My era, 1979!

Chapter 173 Is Online Literature Literature?

At that time, Huazhong Normal University was still located on the Zhongshan North Road campus.

If Xu Chengjun were to ask which campus in Shanghai he likes the most, it would definitely be the campus of East China Normal University.

Although the South China Normal University has expanded to include the Minhang campus in later generations, the Zhongshan North Road campus remains the spiritual homeland that countless alumni yearn for.

The columns of the Arts and Humanities Building, the ripples of the Liwa River, and the chimes of the Siqun Hall together constitute the collective memory of that generation about "university".

As the poet Song Lin said, "If there truly is such a thing as paradise on earth, it is every blade of grass, every tree, every grain of sand, and every stone along the Liwa River near the Normal University."

The Chinese Department's office area is located in three interconnected bungalows on the east bank of the Liwa River, with gray tiles and white walls that exude the elegance of a Jiangnan courtyard.

The teachers' offices and the archives are connected by a glass window.

Students often saw the master collating ancient books at his desk across the corridor.

Xu Zhongyu came out to greet him, looking apologetic: "Comrade Chengjun, I'm so sorry. Something came up and I was delayed. I was planning to use Siqun Hall, but there was a scheduling conflict with the symphony concert there."

Siqun Hall is a large auditorium.

It is the building that witnessed the founding ceremony of Huazhong Normal University.

With its unique style, the Western-style dome and Chinese-style eaves are cleverly integrated. When it is brightly lit at night, it is reflected in the Liwa River, creating a beautiful scene.

Xu Chengjun naturally had no objections.

"Professor Xu, you're too kind. It's already an honor for me to come to East China Normal University and exchange ideas with everyone."

Xu Zhongyu led Xu Chengjun toward the meeting venue.

A group of people followed behind.

Back when I was a student, seeing this scene would have made me curse, "Who the hell is putting on such a grand show?"
Now it's my turn.
It felt just right.

People~
The magnolias in front of the West Main Building were no longer in full bloom, and the scattered white petals, adorned with the sunset glow, illuminated the glass windows of the lecture hall.

Enter the classroom.

The classroom was already full of people.

The people in the front row are the core teachers of the Chinese Department of East China Normal University.
The faculty of East China Normal University can be described as a "golden lineup," consisting of both seasoned academic giants and promising young academic pillars.

While it may not be better than Fudan University, it is certainly no worse.

In particular, the "Huashi Writers Group" cultivated by Huazhong Normal University temporarily overshadowed the Chinese Department of Fudan University.

Shi Cunzhe, Xu Zhen'e, Qian Gurong, and Li Lingpu, these academic giants from East China Normal University, were very supportive.

I'm already seated in the first row.

Xu Zhongyu led Xu Chengjun to greet everyone. Apart from Li Lingpu, the others were all renowned figures of the same generation as Zhu Dongrun.

Shi Cunzhe is an old acquaintance.

He chuckled and pointed at Xu Chengjun: "I definitely wouldn't come to other people's lectures, but I have to come listen to you, kid, to see if you've been busy dating all the time~"

Xu Chengjun: "You flatter me. Dating is one thing, but when it comes to academics, you have to be serious and methodical."

Shi Cunzhe laughed heartily, took Xu Chengjun's arm, and introduced him to the other professors one by one.

Xu Zhen'e, Qian Gurong, and Li Lingpu were already familiar with Xu Chengjun's name.

They were all very kind.

Their visit was undoubtedly to see this rising star who is both popular in academia and the literary world.

Anyone with eyesight can see it.

Fudan University is already considering promoting Xu Chengjun as the next successor of the Chinese Department.

The literary world goes without saying.

The second half of "Red Silk" is performed.

His name has been recorded in the history of Chinese literature.

The back row was packed with students, some of whom had copies of "Harvest" and "Qingming" tucked into their pockets, the covers featuring Xu Chengjun's representative works.

When Xu Chengjun stepped onto the podium, the anticipation in the air suddenly materialized.

He was wearing a light gray khaki Zhongshan suit, the cuffs of which were a little old but ironed neatly. He wasn't carrying a speech manuscript, but only a dark brown leather notebook with the words "Creative Notes" embossed in gold on the cover.

