My era, 1979!

Chapter 108 Youth Creative Seminar (6.6k views, please vote at the end of the month)
Fortunately, Xu Chengjun was in the audience, and he was sitting in a relatively secluded spot.

They rarely make eye contact.

Mark Twain once said: "Commentary on a work ends with the work itself."

No?
Chen Dengke explained and introduced the main topics and objectives of this Youth Innovation Conference, and expressed his gratitude to the relevant provincial departments and writers for their support.

"Comrades and fellow writers! It feels like I've just woken up from a dream to be able to sit at this table and talk about literature with you all today! The Anhui Provincial Federation of Literary and Art Circles and Anhui Literature have brought us together before the Fourth Congress of Literary and Art Workers. This is not just a creative seminar; it is clearly a rally to break the shackles and reconnect the blood vessels of Anhui literature!"

"Today's seminar is the first gust of spring water for Anhui literature! From now on, the Huai River will flow with stories full of blood and flesh, and Huangshan will grow new chapters that dare to break new ground and establish new ones! I, an old man, am willing to work with all my colleagues, old and new, in this spring of breaking ground, to give it my all and write true articles for the rest of my life!"

There was thunderous applause.

Many veteran writers and artists were moved to tears.

Chen Dengke raised his hand to wipe the light from the corner of his eye, and the writers in the audience had a long-lost creative flame burning in their eyes...

This is the first large-scale literary event in Anhui Province in more than a decade, signifying that literature and the literary world have regained their original status.

Today, many veterans were in the audience, bringing together most of Anhui's writers of all ages and those working in the arts.

Older figures include Zhou Ming, Chen Dengke, Yan Zhen, and Su Zhong.

The core members include Lu Yanzhou, Zhu Xingyi, and Liu Zuci.

The younger generation is represented by Xu Chengjun, Liang Xiaobin, Wang Ya, and Wang Yingqi.

Nearly one hundred people attended the meeting.

Although it's called the Youth Entrepreneurship Association.

However, this conference was essentially equivalent to a large-scale creative symposium across the province.

after all.

1979 marked a pivotal year for the development of Anhui literature.

Anhui literature experienced a surge in awards during this period, with masterpieces such as Lu Yanzhou's "Legend of Tianyun Mountain" and Zhang Xian's "The Corner Forgotten by Love" emerging one after another, and Anhui poetry won six national poetry awards.

According to the meeting agenda, Zhou Ming, editor-in-chief of Anhui Literature, delivered a speech and introduced the theme of the meeting.

Old Zhou spoke with great enthusiasm, and even took a couple of puffs of his cigarette when he got carried away.

"Today we gather here to unite Anhui literature before it breaks free from its cocoon. The shackles have just been broken, but we are still discerning the direction in the fog of thought and searching for seedlings on the barren beach of creation. I will first analyze the problems in the literary world, and then talk about the joys and sorrows of young writers."

"The stories of Anhui are so vivid. The flames of reform burned brightly in Anhui, and the waves of the Huai River carry a century of joys and sorrows. Yet in our works, these either become mere background scenery or are written superficially. Literature, detached from its roots, is like a kite with a broken string. No matter how high it flies, it's still just drifting!"

"And young people, you are the sharp edge of Anhui literature. You dare to pierce the darkness onto the paper, and you dare to use a dressing mirror to dissect the wounds of the times. This drive is something that veteran writers envy! But we must also be wary of three 'traps': only getting a superficial understanding of life, only learning the basics of technique, and only starting to think."

Anhui Literature is willing to be a platform for everyone, and veteran writers are willing to be a ladder for everyone, but young creators should also act like young creators.

This year, Xu Chengjun, only 20 years old, emerged from Anhui. He is now a graduate student in the Chinese Department of Fudan University. I particularly like his works. He captures human nature in "The Fitting Mirror", grasps the spark of reform in "The Granary", and his poetry is not limited by subject matter.

This is what young creators should be like.

