The crazy sales are the best proof of the popularity of "The Story of a Crossing Boat" after its publication. The millions of readers are not all the same faces.

Most of them are ordinary readers or literature lovers, and a considerable number of them are people in the cultural and literary circles.

Today, when magical realism is at its peak in China, a magical realist work like "The Story of the Ferry" purely written by a domestic writer has naturally attracted the attention of many colleagues.

Since ten months, reviews of this novel have appeared in many domestic newspapers and magazines.

Among them, in the "Zhongshan" magazine that was launched in March, an article titled "The Interweaving of Divinity, Humanity and Beastiality - Impressions after Reading "The Crossing Boat"" caused a lot of excitement due to its wonderful interpretation and comments on the work.

Readers' praise.

The article reads:

This thrilling adventure deeply explores the possibilities hidden in the human heart, making us think about many grand propositions about human nature, life, death, faith and so on.

In such a rich and three-dimensional world that the author has built for us, what we can see depends entirely on our thoughts.

It is like a delicate prism. Through the mirror we can see the divinity that is struggling to persevere, the humanity that is still fighting in a trapped beast, and the cruel and cruel beast.

I very much hope that what readers will see is hope, courage and love. These universal truths that transcend species boundaries can remind us to maintain a heart of exploration and understanding in a complex and ever-changing world.

Wonderful and professional review articles can often make readers who like the work feel a sense of identification with Yourong. This article in "Zhongshan" is just one of many articles praising "The Story of the Crossing Boat".

As time goes by, there are more and more articles like this, and the response they cause is getting bigger and bigger.

When the literary world's praise for the work is getting louder and louder, many critics and literary theory scholars are no longer satisfied with the evaluation of the work, and have turned their attention to Lin Chaoyang.

In the latest issue of "Literary Review", Mr. Qin Mu, a leading figure in contemporary prose and known as "Southern Qin and Northern Yang", published an article titled "The boundaries of contemporary Chinese literature require young people to be brave enough to explore."

Qin Mu believes that since the 1950s, the dilemma faced by modern Chinese novelists has directly affected the development of Chinese literature in the past thirty years.

Literature and art in the liberated areas has become the mainstream direction in the literary world. Revolutionary historical themes and rural themes account for a large proportion of the output of literary works, affecting and restricting the overall style of contemporary novels. This single trend went to the extreme during the period of humanitarian torrent.

Since the reform and opening up, our literary system has been repaired and rebuilt, and a number of creative and distinctive young writers have emerged in the literary world.

When the article was written, Tan Mu picked up Lin Chaoyang like a head teacher praising a primary school student.

"Comrade Xu Lingjun's early works such as "The Wrangler" and "Little Shoes" have obvious realist characteristics, and are simple yet romantic, bringing a fresh trend to the literary world.

After that, he released works such as "Garland Under the Mountain" and "Parental Love". His works during this period were still based on realism, but the revolutionary romantic feelings displayed in them have highlighted

The author’s creative ambition.

When "The Summer of Raiko" and "The Death of Van Gogh" were released, it marked that Xu Lingjun had completed an important transformation in his creative career.

In the Chinese literary world where realism is the mainstream, he boldly tried stream-of-consciousness literary works with a postmodern style and achieved unprecedented success, demonstrating not only extraordinary courage, but also firm confidence and outstanding creative talent.

During this period of time, "The Story of a Crossing Boat" has received a lot of praise from readers and attracted great attention in the literary world.

Such a magical realism-themed work, which is extremely rare in the Chinese literary world, shows Comrade Xu Lingjun's spirit of constantly seeking breakthroughs in literary creation and having the courage to break conventions.

I hope that our young writers can learn more from colleagues like Comrade Xu Lingjun, bring a fresher atmosphere to the contemporary literary world, and bring better works to readers."

Qin Mu's high recognition of Lin Chaoyang represents the views of a considerable number of people in the literary world. They value Lin Chaoyang not only because of his good works, but also because of his ability to continuously make breakthroughs and bring vitality to the literary world.

Chinese people have a bad habit. As soon as something is popular, they will rush to it in droves. When the thing is so popular, everyone will immediately discard it like worn-out shoes. Finally, they will not forget to belittle it.

In the past few years, scar literature has been very popular. As long as you use these four words, you don't have to worry about not being published in publications, let alone readers.

Some writers will compose new words to express their sorrow in order to be published, and publications will also make writers rely on scar literature for the sake of sales.

As time goes by, the mud and sand have become muddy, and there are countless people who have faked the word. The scar literature has long lost its courage as it once was, and has even aroused the disgust of many readers.

Writers no longer regard writing scar literature as something fashionable. Instead, they regard writing scar literature as "unfashionable" and "consuming readers' emotions", which has gradually led to criticism of scar literature.

Then reflective literature rose, and everyone turned their attention to reflective literature.

This cycle goes back and forth, parroting what others say, and following what others say. These people are like vultures smelling rottenness, driving the atmosphere of the literary world further and further away.

Therefore, the appearance of Lin Chaoyang is like a cone in a bag, and the end of it is immediately apparent, which naturally attracts the admiration of many knowledgeable people.

The extensive attention and discussion aroused by "The Story of the Crossing Boat" in the industry has also caused some subtle changes in his status in the contemporary literary world.