This scene remains in the hearts of many students at East China Normal University.

Chen Danyan, a member of the “Huashi Writers Group” and a freshman from the class of 79, said at the creation meeting of “Shanghai’s Romantic Scenery”: “When someone like Xu Chengjun appears in the same era, all your efforts will be seen as chasing after him. But fortunately, such a person is on the road ahead, at least giving Chinese literature a direction, and this person is willing to point out the direction for everyone.”

When a reporter asked her, "It seems like your generation all admires Xu Chengjun a lot?"

Chen Danyan gave her a strange look: "Shouldn't we admire you? What were you doing when you were 20? He was already lecturing on literary theory to us in front of Professor Qian and Professor Xu, while I was struggling to even get a seat back then."

The reporter was speechless for a moment.

Chen Danyan added, "In the literary field, being in the same era as him is both a misfortune and the greatest fortune."

Lucky Star walked to the front of the stage.

He first nodded to Professor Xu Zhongyu, then turned to the room full of people, his voice not loud but clear: "Professor Xu said that everyone wants to talk about 'the practice of art and literature empowering,' but I would like to start with a word—'resonance.'"

It's not just the reader's resonance with the work, but the work's resonance with life, the author's resonance with the masses, and even more so, the resonance between today's words and future readers.

As soon as he said that, the students quietly sat up straight.

At the time, the literary world mostly talked about "reflecting life," and "resonance with the future" was a novel concept.

I'd like to see what you, a 20-year-old, have to say about how you've become famous!
Here you go~
"I won't talk about my work today, because it's not right to say it's good or bad."

Xu Chengjun was witty and humorous, and the audience laughed heartily.

"Mr. Xu asked me to talk about 'the practice of empowering literature and art,' but I would like to start with two earlier works—Mr. Ai Mingzhi's 'Spark' from 1959, and Ms. Ru Zhijuan's 'The Story That Was Edited Wrong,' which was published in early 1979 but is rooted in an earlier history. One of these works was written during the 'Seventeen Years of Literature,' and the other spans a special era and a new era. They precisely contain the resonance of the dialogue between literature and art and the times."

Everyone was a little surprised.

These two novels are not unknown.

However, compared to the hit shows at the end of the year such as "Red Silk", "Fitting Mirror", and "Legend of Tianyun Mountain",...

Or compared to "The Wounded" and "The Class Teacher," few people revisit these "old works" to appreciate their new value, a perspective that is surprisingly fresh.

Xu Chengjun continued, “Liu Zhuqing in ‘The Spark’, a female worker at the Changxindian Railway Factory, was not a born revolutionary. The novel describes how she initially only wanted to avenge her father, who was beaten to death by the foreman, by secretly sabotaging the machines, but ended up being beaten instead. It wasn’t until she came into contact with progressive young people at the labor training school that she understood that ‘personal hatred must be connected with the suffering of the masses,’ and only then did she move from spontaneous resistance to conscious struggle.”

He looked up at the students: "Aren't we just like Liu Zhuqing back then?"

Xu Chengjun gave everyone time to react.

Suddenly, quite a few people behind them shouted, "Yes!"

Xu Chengjun smiled and nodded to Xu Zhongyu and the others in the front row.

"We have just emerged from turmoil, carrying personal grievances in our hearts, and are somewhat lost in the face of the new situation of reform—not knowing how to turn the 'pain of the past' into the 'path of the future'."

The value of "The Spark" is not simply to glorify the revolution, but to thoroughly depict "how ordinary people find their direction in the times": not through slogans, but through reflection after repeated setbacks and awakening after being inspired by those around them.

This is the most practical form of 'empowerment' for us today—it tells us that overcoming confusion is never a sudden epiphany, but a step-by-step exploration.

He paused, then changed the subject slightly: "Of course, my idea also has limitations."

Future literature may have more nuanced dimensions, such as what Bakhtin called 'dialogic'—not only do characters talk to each other, but authors and readers, the past and the present, also engage in dialogue.

We've just emerged from the trap of singular narratives; the dialogic element still needs to be explored gradually. Perhaps some of the young people here will one day write works with an even stronger sense of dialogue than my "Red Silk."

