My era, 1979!

Chapter 109 Only one person like Xu Chengjun has emerged in this era (6.1k views, please vote for me)

This caused a few seconds of silence in the meeting room, followed by a quiet echo: "Many people criticize Zhang Jie, saying she 'promotes unhealthy ideas,' but when I read it, I only felt that she was bold. How can this not be considered writing her own thoughts?"

Some people have concerns: "I think it's possible to write about it, but there has to be a sense of proportion. For example, if the protagonist divorces the man and gets back together with him in the end, there might be less controversy; but the current situation of 'unrequited love' is pitiful, but it is still an 'extramarital' relationship, which can easily lead people to misunderstand that 'as long as it is true love, marriage can be disregarded'."

Xu Chengjun couldn't hear the discussions below.

It wouldn't be surprising to hear this, let alone in this era; even in the 21st century, there are still many "princes" living in the Qing Dynasty.

“Looking at psychological descriptions again is tantamount to formalism. Comrade Li Siqi said that ‘memories and fantasies are confusing to people’ and that ‘workers, peasants and soldiers should understand them.’ But can workers, peasants and soldiers really not understand the turmoil in their hearts?”

Li Siqi is numb, can you please stop mentioning me?
Ji Yu, who was standing next to him, gave him a sympathetic look. Of all people to mess with, he had to pick on such a big mouth.

To be honest, Ji Yu didn't think Xu Chengjun was entirely right, but the angle and intention he chose were indeed brilliant.

After all, any argument that is refuted for the sake of refutation will inevitably fall into the trap of extreme left and extreme right.

To put it bluntly, it's sophistry.

Xu Chengjun continued:

"This actually falls into two cognitive misconceptions: first, it equates the borrowing of Western theories with formal alienation, ignoring the essential value of literary techniques in exploring human nature; second, it severs the introspective tradition of classical Chinese literature, mistakenly taking straightforward narration as the only 'clear understanding'."

Xu Chengjun looked around, wondering how to break free from the trap of sophistry.
Let's get down to business!

“If we examine it from the dual perspectives of the philosophical foundation of Western literary theory and the spiritual inheritance of classical Chinese literature, we will find that Zhang Jie’s psychological descriptions are not dangerous formalistic games, but rather a double breakthrough in the core literary proposition of ‘how people are understood’. It not only inherits the respect of Western modern literature for the ‘individual spiritual world’, but also activates the deep-seated genes of ‘emotion and heart’ in the classical Chinese literary tradition.”

This has stirred up a hornet's nest. You dare to touch on the issue that the academic community is most concerned about?
Zhou Ming scratched his head and whispered to Su Zhong beside him, "This kid actually knows a thing or two about Western learning?"

Suzhou: "You don't know?"

Zhou Ming: How would I know?

Xu Chengjun glanced at everyone's expressions and got quite excited.

"Western literature's focus on the psychological world has never been merely a matter of technical innovation, but rather a consequence of the deepening philosophical understanding of 'human beings': from Descartes' 'I think, therefore I am' establishing the legitimacy of individual consciousness, to Freud's 'theory of the unconscious' revealing the undercurrents of emotion beneath the surface of rationality, and then to Henry James's 'narrative centered on consciousness,' advocating that novels should depict the inner lives of characters."

"The psychological descriptions in Western modern literature serve a core goal: to transform literature from a 'recorder of external events' to an 'analyst of the individual spirit.' The protagonist in the book repeatedly recalls his interactions with the other person and sketches out the possibilities of emotions in his imagination. These descriptions are not just fancy techniques, but the key to pushing unrequited love from the level of events to the level of the spirit."

In fact, about 30% of the audience could understand or comprehend what Xu Chengjun was saying, and they were all thinking about what he was saying.

However, 70% of the people couldn't understand what Xu Chengjun was saying.

Of those 70%, about 50% are biased against Western theories.

This would create a ridiculous situation in the literary world: opposing for the sake of opposing.

However, no one got angry, because Xu Chengjun's words were quite professional, and it would be somewhat embarrassing to come up and refute them rashly.

