“… Its rise is not only a reflection of the changes in social trends of thought in a special historical period, but also an urgent demand deep in people’s hearts for historical truth, human dignity and reflection on suffering.
After ten years of turmoil, writers began to face the pain of the past, using the tip of their pen to touch those obscured and forgotten corners of history. By revealing the scars of history and the tragic fate of individuals, they awakened people's desire for historical justice and social progress.
Think deeply.
In many scar literature works, we have seen many common features. Most of them dig deep into the life changes and spiritual trauma of ordinary people under historical events, and use realism to depict people's confusion and pain, struggle and awakening under the current social changes.
And their persistence and pursuit of human nature, morality, and truth.
It can be said that scar literature not only records a painful page in history, but also promotes the emancipation of social thought and the diversified development of literature and art with its powerful critical power.
From these perspectives, the rise of scar literature has its inevitable historical reasons and mission..."
The sound diffused by the microphone echoed in the huge dining room. Under the work of the diffuser, Lin Chaoyang's voice was slightly distorted, but it revealed a resounding certainty.
His analysis of the rise of scar literature was penetrating and won heartfelt recognition from many listeners in the dining room.
Most of the audience present have experienced ten years of turmoil, and they naturally understand what scar literature means to ordinary readers.
"Despite Xu Lingjun's average appearance, I think his lectures on scar literature are better than those taught by Professor Han."
Under the rostrum, Wu Yingfang stared at the stage and whispered to Tao Yushu.
Her words were first derogatory and then complimentary, but in Tao Yushu's ears, he only heard the sentence "average-looking".
Why do you look average? Are you good-looking?
"Alas! What a pity. If he really looked like Xu Lingjun, he would be perfect!" Wu Yingfang sighed again.
You are so beautiful that it has nothing to do with you that you look just like Xu Lingjun.
The friend said something, Tao Yushu cursed in his heart, and then persuaded himself.
Forget it, he who doesn't know is not guilty.
Not far from the two of them, Wang Xiaoping and Cha Jianying also gathered together.
"His eloquence is quite good." Zha Jianying said sarcastically.
"Didn't he just reject an invitation to write for "Today"?"
"I didn't say anything."
Wang Xiaoping said disdainfully: "What others say is so good. They are all true knowledge and insights. Don't always wear colored glasses."
Zha Jianying was too lazy to argue with Wang Xiaoping. Wang Xiaoping always said that she admired Zhao Zhenkai, didn't she, Wang Xiaoping, do the same? Her eyes almost pierced the stage.
Lin Chaoyang was giving a speech on the stage, and the students in the audience would communicate with their classmates and friends from time to time to verify each other's ideas and opinions on the content of the speech.
In the middle of the speech, no one noticed that a middle-aged man with a kind face walked into the large dining room.
As soon as Liu Xinwu entered the door, he felt his eyes go dark. Because there were too many people crammed in, the air in the large dining room was turbid, and mixed with all kinds of sweat, body odor, and taste that was hard to describe.
But at this moment, everyone's energy was deeply attracted by the speaker on the stage, and they were not distracted.
Liu Xinwu didn't expect that Lin Chaoyang's speech would be so popular. Then he thought about the scene where he had been attending various events for more than a year. In fact, it was almost the same as today. This is the magic of scar literature.
Yesterday, he just finished reading Lin Chaoyang's newly published novella "Little Shoes". He heard this story told by Lin Chaoyang himself when he made an appointment with Lin Chaoyang for the manuscript.
Facts have proven that words are far more moving than spoken words.
While reading the novel, he burst into tears several times, but he did not feel at all that the text was overly sensational.
He is engaged in literary work, and it is clearly obvious that Lin Chaoyang has actually maintained great restraint when dealing with plots and characters.
But Liu Xinwu himself, as a reader, still couldn't help himself when reading it, which only shows that the quality of this novel itself is outstanding.
Its freshness and timelessness make people unforgettable, and its positive sunshine makes people feel warm.
The fresh and refined style of "Little Shoes" is unique in the Chinese literary world.
Although he felt that Lin Chaoyang's work was definitely right at the beginning, Liu Xinwu still felt regretful after reading the novel.
If he had known that the finished product was so good, he would have pulled this novel over at any cost.