The elderly professors in the front row nodded gently.

Xu Chengjun made it clear from the morning that today's class would be open-ended. Everyone could ask questions at any time.

So~
"Teacher Xu!"

"I am Zhang Liming, a student from the Chinese Department of East China Normal University, class of 79."

The boy in the blue shirt in the back row suddenly stood up, his voice carrying the sharpness of youth.

It's someone I know!
One of the writers, whose name is slightly less prominent than the others mentioned earlier.

"The Spark is a representative work of the 'Seventeen Years of Literature,' which emphasized serving politics back then. Now we talk about literature returning to humanity. If you bring up this kind of revolutionary narrative again, wouldn't that be a step backward? What if literature and art become a mouthpiece for policy again? How can we talk about empowerment then?"

This question touched upon a hidden concern in the literary world at the time.

Having experienced the constraints on art and literature, people are wary of creations that prioritize a specific theme.

The students are now wary of this 20-year-old teacher.

It is not without the implication of testing or scrutiny.

The classroom fell silent instantly.

Everyone is eager to see what answer this rising young man will give.

Xu Zhongyu lowered his head and chatted briefly with Xu Zhen'e: "Students these days still have a shallow perspective."

Xu Zhen'e shook his head.

Although the quality of students improved in 79, the college entrance examination was still a "simple college entrance examination" model.

Xu Chengjun didn't rush to refute him, but instead smiled and said, "You're right. There are indeed many conceptual works in the 'Seventeen Years of Literature,' but 'The Spark' is an exception."

Mr. Mao Dun once commented that it "does not simply display suffering or depict struggle, but reflects the essential contradictions of the times through typical characters."

Look at Old Man Zhang in the novel. He tells the young workers about the hardships of the past, touching his severed finger and saying, "In the past, when we were building railways, a severed finger was less valuable than a severed blade of grass. But now, in the new China, our lives are what matter."

Is this ZZ?
Yes, but it is also living humanity, a faith that grows from the very bones.

He paused, then changed the subject: "Today, when we oppose 'megaphones,' we are not against art and literature being concerned with the times, but against art and literature discussing the times in a way that is detached from humanity."

When we write about reforms and reflections, we shouldn't first try to convey a particular message; instead, we should consider what the people involved in the reforms are experiencing. By thoroughly depicting their grievances, struggles, and courage, the lessons will naturally emerge from the story. This is true "empowerment," not mere indoctrination.

He added, "Of course, the limitations of 'The Spark' are also obvious. In its narrative, collective growth overshadows individual confusion."

Future literature will certainly leave more room for individual confusion. For example, some works may depict a worker's dilemma of whether or not to give up his "iron rice bowl" during the reforms.

Of course, this is not a denial of *The Spark*, but rather a deepening of literature's understanding of 'empowerment'.

Zhang Liming was stunned for a moment, then sat down with a blush on his face.

Xu Chengjun's words were like a battering ram.

He needs to think about it for a while.

A round of applause rang out in the classroom. Xu Zhongyu adjusted his glasses, unable to hide the smile on his lips.

Before the applause had even subsided, another girl wearing black-rimmed glasses stood up and asked a question that showed even more professionalism: "Professor Xu, you said that Ru Zhijuan's 'The Story That Was Edited Wrong' is rooted in an earlier history, but this novel is full of criticism and regret."

Since we need to look forward, what kind of "empowerment" can this kind of work offer besides making people sad? Won't it actually discourage people from moving forward?

This issue brings the core debate about the "value of reflection" to the forefront.

The fervor surrounding "scar literature" has yet to subside.

Reflective literature has just begun to emerge.

At the time, many people feared that "reflection" would diminish the courage to reform, and advocated "singing more praises and exposing shortcomings less."

Xu Chengjun smiled and gestured for the girl to sit down.

"To be honest, I just finished reading this novel myself, and I happen to remember it quite well. If you ask me something else, I might not be able to answer it properly."

The audience burst into laughter, making the girl blush.

"In this novel, Lao Shou followed the district chief to cut down trees and transport firewood during the war. He was happy to do it no matter how hard or tiring it was, because cutting down trees was for the purpose of winning the war and for everyone to have enough to eat."