Xu Chengjun, who was just spacing out, was suddenly called out and looked up to meet the gazes of hundreds of people in the room.

I was sweating profusely.

Since ancient times, there has been no first in literature and no second in martial arts.

Among all these young writers, Xu Chengjun is the youngest. Why was you singled out?

So what if you're a graduate student at Fudan University?
So what if you publish an article in Harvest?
Being selected as one of the "Top 30 Newcomers" is amazing!

It seems quite remarkable.

As a result, attention from all sides became even more intense.

I just skipped a minute, is it really that big of a deal, Lao Zhou!

He was quick-witted; he was used as a scapegoat by his superiors. He often encountered similar situations in his past life. What to do?
Laugh!
However, this scene allowed both those who knew him and those who didn't to see what this "legendary" figure from Anhui looked like.

In Anhui's literary circles this year, everyone knows who Xu Chengjun is after the publication of "The Fitting Mirror".

They knew Xu Chengjun, but they really didn't expect him to be so young.

He was tall and handsome, with striking features and bright eyes, and he looked very amiable.

The most popular male actor in 1979 was Tang Guoqiang, who quickly became a rising star on the big screen after playing the People's Liberation Army soldier Zhao Yongsheng in the movie "Little Flower".

He has thick, straight eyebrows and big, double-lidded eyes, and is considered a pretty boy.

But no one would think that Xu Chengjun is worse than this one.

If I had to say, Xu Chengjun is like a taller version of Xie Tingfeng.
The sharp strokes of the pen in "The Fitting Mirror" contrast sharply with the wispy hairs still clinging to the corners of his mouth.

The older generation sighed at the youth's vigorous spirit, while the middle-aged generation felt a chill down their spines, and the younger generation truly felt overshadowed.

Lu Yanzhou gave Xu Chengjun a deep look.

He and Zhou Ming were close friends, and he knew that Zhou Ming and Su Zhong had high hopes for this young man, intending to make him a guiding star in Anhui's literary circles.

Lu Yanzhou had no doubt about the judgment of these individuals.

But he was genuinely curious whether this kid could really stand firm.
Lu Yanzhou was an important writer and screenwriter in the history of contemporary Chinese literature. He was from Chaohu, Anhui Province, and was hailed as a leading figure of the "Anhui Literary Army".

This year, he shocked the literary world with his novella "The Legend of Tianyun Mountain," which, through the fate of Luo Qun, a right-wing intellectual, exposes the harm that ultra-leftist ideology inflicts on humanity, becoming a milestone in reflective literature.

The work won the National Excellent Novella Award and was adapted into a film of the same name by Xie Jin, sparking nationwide discussion.

Fortunately, Lao Zhou still had some humanity. He only talked to Xu Chengjun briefly and then stopped, and he didn't go through the ridiculous process of making Xu Chengjun stand up and greet everyone.

The morning was spent in speeches by veterans like Zhou Ming, cadres, and introductions among the writers.

At lunchtime, Xu Chengjun originally wanted to take Xu Xiaomei to a separate table, but Zhou Ming, that old guy, dragged him to his table with Lu Yanzhou.

"Hey kid, why are you running away? Do you think I'm going to eat you?"

"It's because you're so famous, we're afraid people will gossip about you! We're doing this for your own good, and you don't even appreciate it!"

Xu Chengjun hurriedly protested his innocence.

"Stop talking nonsense and sit down!"

Old Zhou's demeanor is still quite wild. Despite his high status and being nearly sixty years old, he doesn't have the airs of a scholar at all.

Xu Chengjun sat down and saw Lu Yanzhou, and hurriedly greeted him. When they were introduced to each other that morning, these celebrities and famous figures were naturally in the first tier.

"Hello, Mr. Lu! I am Xu Chengjun. It is a great honor to meet you. I was deeply moved when I read 'The Legend of Tianyun Mountain' and have always wanted to learn from you."

