My era, 1979!

Chapter 137 Chinese Literature in the 80s and World Literature

What was Japanese literature like before the 80s?

Xu Chengjun believes that Japanese literature is underestimated and that readers have a general misunderstanding of European, Japanese and American literature.

The reason is the limitation imposed by the traditional framework of "world classics" in China.

The deeper reason lies in the fact that the literary vision of ordinary readers has been "castrated" by two factors—

First, the "World Classics Collection" itself selectively focuses on classics.

Secondly, the content selection by publishers to cater to public stereotypes has directly led to serious biases in domestic readers' understanding of European, Japanese, and American literature.

The core manifestation of this bias is that our focus on European, Japanese, and American literature remains fixed on the scope and groups of writers from the 19th century.

The literature of various countries in the 19th century was essentially still in the category of classical literature and had not yet formed a mature form of modern literature.

In France, the novel has only just gained mainstream literary status.

In the United States, writers have not yet broken free from the constraints of European literature.

In Japan, novels are a variation of the classical essay aesthetic.

The predecessor of the I-novel was diary literature. The works of writers such as Natsume Soseki and Mori Ōgai are essentially a modern extension of the tastes of classical Japanese literati.

It wasn't until after the war that Japanese literature truly broke free from the constraints of the I-novel.

This is why most domestic readers' literary appreciation has never been able to enter the realm of modern and postmodern literature.

Our impressions of the literature of various countries are essentially just a one-sided understanding of their classical literature, and may even degenerate into fixed stereotypes.

When French literature is mentioned, one can only think of the romantic entanglements of the common people and romanticism.

When discussing Japanese literature, discussions often limit themselves to the I-novel and the aesthetics of "mono no aware" (the pathos of things).

As for the United States, it is simply labeled as a "cultural desert".

The literary value of all established literary nations is downgraded and underestimated under this perception.

Latin American literature is the only exception.

It can be considered the only region in China that receives widespread attention for "20th-century modern literature".

On the one hand, Latin America did not have a deep classical literary tradition before the 20th century and was not bound by historical frameworks, which provided fertile ground for the "Latin American literary boom".

On the other hand, the influence of this literary movement radiated globally and also deeply penetrated domestically, making it "the most powerful force in modern literature" in the country's perception.

When we compare the already mature modern literature with classical literature, which is still misunderstood as being "in a transitional period," the difference in our understanding of the two is naturally quite obvious.

Returning to Japanese literature itself, when exactly did it reach its peak?
The answer is undoubtedly "after the war".

Kenzaburo Oe deliberately distinguished himself from modern Japanese literature by identifying as a "post-war writer"—

The intellectual depth, narrative construction ability, thematic coverage, and global perspective of postwar Japanese literature far surpass those of modern literature.

This precisely confirms the underestimation of Japanese literature in China: we have always focused on its classical transition period, but missed its most valuable modern chapters.

Japanese literature around 1979 can be divided into two main lines: pure literature and popular literature. Although it lacked distinct school labels such as the "postwar school" or the "Buraiha" (Decadent School), it established its historical status through its diversity and transitional nature.

Each has its representative writers and works.

Yoshito Takahashi, Kenji Nakagami, and Kenzaburo Oe represent the development of pure literature.

Seiichi Morimura, Seiko Tanabe, and others represent the development of popular literature.

In a sense, contemporary Japanese literature is ahead of Chinese literature.

Since the 20th century, the only period in Chinese literature that truly rivaled Japanese literature was probably the golden age of the 80s and 90s.

To put it bluntly, since the 20th century, our status in world literature has been only higher than that of Africa, Southeast Asia, North Korea, and other obscure countries.

Of course, it is impossible for us to achieve all the remarkable economic, political, and military achievements we have made in just seventy or eighty years.

Football is one of them.

Literature might be the second.
-
Xu Chengjun stared blankly at the Japanese man in his eyes, and after a long while, he finally snapped out of his daze of thinking, "Who the hell are you?"

He mentally reviewed the current state of Japanese literature, and just as he was about to say something, he realized he didn't know the man's name.

Su Manshu whispered "Fujii" in his ear.

"Fujii Shozo?"

"Hi! I didn't expect Mr. Xu to still remember me! It's my honor!" Fujii Shozo said excitedly.

The Japanese have always admired the strong, regardless of whether they are left-wing or right-wing; this is an ingrained, fundamental belief.
This is also because they have always been learners, following the best and most advanced culture, and then internalizing and transforming it.