Liu Xinwu recalled in his mind the scene when Lin Chaoyang asked him to increase the price, and an idea came to his mind.
If I had really raised the price to him at that time, maybe he would have given the novel to "October".
That's just a reason for rejection, how can you take it seriously?
With a wry smile, Liu Xinwu shook off the unrealistic thoughts from his mind, and focused on his speech. Although he could not clearly see the situation in front of him, he could hear his voice clearly.
Also famous in the literary world for scar literature, he wanted to hear what Lin Chaoyang thought of scar literature.
“…As I mentioned before, the rise of scar literature largely responds to the voice of the times and changes in social trends.
Last December, the country just made the decision to reform and open up. We should see that the country is entering a new historical stage.
With the passage of time and changes in the social environment, the soil on which scar literature originally relied for survival is disintegrating, and its creative themes and forms of expression are also facing transformation pressure.
In this regard, the emergence of reflective literature is the best evidence.
We have to see that changes in the social environment have made it no longer possible to simply expose scars and accuse history of meeting the deep cultural needs of readers; on the other hand, with the deepening of economic reform, the literary world is also beginning to turn to a broader focus
areas and problems of social life.
From my humble understanding, scar literature is a product of a specific historical stage, and its spiritual core and humanistic care are self-evident to Chinese literature.
But we have to admit that many of its literary concepts and creative techniques have great limitations. I think it is inevitable that scar literature will gradually fade out of the mainstream literature in the near future.
Its rise is booming, and its demise is sudden.
The rise of scar literature is accompanied by the pain, cry and reflection of a generation, so its decline must also be accompanied by the growth, development and confusion of a generation..."
Lin Chaoyang's talk about the decline of scar literature is not a prophetic prediction. In fact, many knowledgeable people in the literary world have already realized the shortcomings and limitations of scar literature.
It’s just that the surge of scar literature in the past two years has been too overwhelming, setting off the most spectacular cultural phenomenon since the founding of the People’s Republic of China in the mainstream literary world, causing many people’s rational voices to be drowned in the blooming flowers.
When Lin Chaoyang entered the second half of his speech, in which he elaborated on the inevitable decline of scar literature, the atmosphere in the dining room underwent some subtle changes.
A low but harsh buzz gradually rose up in the originally quiet venue. In the second half of the discussion, Lin Chaoyang categorically stated the inevitable decline of scar literature, and this buzz reached its peak.
Many students present showed dissatisfaction and seemed to disagree with Lin Chaoyang's views. But more people showed thoughtful expressions on their faces, wondering whether the content of Lin Chaoyang's speech was worthy of scrutiny.
Lin Chaoyang did not care about the voices in the audience. He stood firmly on the stage, his face was like a flat lake, and he stated calmly.
"Zhenkai, do you think his analysis is correct?" Mang Ke looked at his friend beside him.
Zhao Zhenkai looked serious, "There is a certain truth. In the final analysis, scar literature is a product of the times, but his conclusion is a bit arbitrary. Since ancient times, which genre of poetry, lyrics, and songs has not dominated an era? Although it eventually declined, those classics
Isn’t his work praised by future generations?”
Munk reminded: "That's why he said decline, not destruction!"
Being reminded by his friend, Zhao Zhenkai laughed out loud, "I almost fell into a misunderstanding of my own thinking. Indeed, if he follows this line of thinking, his idea is not wrong."
When the two of them were talking, no one noticed that an old man with a broad forehead was listening to their conversation.
After listening to what the two of them said, the old man smiled slightly and looked at the young man on the stage, full of appreciation but also hiding a bit of pride.
“The emergence of scar literature tells us that literature cannot avoid the scars of history. Only by facing and reflecting on the scars of the past can we better heal and move forward.
But at the same time, it is not advisable to dwell on past sufferings and suffer from self-pity.
Literature is a very broad concept. When we cleverly add a qualifier in front of it, it also means that we have put shackles on ourselves.
Literature is the crystallization of human spiritual civilization. It should expose the darkness and praise the noble. History and times will not stop and wait because of personal will. The perspective of our creators should not be stubborn in a certain corner, but should stand in a certain corner.
We should record and reflect it from a historical perspective and provide a platform for future generations to understand Chinese culture and history."
At this point in his speech, Lin Chaoyang paused, glanced around the audience, and smiled on his face.