"Come on, 'Old Master Lu'? Yan Zhou isn't even older than me!"

Zhou Ming curled his lip in disdain, while Lu Yanzhou and Xu Chengjun's eyes twitched simultaneously.

“Chengjun, ignore him. That old man is always so irresponsible. I’ve read your ‘Fitting Mirror’ too. It’s really good and very avant-garde, but I prefer your ‘Barn’.”

It's not surprising that Lu Yanzhou, who is acquainted with Zhou Ming, had read this issue of "Anhui Literature" in advance.

"Alright, alright, stop flattering each other. I called you here because of the novel-themed event tomorrow. After Chen Dengke finishes his report, you'll be going up. How about it? Are you confident?"

"Who am I behind? This... isn't that inappropriate?"

Xu Chengjun smiled sinisterly.

Revenge should not be delayed overnight; if it is delayed, revenge will not be taken.

Is this discussion limited to literature?
"What's wrong with that? He's giving a report on behalf of the older generation, and you're giving a report on behalf of the younger generation. It's perfectly normal!"

Zhou Ming winked, his expression playful.

"But be careful about the degree, they're all from the Anhui circle."

Lu Yanzhou smiled helplessly; otherwise, the old man and the child wouldn't be able to play together.

Last time, when I passed through Hefei and went home to see Zhou Ming, it was a rushed meeting. This time, Zhou Ming brought up his old story again and asked him about it.

Xu Chengjun answered all questions without hesitation.

This old guy is really persistent and keeps asking questions!
Any new works recently?

"I'm currently writing a full-length military novel, and it's almost finished."

"A long novel, almost finished? So fast?"

"Men shouldn't say 'fast'~"

"roll!"

"Bring me the manuscript tonight so I can take a look."

Xu Xiaomei, who was standing to the side, laughed. These writers and authors weren't much better than the workers who worked the night shift in the factory!
What kind of editor-in-chief is he?!
In the afternoon, literary theorist Ma Jin gave a report entitled "The Qualities of Literary Writers: From 'Instrumentalism' to 'Human-Centeredness'".

Following this, a preparatory meeting for group discussions was held.

Divided into three groups—novels, poetry, and prose—the group was led by Chen Dengke for novels, Yan Zhen for poetry, and Han Zi for prose, with the clear rule of "not finding fault, but digging into real issues" for discussion.

Xu Chengjun was afraid of trouble, so he went to Hanzi's essay group without thinking.

Su Zhong was bewildered in the novel group, while Liu Zuci looked helpless in the poetry group.

As a human being?

Hanzi was stunned: "Comrade Chengjun, you also write essays?"

Xu Chengjun shamelessly said, "I haven't written much, but I feel my prose is weak and I need to learn more, especially since I don't want to miss the opportunity to learn from Teacher Hanzi~"

Hanzi: "."

However, Hanzi is truly the female writer that Xu Chengjun admires the most.

This is the only Chinese female writer who personally experienced the Korean and Vietnam Wars.

Hanzi came from a scholarly family. At the age of 17, she joined the revolutionary movement and in 1938 joined the New Fourth Army. Her revolutionary footprints covered eastern Anhui and northern Jiangsu.

When participating in the construction of Meishan Reservoir, he lived and worked alongside the local people as an ordinary laborer, digging canals with picks during the day and creating art under kerosene lamps at night.

During the Korean War, she volunteered to go to the front line at Shangganling, where she recorded the heroic deeds of Huang Jiguang and other heroes in the tunnels at -30°C and wrote battlefield dispatches such as "I Come from Shangganling".

In 1965, she once again went to the Vietnam battlefield as the only female writer in the China Writers Association, and published works such as "Dream on the Banks of the Huen Luong River" to convey the voice of justice of the Chinese people through literature.

It's hard not to admire him.

Things were about to change.

Xu Chengjun quickly said, "Most importantly, I am currently writing a military-themed novel based on the Sino-Japanese War, and I hope to have the opportunity to learn from you."