The roots of Japanese culture lie in China. From the Sui and Tang dynasties onward, successive Japanese emperors sent a large number of people to China to learn about Chinese culture, a practice that continued until Kublai Khan's conquest of Japan. Chinese culture, with Confucianism as its core, was imprinted on the bones and blood of the Japanese people, shaping Japan's cultural DNA.

Since Prince Shotoku of Japan, Japan has removed the Confucian concept of "benevolence" and replaced it with "loyalty, courage, and perseverance," which were then amplified and formed the basis of Japanese Bushido culture.

Japanese culture emphasizes "etiquette," and the Japanese have a strong commitment to it, even comparing themselves to those of the Western Zhou Dynasty in China.

However, the abandonment of "benevolence" in Japanese culture has also led to drawbacks in modern culture.

Contempt for the weak and worship of the strong.

Xu Chengjun felt somewhat ashamed. "I remember you, my foot!"
He smiled and said, "Fujii-kun, could you repeat what you just said?"

He really didn't hear clearly. The Japanese man's Chinese wasn't fluent yet, and he was in a hurry, so he barely heard a single word.

Upon hearing this, Fujii Shozo immediately straightened his back, clenched his fists in front of him, and even softened his breathing, as if afraid of missing a single second of his conversation with Xu Chengjun.

He bowed slightly, his wisps of hair falling across his forehead, obscuring the urgency in his eyes: "Mr. Xu, what I mean is—I want to translate your 'Red Silk' into Japanese, the complete version! So that readers all over Japan can read it!"

Before Xu Chengjun could respond, he hurriedly added, as if afraid of being rejected if he hesitated even a second longer: "I know this is presumptuous! But your 'Red Silk'... it shattered all my prejudices against contemporary Chinese literature. I used to think that, apart from Lu Xun's works, most contemporary Chinese literature was just 'slogan-like' narratives, but Huang Siyuan, Chunyan, and that unfinished wooden comb in your work are more vivid than the characters in our postwar Japanese I-novels!"

He suddenly raised his hand and pointed to the canvas bag he carried with him.

“I have been studying Mr. Lu Xun for ten years, and I still have a copy of the Mao Shi Zheng Yi (毛诗正义) from the Edo period at home. When I read the line ‘Holding hands’ in the Book of Songs, I always think of how profound the ‘emotion’ in classical Chinese literature is. But I always regretted that contemporary Chinese writers seem to have lost this ‘emotion’ until I read your ‘Red Silk’ (红帛) – you hid ‘metaphor’ in the red silk and placed the nation and family on the wooden comb. This is the Chinese literature I want Japanese readers to see!”

Xu Chengjun leaned back in his chair, gently tapping the edge of the table, his gaze falling on Fujii's hands, which were tightly gripping the canvas bag.

The Japanese man's eagerness was so genuine, even the reverence he showed when mentioning Chinese classics didn't seem feigned.

Shozo Fujii?

When he associated the name with Lu Xun, he suddenly felt a sense of familiarity.

If it's the Fujii Shozo he remembers, then this is a good path for him. He hadn't originally planned to expand overseas.

But if someone feeds him meat right to his mouth, why won't he eat it?

If it's meat.

He didn't reply, but simply raised his chin, signaling Fujii to continue.

He always held the initiative.

Fujii, observing Xu Chengjun's expression, immediately understood that he was waiting for him to reveal his hand. He pulled out a stack of papers from his bag, covered with dense annotations: "Mr. Xu, I know my translation skills are not yet sufficient—for example, when you wrote about 'the taste of salted vegetable soup with yellow croaker,' Japanese readers may not understand this kind of Shanghai alleyway atmosphere. I need to consult with old Shanghai students who studied abroad, and also check food information from the 1970s; there is also the background of the 'Third Front Construction,' and I plan to add a 20,000-word translator's note, citing Professor Maruyama Noboru's research results..."

"Maruyama Noboru?"

Xu Chengjun finally spoke, his voice calm but hitting the nail on the head.

Fujii's eyes lit up instantly, as if he had received tremendous recognition: "Yes! Professor Noboru Maruyama of the University of Tokyo! He is an authority on modern Chinese literature in Japan. When I called him, he heard that I was going to translate 'The Red Silk' and specifically said that he would be willing to guide me!"

They even said that if the translation was approved, they could recommend it to Iwanami Shoten—the one that publishes the Japanese edition of Lu Xun's complete works!