For a long time, whether readers or colleagues, their impressions of Lin Chaoyang have been stuck on labels such as "young writer", "currently popular", "widely popular", and "exploding sales of his works".

No matter in terms of strength, fame or quality of works, he is a leader of the younger generation.

But after all, he was too young. Even though Lin Chaoyang had written many important novels, he could not be said to have much weight in the literary world.

The publication of "Crossing the Boat" made Lin Chaoyang highly praised by knowledgeable people in the literary world, and many people began to regard him as a promising leader in the future.

The so-called leader, of course, does not refer to his official status, but to the impact he may have on the contemporary literary world in the future.

There is no shortage of talented people, diligent people, and ambitious people in the literary world, but there are very few people who have all three, and Lin Chaoyang is definitely one of them.

The high hopes that those knowledgeable people have for him are constantly gathering, and as time goes by, this hope will continue to be strengthened.

In addition to the attention of readers and colleagues in the literary world, the publication of "The Ferry" also caused a shock in the journal industry.

Everyone knows that Lin Chaoyang's works have always been popular, so there is a saying in the industry that "those who get Lin Chaoyang's works will sell millions of pieces like they are out of pocket."

However, the popularity of the first issue of "Flower City" in 1983, which published "The Story of a Ferry", after it was released, still surprised many people.

1.55 million copies in a single month!

If the sales volume of a single issue is 1.55 million, then first-line literary magazines such as "People's Literature" and "Harvest" have occasionally touched this number.

But "Flower City" achieved a sales volume of 1.55 million copies in a single month. As we all know, "Flower City" is a bimonthly literary magazine, which means that this number will continue to rise in the following period.

No one knows where this issue of "Flower City" will end, but everyone must inquire and care.

The editorial department of "Flower City" is not a confidential unit. In the first week of its second month on the market, "Flower City" still achieved sales of 220,000 copies. The news spread throughout the domestic literary journal industry in a very short period of time.

Not to mention the reactions of many local literary magazines, the editors of several first-line literary magazines that used to be on equal terms with "Flower City" or even suppressed it felt very unhappy.

"Flower City" has been focusing on "foreign style" since its establishment, and it appears to be particularly enchanting among the unpretentious literary magazines. Although it has created its own unique style, it has also created a certain gap with its peers.

Originally, it sold 60,000 to 700,000 copies per issue, ranking last among several top literary magazines, and no one paid much attention to it.

But now it suddenly sold 1.55 million copies in a single month, and even the sales in the second month did not show much weakness. This not only shocked the peers, but also made it difficult for everyone to accept.

"What's so great is that it's because we published Lin Chaoyang's novel!"

Such sarcastic words highlight the psychology of his peers, and also illustrate to some extent the industry's recognition of Lin Chaoyang's appeal.

The superstition that "whoever acquires Lin Chaoyang's works will sell millions of copies is like picking something out of a bag" was once again widely spread in the literary journal industry due to the huge sales of "Flower City", and it was firmly believed by people in the industry.

In the blink of an eye, March is coming to an end, and "The Story of a Crossing Boat" is still affecting millions of readers in China. As the author, Lin Chaoyang has been buried in the pile of old papers for more than half a month.

During this time, no outside sounds disturbed him in any way.

A few days ago, Li Tuo made a special call to him. The annual National Outstanding Short Story Award Ceremony and the biennial National Outstanding Novella Award Ceremony were held in Beijing. According to the practice of previous years, the culture after the awards was held

Salons are indispensable.

Li Tuo begged Lin Chaoyang to return to Beijing to take charge of the overall situation, but Lin Chaoyang had only found half of his information, so he was not willing to go back.

However, the Cultural Salon has indeed gradually become a routine, and its reputation has long been established in the domestic writer circle. Many writers are looking forward to this event. Lin Chaoyang thought about it and asked Tao Yushu to handle it on his behalf.

Yesterday, Tao Yushu called again and said that the salon was overall very successful. The only regret for everyone was that Lin Chaoyang was not here.

Part of the reason was not being able to taste his craftsmanship, and another more important reason was not being able to see Lin Chaoyang himself.

This does not mean that Lin Chaoyang is a very important person, but it lies in the atmosphere.

The annual National Outstanding Short Story and Novella Award Conference is held in early spring, where a group of writers who have just won the award gather together.

Everyone has the same interests and is equally proud of themselves. For them, this is a rare highlight moment and beautiful memory in their lives.

And Lin Chaoyang himself has become an indispensable figure in everyone's memory.

With Lin Chaoyang here, this beautiful memory is perfect and complete.

Without him, no matter how lively the salon is, the salon will always feel a little less interesting.

Unknowingly, writers have become accustomed to having a meal and meeting Lin Chaoyang after winning awards, and this has become a common rule in the Yanjing literary world.

Everyone jokingly calls this rule "worship the dock". This is of course a joke, but more of a sign of respect and love for Lin Chaoyang's hard work in the salon.

Tao Yushu said: "Everyone took a photo at the end. I thought it would be impossible without you, so I asked Yumo to hold your photo and take a photo."

Lin Chaoyang's face turned dark when he heard this.

He really wanted to grab those people by their collars and ask, do you fucking respect and love me so much?
Chapter completed!