Writer 1978: I Need to Give the Literary World a Lesson

Chapter 565 Invitation to Join PEN International

Inside the lecture hall of the Central University of Venezuela, the conversation gradually began to revolve around postcolonial literature and magical realism.

Qian Zhongshu and Ma Shitu compared and contrasted Márquez's 1985 novels, *Love in the Time of Cholera* and *One Hundred Years of Solitude*, to discuss the inheritance and breakthrough of Márquez's writing techniques.

After listening to their conversation, Márquez smiled and said, "This novel is adapted from a true story I collected. Many people say it is a great love story. It is precisely because of its incompleteness and torment that people understand the greatness of love, but for both parties in the love, it is a suffering."

What is love? Love is a glance exchanged at sunset; it's an unexpected encounter on the street; it's two people looking back at each other while sheltering from the rain under the eaves. All love begins beautifully, but most love ends in tragedy.

If *Love in the Time of Cholera* had a happy ending, I don't think it would have such enduring appeal. This isn't just true in the realm of love literature; in literature as a whole, tragic works often resonate more deeply. Liu Yimin continued, picking up where Márquez left off.

“Liu, you’re right, the same goes for Mr. Wan’s Thunderstorm. If someone can gain literary recognition by writing a comedic novel, then that writer’s talent must be far superior to mine.” Márquez agreed, saying, “If I hadn’t written about suffering and tragedy, I don’t think I would have achieved such success in the literary world.”

Peruvian writer Vargas Llosa looked at Liu Yimin: "Liu, as Mr. Márquez led magical realism to new heights, we also know that countless Chinese writers are studying magical realism, including your 'Beloved' and 'Dust Settles Down.' Do you think that magical realism is the next literary breakthrough for Chinese writers?"

“I don’t think so. A writer’s pursuit of literary techniques is inseparable from the literary environment in which he is situated. The Chinese literary environment prefers linear narrative realism. Of course, I do not deny that many magical realist literary works will emerge in Chinese literature, but magical realism cannot become the mainstream in China.”

Liu Yimin told them about the emergence of a series of literary schools in China since the reform and opening up, such as reform literature, root-seeking literature, and avant-garde literature: "China is currently in a period of collision between China and the West, with multiple literary schools coexisting."

Liu Yimin proposed the concepts of "major collision" and "minor collision." Major collision refers to the collision between domestic and foreign literature, while minor collision refers to the collision between works from different literary schools within China.

"These collisions are beneficial to literature. Literature that is truly suited to this land will remain, while some literary schools are destined to be just a fleeting moment in the long river of literature. Through the long river of history, the homegrown realist literary school will always be the mainstream school of Chinese literature."

Qian Zhongshu and Cao Yu looked at Liu Yimin, showing great interest in his literary views on major and minor clashes.

Peruvian writer Vargas Llosa asked again: "Liu, doesn't this just prove the closed nature of Chinese literature?"

"No, no, no, this proves the resilience of Chinese literature. On the mainstream path of literary development, we will draw on all kinds of useful nutrients. Looking back from Chinese literature, this is also the resilience of the entire Chinese culture. We will absorb the useful parts of foreign cultures to develop Chinese culture," Liu Yimin said calmly.

"Does Chinese culture have any advantages over Western culture?" Vargas Llosa asked again.

Liu Yimin reiterated, "Chinese culture certainly has its advantages over Western culture. For example, the Chinese value harmony without uniformity and are inclusive. I believe this is more conducive to the world's peaceful development than Western aggressive culture. If the whole world followed Chinese culture, I think there would be more respect and less conflict in the world."

Vargas Llosa then recounted his experience visiting Japan, during which he observed Japanese society in depth and held talks with many well-known Japanese writers.

"Japan should also be part of the Chinese cultural sphere, but World War II proved its greed. In addition, when I chatted with Japanese writers, I felt such a disconnect. Japanese writers are polite, not like a country that has been invading everywhere. I met Kenzaburo Oe, who is an excellent writer."

