How do you think the reality is to solve the difficulties in the past

   “Anything in the past is a prologue.” Although we are old when we start to remember, all our lives seem to move forward in retrospect. Especially when you encounter difficulties in reality, the shadows of the past beckon and arouse you frequently, making you feel cordial and comfortable in the revisiting of the past. The same is true of literature. Except for those future literature with foresight and science fiction, almost all writing starts from the past. It is the writer’s imagination from his familiar experience. The writer’s response to reality is mostly relatively lagging, requiring a process of precipitation, accumulation, digestion and fermentation. Especially in a modern society with advanced media, bombardment of information, and material desires, the changing reality and bizarre reality often make the writer’s writing nowhere to start or fall into a bottleneck. We often say that reality is far greater than imagination. How to find a breakthrough in the real dilemma from the past, how to find the spiritual resources of the current field from the voluminous past, and become the writing path of every writer and person in reality. Inner needs.
   Zhong Qiushi’s “Father’s River” is a tribute to the famous Brazilian writer Rosa’s “The Third Bank of the River”. It also reminds me of a poem by Su Dongpo, “The boat dies from now on, and the river and the sea send the rest of my life.” It’s all about the spiritual ferry between the past and the present, this shore and the other shore. Life is a boat. It will continue to ride the wind and waves, it will eventually turn off and dock, and it will continue to swim upstream from the depths of its heart. The story is still Kuncheng, the place where Zhong Qiushi is regarded as the spiritual hometown. The novel focuses on the universal problem of old age, and also creates a father image with a certain spiritual heritage with incomparable affection. When the signs of my father’s dementia became more and more obvious, time was slowly taking away his past and memories, forgetting, blanking, not recognizing people, and feeling confused about time. The son decided to take his father back to his hometown, Kuncheng, to revisit and restore the most profound part of his father’s memory (a new school gate was built). This is a race against a powerful and irreversible time, and it is also a hope that there will be some kind of awakening and retention of my father in the past. In reality, the memory of the father is stripped off layer by layer, “a person is living in an empty day”, becoming increasingly lonely and at a loss, like a boat that is not tied up and down with the waves. In the past, it was a rein on this shore, whether it was a childhood school or a boatman’s experience, all in order to let his father’s life boat depend on it. However, the father is the father. “If his memory collapses, his world will not be blank.” Even if there is only a trace of memory, there is self dignity and choice. At the end of the novel, the father banished himself, drove a small boat alone, and headed towards the long river, like Rosa’s father, to find the third river bank that is related to the support of the human spirit; or, as Su Dongpo longed for, in the hustle and bustle Seek liberation and freedom of the soul in the world.
   If Zhong Qiushi is seeking spiritual resources for reality from people’s emotional memories and tribute classics, then Wen Qingli’s “Qia Sanchun Benefits Nobody Sees” is to draw emotional power from traditional Chinese culture. The novel involves a large amount of Kunqu opera cultural expertise, and the title itself is taken from the Kunqu opera lyrics. The beauty of Kunqu opera’s own form and implication, as well as the dedication and obsession of Kunqu opera actors, has become the proper meaning of promoting traditional culture. The most important thing in the novel is the fate of the characters. This Kunqu opera actress who sings guimendan on the one hand loves the drama like life, is elegant and sentimental, and integrates with the interpretation of the role. On the other hand, the real life has always been rough and miserable in marriage. The novel also involves the issue of old-age care, especially when the beauty is late and the friend is hard to find, coupled with the death of the only daughter in a car accident, Gui Mendan’s life trauma and inner loneliness can be imagined. Kunqu opera has become her life background and spiritual sustenance. She sings Kunqu opera in the park pavilion unimpeded every day, both to express her heart, and to remember the beauty of the past. It finally led people to come closer and understand: one was a writer who was willing to listen to her explaining Kunqu opera and the past, and the other was an old professor who cherished her and developed love. However, Guimendan’s unfortunate reality and the dilemma of old-age care are still going on. She can’t go to the distant place of her dreams, and she regrets that she can’t be together with the old professor. In the end, she can only sing and dance at home. Play is like life, life is like a sigh of play. But as Gui Mendan herself said: “My life is a failure, but I don’t regret it. As long as there are operas and singing, it doesn’t matter in the theater or in the open air.” It is the underpinning of Kunqu Opera’s reality and experience that gives her the comfort and comfort of life. Only with the nourishment of the spirit can we bear the stones thrown by fate one by one. Isn’t she a mirror of the past, let more people infect empathy, and learn to reconcile with reality.