"The above are some of my personal thoughts and brief analysis on scar literature. Thank you all for listening."
After he said this, he put the microphone back on the table, and the audience burst into applause.
There are a conservative estimate of two thousand people in the large dining room today. Even if some of them do not agree with Lin Chaoyang's ideas, it does not prevent most people from applauding with appreciation and admiration.
The tsunami-like applause lasted for more than a minute, and shouts from some enthusiastic audiences came from time to time. Lin Chaoyang bowed to the audience several times to express his gratitude.
Judging from the audience's reaction, this was undoubtedly a very successful speech.
After a while, Zhang Youhua, who was in charge of the show, came on stage to guide readers to ask questions.
He pointed to a frail young man in the front row. This man looked frail, but his tone of question was very aggressive.
"Comrade Xu Lingjun, you just mentioned that scar literature has limitations of specific eras and groups of people. I have some different views on this.
Looking at the literary works at home and abroad in ancient and modern times, which work does not have the imprint of that era?
Which work doesn’t have what you call limitations?
My opinion is exactly the opposite of yours. Although scar literature has only been around for two or three years, it is still developing and changing.
With the iteration of creative content, it is possible to expand its boundaries and accommodate all kinds of diversity. After continuous screening over time, a large number of classic works will inevitably be left behind to be passed down to future generations!"
The frail young man objected to Lin Chaoyang's views eloquently, and after talking about his own thoughts, he looked at Lin Chaoyang with burning eyes, as if waiting for his counterattack.
Lin Chaoyang was not impatient because of the aggressiveness shown by the frail young man. He looked calm and pondered for a moment.
"This classmate is right. Any literary genre or subject matter may undergo fission under the influence of time. I agree with what you said. It is possible for scar literature to continue to develop and continue to embrace all rivers.
Can……"
At this point, a smile appeared on his face, "If that's the case, wouldn't it be better if we removed the word 'scar'?"
If the "scars" are removed, wouldn't that be "literature"?
The frail young man was slightly startled, and then understood what Lin Chaoyang meant.
Literature is inherently open to all rivers, so why does it need scar literature to pull a big cart?
Under literature, it would be a bit far-fetched to insist that scar literature is inclusive of everything.
At this time, the audience below also understood what Lin Chaoyang meant, and a burst of laughter broke out in the large dining room.
The frail young man reluctantly wanted to fight back, but Zhang Youhua clicked on a female student who raised her hand the highest in the crowd.
"Xu... Hello Comrade Lin Chaoyang, I am from the Department of Philosophy of the National People's Congress. I just finished reading your "Little Shoes" two days ago. The novel is very well written, but I have a question about the concept revealed in the novel.
In your novels, you seem to have too much trust in human nature, especially rural society, which always seems to be tender.
But according to my life experience, this does not seem to be the case.
When we look at the works of Chinese writers after the May Fourth Movement, including works by Mark Twain, Faulkner, Dickens, and Hugo, they are all full of profound touches that touch people's hearts.
In comparison, works like "Little Shoes" seem a bit thin in terms of ideological core."
The girl's tone was not as harsh as the weak boy's, but the content was very sharp. In one sentence, she pointed out what may be the most criticized part of the novel "Little Shoes" by contemporary readers.
Readers of their generation grew up reading Lu Xun and Ba Jin, and are convinced of the evil nature of human nature. The warmth and sunshine shown in "Little Shoes" are incompatible with the development direction of Chinese literature in recent decades.
"A writer's creation is mainly based on personal life experience. If you are Xiangzi, it may be difficult to understand Tagore's state of mind when he wrote "The Birds".
The core of "Little Shoes" is positive and sunny. Such stories may be rare in real life, but they are by no means unheard of. Just like when you look at Kong Yiji, you know that there must be such a person in the world, but he is definitely not
All people are like this.
Whether it is Eastern literature or Western literature, there are works that focus on describing human nature and exposing darkness, and there should also be works that pursue light and praise truth, goodness and beauty.”
When Lin Chaoyang said this, the girl's expression seemed dissatisfied and she was about to open her mouth to refute.
At this time, I heard Lin Chaoyang say: "In fact, the world is so big, there is more to it than the east and the west? The same is true for literature."
As soon as these words came out, the pattern was revealed.
The audience burst into applause!
Chapter completed!