But cutting down more trees was for launching satellites, to meet certain data requirements. Old Shou couldn't understand it, saying, "It's not worth cutting down those trees."

He looked up at the whole class and said, "Ru Zhijuan wrote this 'mistake' not to make everyone hate the past, but to make everyone understand 'what is right'."

He emphasized, "It's not about pouring cold water on everyone, it's about opening everyone's eyes. Artistic reflection is never about looking back and settling scores, it's about moving forward."

He then changed the subject, leaving an open question: "Of course, the criticism in 'The Story That Was Edited Wrong' is relatively subtle and limited to the surface level."

Future reflective literature will undoubtedly delve deeper, such as exploring the root causes of mistakes and the struggles of ordinary people within those mistakes.

Just like some works might depict how a grassroots cadre during that period went from 'wanting to do good' to 'doing bad', this kind of complex portrayal of human nature will make the empowering effect of 'reflection' even more powerful.

Before the applause had even subsided, another girl in a beige shirt stood up, holding a copy of "A History of Western Aesthetics." Her question was sharp: "Professor Xu, you just mentioned 'future resonance,' which also coincides with Cassirer's view that 'man is a symbolic animal'—literature is a symbol of life, but symbols always have a need for defamiliarization."

"Defamiliarization" can make something incomprehensible to the general public; for example, some readers have said they "can't understand" obscure poetry. How do you think a balance should be struck between defamiliarization and public acceptance?

Will there come a day when literary 'symbols' become increasingly niche, and consequently drift further and further away from their 'empowering' function?

Xu Chengjun's eyes lit up.

What will Chinese literature be like in the future?
In the 21st century, how many people have truly experienced the world of serious literature?

Is it too sophisticated for the masses?

At least in the eyes of the vast majority of people, Chinese literature is definitely becoming increasingly niche.

What is the mass market?
It's an online novel.

But are online articles literature?

Xu Chengjun felt that wasn't entirely true.

Xu Chengjun acknowledges that online literature belongs to the realm of literature and affirms its value as popular literature.

Traditional literature has long been elitist, with knowledge reserves and aesthetic thresholds becoming barriers for ordinary people to access literature.

Online literature, with its colloquial language and relatable scenarios, allows even marginalized groups like dishwashers who only have a junior high school education to enter the realm of literary consumption, thus enabling literature to move from the halls of power to the common people and making it no longer the exclusive domain of a select few.

The themes are mostly derived from the life experiences of ordinary people, such as struggles in the workplace, difficulties in marriage and love, and anxiety about social mobility. Behind the seemingly popular stories, they actually reflect the living conditions and spiritual needs of the masses in a specific era.

but.

One of the core values ​​of literature is to convey philosophical reflections on humanity, society, and destiny through stories.

However, the design of "feel-good moments" in online novels is essentially to satisfy readers' immediate emotional needs. In pursuit of traffic and subscriptions, the exploration of deeper issues is often weakened or even abandoned, resulting in works lacking intellectual core and philosophical depth.

More extreme, some novels, in order to create thrills, convey extreme values, such as solving problems with violence and prioritizing utilitarianism.

Such content not only fails to fulfill the literary functions of "enlightenment and reflection," but may also mislead the public's understanding of reality.

Psychotoxic drugs~
But I love watching it~
Xu Chengjun answered without much hesitation: "Shklovsky said that 'defamiliarization is to prolong the time of perception,' but he did not say that 'defamiliarization should be divorced from life.'"

"The masses are not unaware of alienation, but rather they are unaware of alienation detached from life."

His voice gained some strength: "Some people can't understand Misty Poetry, not because of 'defamiliarization,' but because some poets have pulled 'symbols' out of life and turned them into their own playthings."

True 'defamiliarization' is about revitalizing familiar aspects of people's lives with a fresh perspective.

He then changed the subject, leaving room for interpretation: "Of course, there is no fixed answer to 'balance.' In the future, there may be expectations for a more accepting aesthetic perspective."

Different readers have different expectations. Workers expect to understand life, students expect to see profound thoughts, and what writers need to do is find the greatest common ground, not pursue a single standard answer.

(End of this chapter)