   An Yong’s “Gift” is the courage to obtain liberation and redemption from the past. Pay attention to women’s spiritual dilemma, find a way to reconcile from the past, and shake hands with Ningba’s reality and self. This woman named Yajie has just finished her retirement, she is full of mental weight and weightlessness in life: her husband was killed in a car accident twenty years ago, and she has been suffering from nightmares, fear and resentment in her heart; her daughter has a strong desire for control and loves to love Arranging her life in the name of Wang made her feel a strong sense of oppression; now it is the empty window period after retirement, and her sense of existence is reduced. Yajie feels more and more lonely and desolate, unable to find the direction of life and inner peace. The psychology of the trapped woman is not only caused by the shadow and pain caused by her husband’s violent death, but also the depression of reality, but also the secret anxiety caused by a certain guilt: the car accident “The husband is solely responsible, even if the person dies, it is still Compensation should be made to the families of the other dead and injured.” However, Yajie evaded the compensation liability by transferring the property and residence in the aftermath. Yajie’s material life is still rich, but she has fallen into the abyss of spirit because of this. The encounter with the teenage partner, like a pair of hands stretched over the abyss, evokes Yajie’s dusty memories of reading and the friendship of classmates, and lifts her up from the predicament. Yanhong’s enthusiasm and optimistic and contented mentality at the bottom of life infected and warmed her like a spring breeze, making her feel funny and jealous. The meeting between the two is their own relief and reconciliation: through repentance of the past, Yan Hong relieved the burden that had accumulated in her heart for many years, and Yajie found an exit from the troubles of reality, “They seem to be at the same time with their bodies and vicissitudes. They reached some kind of reconciliation over the years, and they didn’t realize they were getting closer.” The so-called “gift” is not only the call and warmth brought by a certain book, but also the gift of time and the continuation of life: “Dawn continues night, today continues yesterday, tomorrow continues today, mankind is in the process of continuous continuation, always Move forward as one.” “And all the past time, all the things experienced, those happiness, pain, laughter and tears, are a rare gift.”
   Most of Song Liren’s novels have a background of factory life and emotional coats for men and women. What moves people in “Three Color Balls” is the trauma of the characters and the affection between mother and child that transcends time and space. The shadow of the original family and the variegated emotional fate have become the long heart palpitations of the mother and child. The more ups and downs the experience is, the more holes in my heart, the more I want to keep the light that shines into the gloomy days. The mother and son fled to Shanghai, the landlord Uncle Qian’s care and the three-color ball presented are a ray of light; in the days when they depended on each other, the mother’s care has always been a halo over the son’s life, even after the mother’s death. Zhong Qiushi’s “Father’s River” restores the past, while Song Liren uses a surreal approach to retain the past. As long as a stick of incense is placed in front of his mother’s portrait, mother and child can communicate freely with each other. The more interesting design of the novel is that several characters inadvertently called the wrong name: the man in the mother’s mouth “Li Letian” is her ideal husband in the unfortunate marriage, and the son’s ex-wife Li Nan called the wrong name. Her extramarital affairs, and the current partner Du Beibei called out her ex-husband’s name because of inertia and laid the groundwork for this new emotion. These wrong names and the light in the dust indicate that past experiences can never really pass, and the ideal life may only be touched by imagination.
   Rilke said: “Living in the gloom and working hard, lonely and bravely living in any ruthless reality.” The river of time has never moved forward, and everyone is pushed forward by the life of “this shore”. Find an outlet for short respite and rest in the ventilating reality. The past is where we come from, scattered with little footprints of life and emotions. When life is besieged by reality, the past becomes a path and a mirror, allowing people to return to their original aspirations and return to life itself, and find the courage and motivation to move on in the morning and evening. Looking back on the past is not to let people go back to the past, but to see oneself clearly in the place where they come, feel the heart, find the possibility for the reality to solve the difficulties, and gain strength and comfort in the contrast of space. In the past, media, strategies, and installations that portrayed real life became methodology. All the presents are the result of the combined efforts of the past and will extend to the future. Only when the past has not gone can the future have come. Reality does not only connect the two, but also needs to use the origin and return as a mirror to reflect reality, summarize reality, and express reality. From this point of view, it is also the inspiration and thinking left to us by several novels in this issue.

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