historical biographies such as The Opium War, I have always believed that people today are too different from those in the Han and Tang dynasties.'..."

"But I was wrong. This heart is just waiting for an opportunity to revive."

The Mainichi Shimbun is a right-leaning media outlet. They certainly did not report on the welcome Chinese writers received. Instead, they mentioned the respectful attitude of Japanese writers after they arrived in the United States:

"The Japanese can say no! We don't need a warmongerer like Yukio Mishima, nor do we need weak women. Instead, we need to express ourselves strategically. Japanese! Can't we be proud anymore?"

For this interview, Yu Qie was paid 62 yen, and after 12 yen in taxes was deducted on the spot, Yu Qie actually received 50 yen, which was approximately RMB 4 based on the exchange rate at the time.

It was actually more money than he had saved from writing novels for a year and a half.

Being a writer in a developed country is so terrifying!

Interview invitations for Chinese writers came in like snowflakes, but they were mainly directed to Yu Qie and Ba Lao. They both knew many foreign languages, Ba Lao knew Russian, Japanese, German, Spanish, Portuguese, etc., while Yu Qie only knew Japanese, English and Spanish.

After learning that Ba Lao was ill, the invitation gradually became directed only to Yu Qie.

(End of this chapter)