Tokyo: The life of a literary giant begins with home self-defense!

Chapter 57: The interview became more famous than the article

'The past hundred years of literary history always make people feel that something is missing.'

Inside the two-story western-style building, the water in the kettle was bubbling. Long Chuan Che looked at the opening sentence.

"Hey, can the interview be placed here?"

Matsueda Muko moved her head closer, and her drooping hair made Longchuan Che feel a little itchy. He tilted his head to the side and said.

"A normal interview definitely can't be put in this position."

The first article on the homepage, even if the magazine does not have any key sections, this position is eye-catching enough.

The entire article does not exceed 6,000 words. Rather than being an exclusive interview with Toru Ryukawa, it is more like a short article written by Taro Ono.

[A dragon appears in the wild, creating a new look]

It tells the story of the mental journey of the once great writer Taro Ono when he got "Snow Country" and how much he values this novel that is about to be serialized.

"Let me see. Let me see."

Although she was just a blank slate writer, she was taken seriously by Shinchosha. Matsueda Muko pulled Ryukawa Toru to sit in front of the kotatsu table.

The sunlight passed through the gaps between the trees, leaving mottled shadows in the room. The scent of tea in the living room slowly diffused with the gurgling of hot water, and the scent of ink and paper at the tip of the nose seemed to take Ryukawa Toru and Matsueda Muko back to the time when Ono Taro wrote this "interview".

'The past hundred years of literary history always make people feel that something is missing.'

The editor rushed back home from Yamanashi Prefecture, took out a piece of snow-white manuscript paper, dipped it in a few drops of black ink, and started writing after a long time.
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Shinchosha founded the magazine "Shincho" in 13. The origin of the magazine was due to the Great Kanto Earthquake that occurred in 1924.
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The sudden disaster has brought a strong impact on people's spiritual level.
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Traditional masterpieces such as "The Tale of Genji" and "Kusa Pillow Book" cannot satisfy people's spiritual pursuits.
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Disasters shatter people's existing cognition.
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This spiritual change undoubtedly prompted the emergence of new literature and new art.
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Change gave rise to classist literature.
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This is good.
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People who don’t know me may think that I reject this kind of literary approach that guides class conflicts and influences politics through literature.
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But it's not like that.
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I love every form of literary expression and every different literary color.
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But class literature is too difficult and too heavy, and I rarely see truly meaningful works of class literature.
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Class literature is the mainstream of modern Japanese literature, and there are many reasons for this.
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Going back a long time, there was the Great Kanto Earthquake, and more recently there was the economic bubble and the sarin gas incident.
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Frequent disasters have made people dissatisfied, and everyone is eager for something that can make the government make changes so that suffering will no longer happen.
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Class literature came into being and occupies the mainstream in the current literary world.
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But I don’t think it should be like this, or it shouldn’t be just like this.

When he saw this, Longchuan Che's fingertips went numb.

In order to get enough attention for his book "Snow Country", the editor of Shinchosha almost stood up and openly challenged the current mainstream literature.

One can imagine what kind of huge public opinion this article will cause in this New Year. Longchuan Che pursed his lips and continued reading.
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Perhaps many people would say that I am arrogant for daring to comment on modern mainstream literature alone.
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But think about it.
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About a thousand years ago, thanks to the ancient Tang Dynasty, the splendid Heian culture emerged and the beauty of traditional culture was born.
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During that era, the greatest masterpieces of Japanese classical literature were produced. In terms of poetry, there was the earliest imperially compiled collection of waka, "Kokin Wakashu"; in terms of novels, there were "The Tale of Ise", "The Tale of Genji" by Murasaki Shikibu, and "The Pillow Book" by Sei Shonagon.
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These works created the tradition of Japanese beauty, which influenced and even dominated Japanese literature for the next eight hundred years.
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Especially "The Tale of Genji", it can be said that it is the best novel in Japan from ancient times to the present. Even in modern times, there is no work in Japan that can compare with it.
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It is indeed a miracle of the world and well-known internationally that such a modern novel could be written in the tenth century.
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Although I didn’t understand classical Chinese very well when I was a teenager, I feel that among the many classical literatures from the Heian period that I read, The Tale of Genji penetrated deeply into my heart.
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For hundreds of years after The Tale of Genji, Japanese novels were all inspired by or carefully imitated this masterpiece.
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Not to mention waka, but even arts and crafts to garden art, all are deeply influenced by The Tale of Genji, and constantly draw spiritual nourishment of beauty from it.
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But now there is only a classist literature.
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Is this right? This is not right.

"Hey, Ryukawa Toru, Mr. Ono wouldn't want to..." Seeing this, Matsueda Muko, who knew almost nothing about literature, also reacted a little. She nervously pinched the boy's wrist.

"New culture, new atmosphere, unique and fresh, carrying forward the past and opening up the future."

Long Chuan Che's eyelids twitched, and then he realized the meaning of the title of the article.
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I received a manuscript on the day of the winter solstice.
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I met a young man on the winter solstice.
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Facing the white snow, he would say: "Spring flowers, autumn moon, azaleas, summer, winter snow, colder."
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Facing the new moon, he would shout: "The winter moon is accompanied by clouds, and I pity the wind and snow that soak the moon."
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"When you step into the Zen Hall on the top of the mountain, you will see the moon slanting down from the top of the mountain. When the moon sets on the top of the mountain, I will follow you and sleep with you every night."
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His mind was clear and he talked about Zen and the moon.
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"My mind is so bright and boundless, the bright moon suspects that I have lost everything."
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He sang praises to the beauty of nature, saying that his favorite Japanese poem was: "Floating clouds and colorful spring scenery, playing ball with you all day long. On a night with a gentle breeze and bright moon, we danced all night to cherish the remaining years."
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In him, I see the natural harmony between man and nature, and the pursuit of pure artistic aesthetics.
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"I've longed for my beloved to be far away, but now that we meet, I have nothing else to think about."
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He told his lover, "The moonlight is beautiful, and the wind is gentle." He told me, "It is easy to enter the world of Buddha, but difficult to enter the world of devil."
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I haven't seen such a poetic young person for a long time, and I have rarely seen such a magnificent article.
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The world I live in today is a world that is as transparent as ice and as neurotic as a disease.
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It was as if I were dreaming that I met that young man as fierce as a dragon and a tiger in the middle of the field.
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It was like a dream when I saw the article he wrote.
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"If you know it's a dream, why wake up? Even if you often meet in dreams, it's nothing like seeing each other in real life."
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I earnestly hope that he can bring new vitality to today's literary world.
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I also sincerely hope that he can fill the gaps in the history of modern literature.
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A hundred flowers bloom, and a thousand schools of thought contend.
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The Japanese literary world should not have only one class of literature, and throughout history there should not be only one "The Tale of Genji".
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I invite you all to join me in entering his new, snowy world.
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In the New Year.
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In the new calendar.
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When the next issue of New Trend is published.