These days, it's really difficult to get published abroad without connections, and of course, the most fundamental reason is that the work doesn't fit the local culture.

Iwanami Shoten—Xu Chengjun is all too familiar with this name.

The Japanese people's literature.

By 1979, Iwanami Shoten had become a core force in Japan's academic and cultural publishing field, with a stable position and far-reaching influence.

At the publishing level, its iconic series "Iwanami Bunko" has been deeply involved since its founding in 1927. By then, it had become an important vehicle for popularizing classic culture, covering multiple fields such as philosophy, literature, and science. The massive number of classic works published have profoundly influenced the knowledge structure of the Japanese people.

With its stable monthly publication schedule, "Iwanami Shinsho" focuses on social issues and academic frontiers, becoming a key platform for Japanese intellectuals to discuss topics and disseminate ideas. The two complete series together establish its benchmark status in the field of series publishing.

Fujii took a half step forward and spoke even faster: "The editor at Iwanami Shoten is my father's student. I've already mentioned 'Red Silk' to him. As long as the translation is up to standard, I can secure the top spot in the 'Modern Asian Literature' column for you, with an initial print run of at least five thousand copies!"
Furthermore, I can apply to the Chinese Literature Research Associations at the University of Tokyo and Waseda University to hold special seminars, where you can share your creative ideas remotely—of course, all expenses will be covered by us!

As he spoke, he took out a business card from his pocket and handed it to Xu Chengjun with both hands. The words "Researcher, Faculty of Letters, University of Tokyo" were particularly eye-catching on the card, and his research direction was printed on the back: "Studies on Classical Chinese Literature and Modern Narrative".

“Mr. Xu, I know my abilities are limited right now, but I will learn! I will check every word and every sentence word by word. Even if it takes me three days to research the ‘Laoshan Orchid’ variety, I will never tamper with your original text!”

Xu Chengjun took the business card, glanced at the textured surface of the paper, and casually placed it on the corner of the table.

When Japanese people ask you for something, their sincerity is always overflowing.

He looked up at Fujii, his eyes calm yet possessing an undeniable air of control: "Fujii-kun, I see your sincerity. But translation is no small matter, and I have three conditions."

"Of course, this is only if you can provide all the resources you need." Fujii immediately stood up straight, like a student awaiting instructions: "Tell me! As long as I can do it, I will not refuse!"

"First, the copyright of the translation belongs to me."

Xu Chengjun's voice was clear and strong, "I want 70% of the revenue from Iwanami Shoten's distribution—you can use the remaining 30% to cover translation costs and tutoring, is that enough?"

Fujii nodded vigorously, his eyes filled with surprise: "That's enough! That's more than enough! Normal authors get a maximum of 50%, and you're willing to give me 30%..."

Xu Chengjun: ? ? ? ?
"second,"

Xu Chengjun didn't let him finish speaking, and continued, "The translation must be reviewed by me. Whether it's the tone of the characters' dialogue or the annotations of images like 'red silk' and 'enamel mug,' any changes must be confirmed with me first."

I will not allow 'the embroidery marks of swallows' to be changed into 'the imprint of battle flags,' nor will I allow 'the homesickness of educated youth' to be simplified into 'political symbols'—can you do that?"

"can!"

Fujii blurted out, "I'll divide the translation into ten sections, and send each section to you first. After you've revised it, I'll continue translating! For the cultural background in the footnotes, I'll include three versions of reference materials; you can choose the one that best matches the original text!"

"third,"

Xu Chengjun added, glancing at the sample copy of *Qingming* magazine on the table, “Append my essay on my creative process, ‘Why Red Silk Cannot Be Torn,’ to the end of the translation. Also, after the translation is published, send me ten sample copies every month, and keep me updated on feedback from Japanese readers and media reviews.”

I want to know what my work will look like in Japan.

Upon hearing this, Fujii suddenly bowed deeply, his waist almost touching his knees, his voice filled with gratitude: "Thank you, Mr. Xu! I will consider all your conditions! I promise that I will make 'Red Silk' shine in Japan, so that they will know that contemporary China has writers like you, and that Chinese literature has never lost its 'emotion' and 'soul'!"

Seeing his excited expression, Xu Chengjun finally smiled and reached out to help him up.

He picked up the pen on the table and drew a line on Fujii's translation plan.

"Then it's settled. You can think about it first, and also discuss it with your teacher and the publisher. The translation will depend on your schedule."