Xu Chengjun spoke sincerely. Lu Yanzhou, who was standing next to him, also smiled and said, "Sister Hanzhi, you don't know, Comrade Chengjun's essay 'Where Roses Grow Is My Hometown' in the Liberation Daily caused quite a stir a while ago. You could say he's one of us."

Hanzi's original name was Luo Hanzhi. She was six years older than Lu Yanzhou, so he called her "Sister Hanzhi".

but!

Xu Chengjun looked at him suspiciously. "How come you're one of us now?"

Seeing Xu Chengjun's expression, Lu Yanzhou's lips twitched. I'm speaking up for you, and you're questioning me, aren't you?

Xu Chengjun's impression of Lu Yanzhou was limited to what he read in the novel.

But in fact, his prose writing also presents an epic quality.

Lu Yanzhou's "Message from Huaibei," published in 1958, is set against the backdrop of the Huaibei Plain. Through chapters such as "Pear Blossoms in Dangshan" and "Boatmen's Ballads on the Wo River," it combines folk song rhythms with prose narrative and is hailed as a "mobile local history."

In the essay session of this symposium, he will also give a speech entitled "The Realism and Artistic Aspects of Essay Writing".

Hanzi shook her head helplessly at the two of them, but the eldest sister generously allowed them to join.

As a result, the novel group lost two key members, while the essay group grew even stronger.

There are 8 people in total, including the two of them.

It's not surprising, after all, writing essays doesn't make money and it's hard to become famous.

These days, writing novels is the way to go.

It's easy to become famous, and you can make money by writing a lot of words.

I spent an afternoon reading while Xu Chengjun was slacking off. He sat at the back, constantly organizing his novel manuscript, ignoring anyone who looked at him.

He only looks up and listens for a while when a celebrity he likes is speaking.

Strictly speaking, although the youth creative workshops are not subject to strict time limits or management, most young authors will participate in the entire process.

Some authors may leave early, but they are ultimately a minority.

Therefore, Xu Chengjun's stance at this meeting was unique.

Many of the young writers present would steal glances at him with various expressions.

Some people believe that this is the attitude and integrity that artists should have.

Some people think this is just posturing and disrespectful to seniors.

As the group discussion was underway, Li Siqi, a young writer sitting next to Ji Yu, spoke up.

"Comrade Xu Chengjun, excuse me, we greatly admire your creative abilities. May I ask for your opinion on this topic?"

Xu Chengjun frowned. "I need your approval?"

Who are you?
He was just thinking of a plot point that would elevate the ending when he looked at the man like he was a fly, and asked in an unfriendly tone, "What are you all discussing?"

Seeing Xu Chengjun's blank expression, Li Siqi smiled.

You won't listen to what anyone says, right?

“We are discussing Zhang Jie’s ‘Love Is Unforgettable’, and everyone has a lot of opinions. We would also like to hear your opinion as a great writer.”

Xu Chengjun has an impression of "Love Is Unforgettable".

This book recently took the most of the blame for "The Fitting Mirror".

This short story, published this year in "Beijing Literature and Art," depicts an extramarital affair that cannot be fulfilled from a female perspective, challenging the prevailing ethical views on marriage at the time.

There's an interesting line in it: "Because if a person doesn't get married, it becomes a challenge to this consciousness. Some people will say that you're mentally unstable, or that you have some shameful secret, or that you have some political problem, or that you're eccentric, look down on ordinary people, and don't respect the social customs that have been passed down for thousands of years. They will always come up with all sorts of vulgar and boring things to humiliate you."

This statement seems to still be relevant in Chinese society in 2024.

Therefore, this book actually received a stronger impact in 1979 than The Fitting Mirror.

"The Fitting Mirror" is more about the impact on writing techniques, while Zhang Jie's work has touched on the moral dilemmas of this era.

As soon as the words were spoken, Li Hualian, a young writer from Wuhu sitting in the corner, raised her hand first, her voice a little hurried.