Therefore, it is not without reason that ancient scholars regarded quoting classics and eloquently debating with other scholars as important abilities.

You don't understand what I'm saying, and you don't even have the right to refute me.

Take the essence and discard the dross.
But there are always those who are pushed to the limit, like Li Siqi. Although he didn't understand Henry James, he knew from the name that he was a foreigner.

"Xu Chengjun, do you think Western theories are better? I believe what you're saying reflects classist values!"

It's hard to imagine that at this moment, many people below agreed with Li Siqi's point of view.

People like Chen Dengke frowned: "What kind of political nonsense are you spouting here, discussing academic matters? Is this despicable?"

Xu Chengjun was stunned. They weren't even calling him "comrade" anymore?
Wouldn't it be better to just stay hidden away by yourself?
Do I really have to come here and get criticized?

Before Xu Chengjun could even open his mouth, professional troll Zhou Ming came online.

He frowned, his face full of impatience: "Comrade, do you even understand the theme of this meeting? Your words are more than just showing your ignorance; they're practically using ignorance as a weapon, dragging academic discussion into the quagmire of political labeling. You haven't even grasped the core of Henry James's theory, nor have you understood what Xu Chengjun meant by 'psychological description serving the exploration of human nature,' yet you're so eager to slap on the label of political class and value orientation. This isn't a discussion; it's playing dirty!"

"You say Xu Chengjun admires Western theories, but tell me, in which sentence has he said that Western theories are better than Chinese ones? He traces the philosophical roots of Western literature's focus on the psychological world from Descartes to Freud to Henry James, but all he wants to do is explain that psychological description is not formalism, but rather a means to portray people more realistically. What does this have to do with class orientation?"

Seeing Li Siqi cowering there like a quail, Zhou Ming was too lazy to curse anymore and simply scanned the entire room with his gaze.

"Comrades, do you think the concerns of rural women in Anhui and the desires of female factory workers are 'emotions with class attributes'? Using politics as a shield is not upholding a stance; it's using political labels to cover up your ignorance! Today is a seminar, not a criticism session. If you can't distinguish the boundaries of academic discussion and can't follow the basic rules of discussing matters objectively, then you are not welcome here."

There was silence.

These words were indeed too harsh, completely crushing Li Siqi and blatantly supporting her.

His own son?
However, most people agree with Zhou Ming's statement that if every discussion has to be political, what is the point of this seminar?
Zhou Ming had vented his anger enough, and coughed twice: "Comrade Chengjun, please continue sharing!"

Xu Chengjun helplessly shrugged; how could he possibly criticize him now?

"To Comrade Li Siqi and any colleagues present who have doubts about my views, I have published a paper on the front page of the latest issue of the *Fudan Journal*, entitled 'The Modern Transformation of Traditional Chinese Literary Theory.' The paper not only traces the literary tradition of 'conveying emotions from the heart' as our ancestors, but also discusses how to integrate reasonable elements of Western theory into Chinese literary creation. I believe this will answer some of your current questions and clearly explain why I advocate the academic position that 'psychological description is a vehicle for exploring human nature.' If you have time to read it later, I hope you will not hesitate to offer your corrections, and we can then discuss the viewpoints in detail."

"Academic questions should ultimately be answered by the knowledge itself."

I didn't want to act all high and mighty, but you guys forced me to.

Is it illegal to run an advertisement?

This single passage alone sets Xu Chengjun apart from other young writers by a significant margin, not only because of the quality of his works.

I published an article on the front page of the Fudan Journal when I was 20 years old. Who are you?
Hanzi looked at Xu Chengjun, wanting to end the argument, but couldn't resist her curiosity: "Comrade Chengjun, you just mentioned Western theories, but I also heard you say earlier that Chinese classical literary theory can be explained by introspection. Could you elaborate?"

Veteran writers like Lu Yanzhou began to nod in agreement.

These veteran writers were wary as they watched Western theories such as stream of consciousness, existentialism, and psychoanalysis enter the Chinese literary circle.

Ultimately, the Chinese literary scene in 1979 needed the support of classical literature, not out of nostalgia or escapism, but out of a sober "cultural self-awareness."