Fujii accepted the plan with both hands and said repeatedly, "Definitely! Definitely! I'll go back to the dormitory tonight to organize the materials!"

He walked backward out of the classroom, then turned around at the door and looked deeply at Xu Chengjun, as if trying to etch this moment into his heart: "Xu Jun, rest assured, I will never let you down with 'Red Silk'!"

The moment the classroom door closed, Su Manshu couldn't help but laugh out loud. She leaned over to Xu Chengjun and pointed to the business card on the table: "This Fujii really wears his 'admiration' on his sleeve. Seventy percent of the profits, plus simultaneous feedback—your terms are even more advantageous than negotiating with domestic publishers."

Xu Chengjun picked up the business card, twirled it, and smiled faintly: "He wants 'Red Silk' to open up the Japanese market and enhance his academic standing, while I want my work to remain unaltered overseas."

It's simply a matter of each getting what they need. Besides, it lets Japanese readers see that contemporary Chinese literature isn't all that great after all.

Xu Chengjun picked up the sample copy, turned to the section where Huang Siyuan was clutching a wooden comb, and gently brushed the page—

This unfinished wooden comb, who knows how many countries it will cross mountains and seas, and continue to tell the story of China's "emotion" and "soul" in the pages of books.

"That's true, but I never expected that my teacher Xu's work would be going abroad." Su Manshu looked into Xu Chengjun's eyes, and it seemed as if her own image was reflected in them.

"As long as we work hard, continuously revitalize more classical literary theories, do a good job of modern transformation, and absorb Western literary theories, more literary works will surely cross the ocean."

Xu Chengjun spoke with great enthusiasm.

Su Manshu rolled her eyes at him. "Alright, great writer, that's enough! Don't try to impress me with your values! And stop putting so much pressure on yourself, how old are you anyway!"

Xu Chengjun shook his head: "Yes! Yes! Teacher Su is right."

"Tell you something."

"Huh? What's wrong?" Xu Chengjun asked in surprise.

"My dad and mom want to invite you to our house for dinner." Su Manshu's face was flushed, but she still finished speaking completely.

"Huh?" Xu Chengjun was stunned. "Eat at your house? Professor Su?"

Are you going to see your father-in-law now?

Old Su is being dishonest! He's launching a surprise attack, isn't he?!

"Yeah, so what? You don't want to?"

"How can that be possible!"

"Then it's settled! Come with me this Saturday night!" Su Manshu said sweetly, her eyes sparkling.

"Then why don't you act cute?"

"Are you trying to die, Xu Chengjun?!"
-
As soon as Xu Chengjun pushed open the door to dormitory 201 in Songzhuang, a wave of heat hit him.

Zhou Haibo stood on the stool legs, leaned over the upper bunk, and swung his legs.

Lin Yimin clutched a sample copy of "Qingming" and paced around the room.

Hu Zhi and Cheng Yongxin huddled around the table, pointing and gesturing at the red silk illustration on the cover. Even Li Jihai, who had just finished washing up, came over while drying his hair.

"Hey! Our inaugural issue's lead writer is back!"

Zhou Haibo was the first to shout, leaning half his body down from the upper bunk, holding up a crumpled piece of manuscript paper in his hand, "I just copied down the 'Huang Siyuan Carving Wooden Combs' section from 'Red Silk,' and I'm going to post it at the cafeteria entrance tomorrow so the whole school knows that our 201 class has produced a great writer!"

"Don't bother me!"

Lin Yimin quickly ran over and shoved the sample copy into Xu Chengjun's hands. "If you're going to put it up, you have to put it up on the page with Mao Dun's preface! Didn't you see that Professor Zhang passed by the dormitory this afternoon and specifically asked me for a copy, saying he wanted to send it to Mr. Zhu? This is a novel with a preface by Mr. Mao Dun. Fudan University hasn't seen anything like this in years!"

Hu Zhi pushed up her glasses, pointed to the illustrations in the sample magazine, and laughed: "Did you guys notice? The two characters 'Spring Swallow' embroidered on the red silk on the cover are exactly the same as the stitches Su Manshu sewed for Cheng Jun's shirt last time! Maybe when Cheng Jun wrote this, he was thinking of Su Manshu?"

These words immediately caused an uproar in the dormitory.

Zhou Haibo slapped his thigh and shouted, "I knew it! Last time during military training, when the army sang 'Waiting for You to Return to the North,' Su Manshu's eyes were practically glued to her. You two! Hehe."