"Looking at Japan to understand China is a flawed perspective. Chinese people say that a son is not like his father, but they never say that a father is not like his son! Japan is a country that admires strength. When China became strong, it turned to China. The two atomic bombs dropped by the United States successfully made MacArthur the supreme ruler of Japan."

Japan's study of Chinese literature has missed the mark. They learned the etiquette of Confucian culture, but did not truly internalize it. They "know minor etiquette but lack greater righteousness, are bound by trivialities but lack great virtue, value minor details but disregard integrity and shame, fear power but do not cherish virtue, the strong inevitably become thieves and robbers, and the weak inevitably become subservient."

As for Mr. Kenzaburo Oe, I also deeply admire his talent and virtue, but it's a pity he cannot represent Japan. "It is not the fault of a gentleman to be born in a small country, nor is it the merit of a small country to produce a gentleman."

Liu Yimin's answers to Vargas Llosa were calm and composed, showing no signs of fatigue. However, Huang Jinyan, standing beside him, was practically scratching his head, as Liu Yimin's use of various archaic expressions made his translation extremely difficult.

Left with no other option, Qian Zhongshu stepped in to help Huang Jinyan with the translation. Qian Zhongshu, a scholar well-versed in both Chinese and Western learning, naturally found the translation effortless.

"Mr. Vargas Llosa, you were once a member of the Peruvian Communist Party, but I think your thinking has changed rapidly since the 1970s, and you have become overly reverent towards Western culture. I believe that the most important thing for postcolonial literature is to see the superiority of its own culture."

Only by establishing confidence in our own literature can we break free from the influence of colonialism.

Liu Yimin smiled faintly at Vargas Llosa, who said frankly, "I taught at various universities in the United States in the 1960s and 70s. To be honest, the development of the West in the United States is too fast. I find it hard to see any hope for Third World countries to catch up."

Vargas Llosa's ideas are not only those of a large number of people in the country, but Vargas Llosa himself is not firm in his beliefs. He was influenced by left-wing ideology during his university years and his time as a member of the Peruvian Communist Party was very short.

“I have read Mao’s works, and I have to admit that he was a great revolutionary and ideological mentor. His optimism also inspires me, but the gap between reality and reality is just too great. Liu, although your tongue is more nimble than a snake, you can’t fool me. I have worked at PEN International for a long time and I have met many Chinese writers, and not all of them are as optimistic as you.”

They even believe their freedom of speech is not guaranteed!

"I admit that at the time of reform and opening up, many people felt disheartened by the gap between China and the world, and as you said, they couldn't see any hope. But these people are only a small minority among the billion Chinese people. China has a sound industrial base; what we lack is an opportunity. Opportunities don't come out of thin air; reform and opening up is the opportunity we created for ourselves."

This symbolizes our enterprising spirit; the vast majority of us firmly believe that 21st-century China will far surpass 20th-century China.

After Liu Yimin finished speaking, Cao Yu and Qian Zhongshu led the applause. Qian Zhongshu said, "I also believe that since the reform and opening up, we have had problems, but we have also been solving them. My colleagues in South America, I hope that one day you will come to China and see the results of the reform and opening up."

“We all believe it!” Cao Yu said firmly.

Ma Shitu, Wang Zengqi, and the others simultaneously raised their chests, their confident and composed expressions deeply imprinted in the minds of Márquez and his companions. Márquez remarked, "Since Monci Bolívar, how many people on the South American continent have dared to say that South America will definitely be stronger than the world!"

Márquez grew increasingly curious about China and felt it was necessary for him to visit the country.

Gabriel García Márquez expressed his views on postcolonial literature, arguing that while postcolonial literature primarily criticizes colonialism, it is precisely because of the profound influence of colonialism that it is full of colonialist ideas.

The discussion continued until 4 p.m., at which point the audience Q&A session began.

A student from the University of Venezuela raised his hand and asked, "Professor Liu, I don't want to ask a literary question; I want to ask a political one. As you said, China is on the right track and its economy is developing rapidly. I would like to ask you what your views are on South America? How can South America become a South America for South Americans?"