Some progressive figures in the literary world know that the modernization of literature is not "Westernization," and that Chinese literature must follow its own path.

Xu Chengjun nodded to Hanzi.

"In fact, if we think that psychological description is a Western patent, it is equivalent to forgetting the introspective tradition of Chinese classical literature that has lasted for thousands of years. Chinese classical literature has never lacked the depiction of the inner world, but its mode of expression is not the direct exposition of the Western style. Instead, it uses a subtle and implicit approach to hide the heart in the scenery, emotions, and events, forming a unique psychological narrative aesthetic."

"This tradition can be traced back to the 'Nothing is more sorrowful than a dead heart' in the Book of Songs, to Qu Yuan's spiritual questioning in the Songs of Chu; from Xiang Yu's externalization of his 'tears streaming down his face' when he bid farewell to his concubine in the Records of the Grand Historian, to Lin Daiyu's 'self-pity and sighs when burying flowers' in Dream of the Red Chamber. These writings never explicitly describe psychology, but through behavioral details, the setting of scenery, and the expression of feelings in poetry, they vividly reveal the inner turmoil of the characters."

He paused slightly, looked at the writers who were listening attentively, and his tone became unusually serious.

"Lin Daiyu, gazing at the falling flowers, recites, 'Today I bury flowers, people laugh at my folly; in years to come, who will bury me?' Isn't this a classic psychological description? She doesn't say she's lonely, but through the act of burying flowers and the poem, she lets the reader understand her inner sorrow of 'living under someone else's roof, her life as fleeting as a falling flower.' This wisdom of revealing the heart through form is precisely the core characteristic of 'looking inward' in classical Chinese literature."

Why can't we use examples from modern literature?

Because modern literature was still in the process of transitioning from classical to vernacular Chinese.

The use of vernacular Chinese in Chinese literature began with Zhou Xun.

In a sense, our literature suffers from a break in continuity, as the humiliations of modern times spurred rapid economic and social changes across China.

However, there is a gap in the development of literary theory.

Therefore, transforming classical literature, absorbing the essence of world literature, and innovating to forge a new path for Chinese literature is the path we must take to maintain our cultural independence.

Yan Zhen couldn't help but ask, "Comrade Cheng Jun, do you believe that psychological description is an inevitable development in literature?"

Xu Chengjun was stunned. Such a big question?

But actually, the bigger the proposition, the easier it is to answer; you can see the real stuff from a small angle.

Xu Chengjun's answer was very affirmative, reflecting a vision for the next few decades.

I think so.

"Whether it is the respect for individual consciousness in Western theory or the contemplation of the inner world in Chinese classics, they all ultimately point to one core: the essence of literature is 'human studies'. In 1979, we were transitioning from collective narrative to individual awakening. When we criticized the psychological descriptions in 'Love Is Unforgettable,' we were actually resisting the contemporary question of 'how literature should face real people'."

Yan Zhen nodded in realization.

"But the development of literature has never stopped because of fear: from the Western stream of consciousness to the Chinese inner monologue, from the classical use of scenery to reveal the mind to the modern use of memories to convey emotions, all the explorations of the psychological world are to make literature closer to the essence of human beings."

"That is, people are not only the subjects of labor and members of a collective, but also souls with worries, desires, and struggles."

"This is also my original intention in writing 'The Fitting Mirror'."

"The clarity of literature is never about making everyone see the same events, but about making different people feel the same emotions; the popular appeal of literature is never about using straightforward language to cater to superficial understanding, but about using profound expression to touch deep resonance."

"Dear seniors and colleagues, my creative experience is still shallow, and my literary theory research is still in its infancy. If there are any wrong views, I hope you will criticize and correct me." Everyone present, except for Li Siqi who had long since disappeared, applauded.

From works like "The Fitting Mirror" appearing on the Chinese literary stage to Zhou Ming mentioning Xu Chengjun at the Youth Innovation Conference.

Xu Chengjun appeared suddenly in the brilliant constellation of Chinese literature like a shooting star.

An impromptu speech is the best way to see a person's ability, character, and stance.