Just as Xu Chengjun was about to retort, Cheng Yongxin handed him an enamel mug with two red dates floating in it: "Drink some sweet water first, moisten your throat before you try to argue. To be honest, Chengjun, when you wrote the part about Huang Siyuan wanting to carve a wooden comb for Chunyan before the battle, I almost cried."

How do you know people so well? Have you been secretly observing young couples dating?

I've had more relationships than you've ever had, why would I need your observation?

Xu Chengjun scoffed!
Whom am I observing?

Xu Chengjun took the enamel mug, took a sip of the sweet water, and patted Hu Zhi on the shoulder with a smile. "Who was it that fought me for the last piece of braised pork in the cafeteria last time, and even said 'love can't compare to the aroma of meat'? Now you're making fun of me?"

"Can that be the same?"

Hu Zhi stiffened her neck and couldn't help but lean closer, "Let me tell you, Aunt Wang from the supply and marketing cooperative in my hometown asked my dad to pass on a message to me, saying that she wants her daughter to learn to write novels from you—the girl is only eighteen years old and looks as beautiful as Chunyan!"

"Go! Go! Go!"

Zhou Haibo threw a pillow down from the upper bunk, which hit Hu Zhi on the back. "Don't mess with that young lady! Cheng Jun is a member of the Provincial Writers Association now. If you're going to find someone, you should find someone like Su Manshu. She's a perfect match for him!"

After drying his hair, Li Jihai draped the towel over the rope and joined in, saying, "I went to the library this afternoon and overheard the girls from the Foreign Languages ​​Department discussing 'Red Silk.' They said they wanted to write a reader's letter to Cheng Jun and even asked for my dorm address! Cheng Jun, you'd better hide well, or you'll get cornered at your dorm entrance asking for an autograph!"

"Didn't you ask for my contact information?" Cheng Yongxin sneered.

Do you take me for someone else?

A while ago, Cheng Yongxin got to know countless girls from Fudan University by using Xu Chengjun's roommate's name. Many members of the "Wave" club got to know him through this guy's connections.

According to him, this is called sacrificing one's virtue for the sake of the organization!
What signature?

Xu Chengjun teased them on purpose, taking out a pen from his pocket and drawing a crooked red ribbon on the manuscript paper Lin Yimin handed him. "If you're going to sign, you have to let the people in our dorm sign first! Zhou Haibo, didn't you say you wanted to put it in the cafeteria? I'll sign it for you: 'Presented by Xu Chengjun—A Beijing man who loves braised pork'!"

"No, no, no!"

Zhou Haibo quickly waved his hand, "I want a proper autograph! This autograph will be worth a lot of money in the future! Lin Yimin, hurry up and frame this manuscript so we can keep it as a family heirloom!"

Lin Yimin's eyes lit up: "Hey! That's a great idea! My cousin has some wooden frames from the Republic of China era, I'll go find one tomorrow! By the way, Cheng Jun, do you have any channels to buy copies of 'Qingming'? It's so popular right now!"
My mom told me to send a copy to all our relatives in Shanghai, saying, "My son has a writer in his dorm!"

"Send an egg!"

Xu Chengjun leaned back in his chair, knowing that this kid was just making fun of him and talking nonsense.

Zhou Haibo was still arguing with Hu Zhi about who would get an autograph first, Cheng Yongxin was already thinking about which fellow villager to lend the sample copy to, and Li Jihai was calculating the promotional materials for the Wave Literature Society.

"By the way, Chengjun,"

Cheng Yongxin suddenly remembered something, "Last time you said 'The Box of Hope' was a continuation of 'Red Silk,' when are you going to show it to us? Don't keep it hidden, let us have a taste of it in advance!"

"What's the hurry?"

Xu Chengjun smiled and picked up the book "Qingming" on the table. "After you've thoroughly read this book, I'll tell you the rest. But let me make this clear first, don't cry again then, because Huang Siyuan has even more tear-jerking scenes to come."

"Who cried?" Zhou Haibo immediately retorted, "I was just bothered by the cooking fumes! No, I was moved by my poem! Ah, life! How beautiful! Love! How wonderful!"

"Chengjun, you're the main speaker for 'Red Silk' next week! We're still at Xianghui Hall right now!" Lin Yimin shouted.

"Me, analyzing my own work?"

"Is this a legitimate author?"

"If you won't tell me, I will?" Lin Yimin pouted.

“I think it’s a good idea!” Xu Chengjun’s eyes lit up.

(End of this chapter)