"For South America to achieve true freedom and independence, and subsequently economic development, it will be a long process. First, South America needs internal unity; a fragmented state is detrimental to its growth. Even economically developed Europe is preparing to form a community; South America should unite even more."

Second, South America faces external pressure; it's too far from God and too close to the United States. The US sees it as its backyard, and they would prefer a more compliant Central and South America.

Without resolving these two issues, South America can never achieve independence and freedom.

After Liu Yimin finished speaking, he looked at the other students and asked, "Does anyone have any questions?"

"Professor Liu, I can sense your pride in Chinese literature from your words, but why hasn't Chinese literature won a Nobel Prize?"

"To address this issue, we must first understand that the Nobel Prize in Literature is not an objective evaluation system, but rather a subjectively selected award. Furthermore, I believe that the evaluation criteria for the Nobel Prize in Literature are heavily influenced by Western ideology. Most literary awards in the world have their own judging criteria, and the South American Literature Prize held in Venezuela is precisely an effort by South America to establish its own evaluation system."

"Mr. Márquez believes you are China's most promising writer to win the Nobel Prize in Literature. What do you think of this?"

Before Liu Yimin could speak, Márquez said, "I think the day when Liu wins the Nobel Prize in Literature is not far off. Besides, Liu is right; the Nobel Prize in Literature is evaluated based on Western ideology."

For truly talented writers, the Nobel Prize in Literature is merely an embellishment.

"Since the Nobel Prize in Literature is evaluated based on Western ideology, how can we break through this Western framework?"

Liu Yimin quickly said, "Just as I said on my first day in Venezuela, Third World literature should unite, Third World writers should unite, and we should work together to make efforts for Third World literature and strive to establish a set of literary evaluation standards that conform to the history and culture of the Third World."

As soon as Liu Yimin spoke, a buzz of discussion broke out both on and off the stage, and Cao Yu and Qian Zhongshu's hands trembled involuntarily.

The idea of ​​establishing a system for evaluating Third World literature is truly audacious!
Many people were surprised by Liu Yimin's remarks and were unsure how to broach the subject, so they turned to other questions instead.

"Professor Liu, what are your views on the future development direction of Latin American literature? And how do you evaluate Mr. Márquez's influence on Latin American literature?"

"Without a doubt, Mr. Márquez was a great writer whose works are beloved by readers. At the same time, South America also boasts a large number of famous writers whose writings are full of South American cultural characteristics."

But future Latin American literature will inevitably break free from the influence of Mr. Márquez.

A buzz! As the sound faded, a murmur arose again from the audience. The idea that they would inevitably break free from Márquez's influence was seen by many as a sign of disrespect towards him.

"Mr. Márquez has had a profound influence on Latin American literature, but if Latin American writers want to break through again and go further, they must break free from Mr. Márquez's influence, otherwise they will live in his shadow forever."

Ignoring the buzz from the audience, Liu Yimin explained again: "If Latin American literature doesn't break free from the influence of magical realism, then when readers encounter magical realism, the first thing that comes to mind is Márquez."

This is intolerable for young writers who want to become famous, and they will inevitably try every means to seek breakthroughs and development.

Gabriel García Márquez smiled and greeted Liu Yimin, agreeing with Liu's assessment. Before Márquez, there were countless renowned Latin American writers. He grew through learning, and after developing his own style, he built upon breakthroughs.

After answering several questions, Liu Yimin sat down, leaving the opportunity to speak to others.

Cao Yu and Qian Zhongshu were the two people who received the most questions, apart from Liu Yimin. Ma Shitu and Wang Zengqi did not have many works translated into Spanish, so they were not well-known to the average reader.

Ah Cheng was even worse off; he was practically asleep sitting there. They had a heated discussion all afternoon, but he barely uttered a single word.

When asked questions, Gabriel García Márquez, Mario Vargas Llosa, José Mario, and others praised their Chinese counterparts for their extensive knowledge and understanding of the development of literature in various countries, which exceeded their expectations.

Vargas Llosa said with a smile, "I really like this young and confident Chinese writer. On behalf of PEN International, I would like to extend an invitation to Professor Liu, hoping that he can join PEN International."

(End of this chapter)