Xu Chengjun's answer was not flawless.

However, at least those present could not find any fault with him; in terms of knowledge, vision, and expression, he could be considered a talent across all age groups.

At the age of 20, this is practically unparalleled.

The following morning, Chen Dengke delivered a report entitled "Rooted in the Countryside, Facing Reality: On the Creation of Rural-Themed Novels in the New Era: Adherence and Breakthroughs."

Based on the historical context of ideological liberation and literary transformation in 1979, and combined with Chen and Deng's many years of in-depth creative practice on rural themes, the report focuses on the core propositions of rural novels in the new era.

On the one hand, it emphasizes that creative works should be rooted in the countryside, delve into the lives of farmers, and use realistic strokes to restore the true face of rural areas under the influence of the ultra-leftist line, such as land management and the plight of farmers, while opposing conceptual writing that is divorced from reality.

On the other hand, it is suggested that rural novels should break through the limitations of "singular praise" and "superficial criticism," and should not only write about the hope and strength in rural transformation, but also face up to the scars left by history, and show the spiritual growth of farmers and the profound changes of the times through vivid characters and stories.

His conduct was conventional and appropriate, befitting his position as the vice chairman of the provincial literary and art federation.

However, Xu Chengjun was mentioned at the end, especially praised for his comments on Zhang Jie's "Love Is Unforgettable" yesterday.

He said: Comrade Xu Chengjun's views are what academic discussions should look like. Young writers with such vision and determination, who can find their roots in tradition and extract the essence from foreign theories, and who dare to speak up for controversial works, are a good sign for our literary circles.

In the future, whether we write about rural life or other subjects, we should learn from this spirit of "not following trends, not being intimidated, and speaking with genuine knowledge." Only in this way can our literature truly resonate with and move people.

Regardless of the reasons, this action sends a very strong signal of reconciliation with Xu Chengjun.

In particular, after stepping down from the stage, he warmly shook hands with Xu Chengjun, who had just come on stage, and expressed his anticipation for Xu's speech.

Xu Chengjun was a little helpless; one can't hit a smiling face.

After all, the instructor said: XX has made many friends and few enemies.

On this point, he and Chen Dengke reached a consensus.

One is a deputy-level cadre and a senior writer in the province, and the other is a rising star in Anhui's cultural circles.

Creating conflict is not beneficial to either side.

Therefore, Xu Chengjun temporarily changed the title of the report.

It prioritizes stability, but it's still quite eye-catching.

After all, we made a splash yesterday and achieved our goal, so there's no need to make ourselves a target.

Under the watchful eyes of nearly one hundred writers, literary and art workers, and lecturers from the Chinese Department of Anhui University.

Xu Chengjun delivered a report entitled "Embracing the Wave of Diversity and Anchoring the New Chapter of the Times: The Path of Novel Theme Innovation in 1979".

There's no doubt that yesterday's conversation revealed a lot.

Creation can be a momentary inspiration, but a level of knowledge will not.

In his report, Xu Chengjun emphasized that:
The wave of reform is sweeping the country, with the implementation of production responsibility systems in factories and the rise of household responsibility systems in rural areas. These changes contain a wealth of creative material. Creators should delve into these changes, writing about the struggles and dilemmas of reformers, and, like Jiang Zilong in "The Appointment of Factory Director Qiao," portraying vivid characters and showcasing how reform reshapes destiny.

Urban themes also urgently need in-depth exploration. Against the backdrop of reform and opening up, urbanization accelerated, and cities became hubs of diverse cultures, where entrepreneurs strive and ordinary people live their lives in the back alleys. Drawing on Western urban literature techniques to showcase the contrast of urban spaces and focus on the spiritual dilemmas of urban dwellers can fill a gap in literature.

Historical themes should not only focus on grand narratives, but should also turn to ordinary people and marginalized groups, using the past to reflect on the present and provoke thought about contemporary social issues. At the same time, they should delve into the individual psyche, break free from the constraints of traditional morality, and use modern techniques to present the complexities of human nature.