"Comrade Chengjun, we have a disagreement now, but I think the novel is right! The protagonist isn't having an extramarital affair; she's having a 'spiritual love' with a married man. She knows it's wrong, but she endures it all and never crosses the line. I cried when I read it. In the past, when we wrote about women, they were either tough girls or virtuous wives. Who ever wrote about the suffering in a woman's heart? That kind of pain of 'loving but not being able to say it, wanting but not being able to have it,' isn't that true human nature?"

Li Hualian felt that Xu Chengjun, who wrote "The Fitting Mirror," should be able to focus on human nature itself.

They also wanted to help Xu Chengjun out of his predicament.

However, the girl's words put her in a disadvantageous position.

That's how it's written in the book?

If you hadn't spoken up for me, I would have wanted to yell at you.

Xu Chengjun smiled kindly at her and listened attentively.

He was about to speak.

Li Siqi interrupted directly: "This book, under the guise of writing about human nature, exaggerates the beauty of extramarital spiritual love. I think it is promoting the values ​​of the Communist class that prioritize personal feelings! Marriage in our Communist class has never been about romantic love between two people; it is meant to serve family stability and social order."

He gave Xu Chengjun a provocative look, and then continued:
"The protagonist knows that the other party is married, but he insists on keeping his so-called love hidden in his heart and repeatedly pondering it, even calling it spiritual compatibility. Isn't this a disguised denial of the bottom line of marital fidelity?"

"What's even more dangerous is that the novel also imitates the Western style of psychological description, sometimes writing about the protagonist's memories and sometimes about her fantasies, leaving the reader confused. Isn't this just formalism? Our novels should be written clearly and explicitly, not just some niche and fancy stuff, turning literature into a game for a small circle!"

After he finished speaking, many people nodded in agreement.

This set of statements was quite correct at the time, and even shared some similarities with Chen Dengke's statements.

But the lower-grade ones are mostly lower-grade.

Xu Chengjun: Dude, you can't even plagiarize well?

He didn't think much before he spoke.

The young writers around him were speechless.

Are we that confident?

"Comrades, I think what Comrade Li said makes a lot of sense."

The youth discussion group was immediately taken aback.

Holy crap, you're backing down so easily?

But it seems reasonable.

After all, this argument is widely accepted and hard to refute. What's wrong with Xu Chengjun being a smart man?
"But books cannot be read only on the surface, and one cannot view problems solely from the perspective of class struggle. One must not be dogmatic in thinking. Such a person is narrow-minded, and the works they produce are devoid of soul; they are like rotten wood or stagnant water!"

I'm sorry, but I can only give you one sentence out of politeness.

Su Zhong, who had been listening the whole time, sighed and rubbed his forehead. Knowing this kid as he did, he knew this matter was unlikely to end well.

However, he did not interrupt.

Wasn't the purpose of this conference to have discussions among young writers?
Xu Chengjun's eyes were bright. He decided to increase the intensity. No matter what kind of Tom, Dick, or Harry could disturb him while he was writing.
Ignoring Li Siqi's flushed face, Xu Chengjun went straight to the point: "Fellow colleagues, when we use class values ​​to label a work that penetrates the human heart, and use formalism to judge a writing style that touches the soul, what are we really afraid of?"

"Is it fear of admitting that human nature is inherently classless, or fear that literature, once freed from dogma, will no longer be able to contain empty slogans? I want to speak frankly—"

Are you scared?

"Some arguments today, seemingly standing on the high ground of the collective order, actually use rigid labels to stifle the most precious truth of literature and narrow prejudices to diminish the most genuine goodness of human nature."

For a moment, the entire room fell silent. Even the groups that were having a discussion nearby stopped and stared at Xu Chengjun.

This argument is quite bold.

This was like a thunderclap in this era.

"The core argument that Marx wrote in the Economic and Philosophical Manuscripts of 1844 is: the essence of man is not an abstraction inherent in the individual, but in its reality it is the ensemble of social relations."