Xu Chengjun worked at the university's television station for a while during his previous life and has certain broadcasting and hosting skills.

He grasped the overall rhythm of the report very well, leading the audience's emotions.

He offered his insights from a macro perspective.

Of the writers present, only a few listened to his opinions.

Then his trip will not have been in vain.

Because what Chinese literature will lack in the future is definitely not rural themes and rural literature.

By the end of 2024, China's urbanization rate of permanent residents will reach 67%, and the urban population will exceed 9.4 million.

However, it is difficult to find serious literary works outside the online literature circle that are outstanding in their urban themes.

It's not that rural areas aren't important; they're extremely important. They're our source of confidence and strength.

However, this does not mean we do not need urban themes.

Literary creation should always focus on the realities of people and society.

Yan Zhen, the host of the day, remained silent for a long time: "Xu Chengjun is a rare type of creator. He not only has genius-like creative inspiration, writing novels and poems such as 'The Fitting Mirror' and 'The Granary', but also has the rigor and solid basic knowledge of a literary theory researcher. It is our good fortune that he appeared in Anhui."

"Today, Xu Chengjun's report supplemented Comrade Deng Ke's speech, opening up new directions for our novel writing, and is highly forward-looking and inspiring."

Yan Zhen was born in Laiyang, Shandong, but he worked and created in Anhui for a long time. In 1953, he became an editor of "Anhui Literature and Art" published by the Anhui Provincial Federation of Literary and Art Circles.

He holds a prominent position in the poetry world, and his works include poetry collections such as "Girl on the Huai River" and "Song of Jiangnan".

this day.

In 1979, 20-year-old Xu Chengjun left a significant mark on the literary scene in Anhui.

In 2000, when Xu Chengjun first received the Rolf Schock Prize in Philosophy, Ji Yu, a writer from Anhui, was interviewed by an American journalist. He mentioned:

"In 1979, Chinese society lacked both the social motivation to pursue geniuses and the corresponding conditions, let alone the soil for genius worship. Yet Xu Chengjun appeared in this era, making a stunning debut on the stage of Anhui's literary circles. Many people call him a genius of this era. But I find it difficult to place him among the ranks of geniuses, because even geniuses in the humanities field find it hard to reach his level. Contemporary China has only produced one Xu Chengjun. It all started at that seminar, where I was sitting in the audience."
-
In the days following the seminar, no one dared to challenge him again, this rising star who was clearly being highly regarded by Anhui's cultural circles.

Quite a few people came to discuss creative themes with him.

The avant-garde and experimental short story "The Fitting Mirror" is also a focus of discussion.

Xu Chengjun generally takes a tolerant attitude towards this, and tries his best to explain his views in the context of the times.

He occasionally participated in discussions with Zhou Ming, Yan Zhen, and others, mostly listening and occasionally offering his opinions.

Although he was more knowledgeable and had a broader perspective than people of this era.

However, there are still many things he needs to learn about rural life and creative processes.

She also benefited greatly from the discussion.

Apart from that, he devoted most of his remaining time to his first full-length novel.

In this regard, his seniors did indeed give him a lot of guidance and help.

Especially Hanzi, whose personal experience on the battlefield can help Xu Chengjun correct some plot errors in the work from the author's perspective.

In this regard, Hanzi also gave his new work extremely high praise.

It is considered an epic war novel.

This put Xu Chengjun at ease.

However, his first full-length novel did present him with immense challenges.

This is determined by the nature of the novel itself.

Lao She once used architecture as a metaphor for writing: "A novel? That's a pyramid! But you have to learn how to make bricks first."

Lao She insisted on practicing "fragmented writing" every day: recording the gestures of the teahouse waiter wiping the table in the morning, describing the light and shadow cast by the locust tree at the entrance of the alley in the afternoon, and even requiring himself to rewrite the same rain in three different sentence structures.

These seemingly trivial exercises eventually transformed into the classic scene of a torrential rainstorm washing over the streets in "Rickshaw Boy"—the raindrops hitting Xiangzi's back were the culmination of years of observation.

Xu Chengjun will find it difficult to escape these things.

(End of this chapter)