"Marx never divided people into cold symbols of the 'wc' and 'zc' classes, nor did he deny people's instinctive pursuit of spiritual resonance in social relations. Some people, however, have reduced people to tools for serving the social order and alienated marriage into a contract unrelated to the soul. How can this be defending the 'wc' class position? It is clearly a departure from the fundamental Marxist position of 'people-centeredness'!"

Xu Chengjun cleverly ascended to a high altitude.

To put it bluntly, what do these young writers know about Marx?
For the vast majority of people, graduating from high school is considered a high level of education.

At this moment, Li Siqi's face was no longer flushed; she was sweating profusely.

He dared not imagine what kind of reputation he would bear if someone were to quote Xu Chengjun's words.

He looked at Xu Chengjun with a pleading look in his eyes.

Xu Chengjun ignored him and continued, “Let’s start with the essence of humanity and love. Love, the purest and most passionate part of human emotion, has been closely intertwined with the individual since its inception. It is a resonance deep within the soul, an attraction that transcends worldly constraints. In his Theses on Feuerbach, Marx emphasized that the essential activity of man is a free and conscious activity, and emotion is the core carrier of this conscious activity.”

"Does the heart of the working class not flutter for unrequited love? Do the souls of workers, peasants, and soldiers not yearn for spiritual harmony? The protagonist knew the other party had a wife, yet he did not hysterically destroy or ruthlessly plunder; he simply kept this love hidden in his heart and restrained himself within the boundaries of morality."

"Is this a denial of marital fidelity? No, it's human nature! It's about protecting marriage! Marriage is meant to serve social order, but if marriage is just an empty shell of order, without any resonance of souls, what are you trying to deny?"

Xu Chengjun's questions left everyone present bewildered. He attacked with a dignified and righteous approach that they had never expected.

Those who had just opposed Zheng Huan felt utterly powerless.
They didn't even dare to refute it.
How the hell can I refute that? I'm just talking about love and romance, and you're spouting Marxism?
"In 'Love Is Unforgettable,' the protagonist's spiritual love is not about trampling on marital fidelity, but rather about upholding marriage despite the cruel twists of fate. Restraining emotions is itself a respect for and maintenance of moral bottom lines. The essence of marital fidelity is not merely about adhering to formalities, but also about the honesty of the soul and the fulfillment of responsibility."

To be honest, who hasn't had feelings for someone other than their spouse?
It may be possible, but it is ultimately a very small minority.

After all, it is when you use a set of high-sounding platitudes to avoid facing your desires that you are most likely to succumb to them.

When there is spiritual resonance, isn't it also a form of morality to restrain desires and uphold moral principles?
A hypocrite? Or a true villain?
A gentleman judges by actions, not by intentions.
No one is perfect.

Xu Chengjun looked directly at everyone present.

There were quite a few female writers present, and Xu Chengjun's words filled them with anticipation, prompting many to applaud.

Gradually, he drew the crowd in, and thunderous applause erupted as more and more people gathered around.

This includes older generations such as Chen Dengke, Zhou Ming, and Hanzi.

"Their suffering reflects their reverence for morality. We should not simply bind love and marriage together. Love is the most primal desire of human nature, while marriage is a product of social norms. Although the two are related, they cannot replace each other. This work shows us how the brilliance of humanity shines amidst the helplessness of reality."

This is like marrying someone you don't love because of social reasons.

You have a family, but suddenly you meet a beautiful woman. You share the same values ​​and are destined for each other.

But you held your ground, nothing happened between you, and you didn't let your desires run wild.

Do you admire yourself?
"What's even more ridiculous is that some people say psychological descriptions are just a niche, fancy technique. Unfortunately, I'm the kind of author who likes fancy techniques."

Are you trying to argue with me?
This is just a piece of cake. I'll give you a bit more intensity, and whether you can handle it depends on your ability.

(End of this chapter)