Liu Zhenyun is a famous writer who suffered frequent electric shocks this year

"I dare not forget that I am a farmer's boy from there." That was the last sentence in Liu Zhenyun's short story "Tapu" 34 years ago. He always remembered.

Among Chinese writers, Liu Zhenyun has been electrocuted the most. Not only has the work been adapted many times, but he also acted in the role himself. Although he didn’t have many shots, Liu Zhenyun’s biggest gain was discovering the fun of movie dialogues and getting in touch with different people, including directors, actors, photographers, young men who moved props...

Liu Zhenyun said with a smile that everyone around him Everyone is actually a philosopher, and their perspective on thinking about the world inspires them a lot.

Liu Zhenyun and his new book "Three Autumn Days"

Some people commented on his new work "Three Autumn Days": Liu Zhenyun is first and foremost a philosopher, which is the fundamental reason why his literature is unique. .

The power of listening

Once, Liu Zhenyun was communicating in a library in the Netherlands. A reader stood up and said that she was laughing from beginning to end while reading "I am not Pan Jinlian". There was only one place where she cried, that is when the protagonist Li Xuelian was not believed when she spoke to everyone in the world, she started to speak to a cow. Everyone was making fun of her, but she could only tell Niu: Do you believe that I am not a bad woman? Should I sue her or not? When Liu Zhenyun told this story, he added: There was a second cow beside her who was also listening. His name was Liu Zhenyun.

I believe this is Liu Zhenyun's normal state, listening with a cow's attitude and loyalty. When Li Xuelian had nowhere to express their concerns, he was listening; when he told readers what he heard from the bottom of his heart through literature, he won more listeners. This is the power of literature and the power of listening.

Liu Zhenyun has many friends, which have nothing to do with his career. He became friends with the fat man selling fruit, who could ask him to help move the fruit boxes, and would also invite him to the big tent behind the fruit stall to try the freshly made dumplings; he became friends with the Hubei master who spiked shoes, and the master He was used to wearing gloves to nail shoes, and after sewing the zipper, he would polish it repeatedly with soap, taking it very seriously to make the job look dignified. When renovating the house, he became friends with Lao Zhao, who sold stone materials, and Lao Zhao only told him what was in his heart. He said: "What can a stone seller like me get? All I have to say is what's in my heart."

This moved Liu Zhenyun extremely. At that moment, he felt that he was the richest man in the world. Just like in the new work "Three Autumns in One Day", Liu Shu told "me" the stories of those paintings. After Uncle Six died, Aunt Six burned all the paintings. In order to commemorate the past with Uncle Liu, "I" used Uncle Liu's paintings in my memory as the original copy, and used stories to describe the Yanjin in the paintings.

Message to Evening News readers

In the past, when I wrote, I wrote only when I felt I had something to say; now, Liu Zhenyun has gradually discovered that what the characters in the work have to say is the most important. Therefore, his daily writing is actually listening, and listening brings great freedom to writing.

Absurdity is more real than reality

The early novels already hinted at Liu Zhenyun's later creative purpose: to describe real life in outline and pay attention to the living conditions of small people with realistic pen and ink. This is probably inevitable for Liu Zhenyun. For example, when taking the high-speed train, he especially likes to sit in the second-class seat. Many people think it is too noisy. Some passengers will play their mobile phones very loudly and have children running around. But Liu Zhenyun feels warm and he also likes to enjoy the aroma of instant noodles in the carriage.

However, in the later period, Liu Zhenyun’s works were labeled as “realistic magicism”. In fact, the characters in the work live in a real and "magical" world. In "Three Autumn Days", Mingliang said to Hua Erniang: "People often cry in their dreams and wet their pillows. Do you think this crying is real? People often laugh out loud in their dreams. Do you think this laughter is real? Yes. This is real at that time, more real than the laughter and laughter in life.” In "Hometown Noodles and Flowers", the author quoted Guo Laosan as saying: "The world is changing with each passing day, and there are endless varieties of relationships, but if you look deeper, Think about it, everything is just a play, you were the protagonist just a moment ago, and in the blink of an eye, it’s a matter of whether others take you to play or not..." "Three Autumns in One Day" simply let the actors come on stage directly. In the Henan opera "The Legend of White Snake", the three people who play Xu Xian, Bai Niangzi and Fa Hai are entangled in reality. The legend of the fairy Hua Erniang travels in paintings, legends and dreams, which makes "three autumns in one day" come true. It means "three lives and three lives". This is a rare absurd drama; however, the greatest absurdity may be the greatest truth. Sometimes the absurd is more real than the real.

My whole life has become a joke

"Being able to speak well" is a state that can only be encountered but not sought. Just like Liu Zhenyun said in "One Sentence is Worth Ten Thousand Sentences": "A person's loneliness is not lonely. One person finds another person, one sentence finds another sentence, and that is the real loneliness." Liang gave an example. The two met at an intersection and asked, "Brother, where are you going?" It turned out that they were going to Bianliang. They smoked, talked, and lost their temper, so they walked together. As we walked, we became more familiar with each other, and began to talk about our own worries and things that were deep in our hearts. When they arrived at Bianliang, one went east and the other went west, clasping hands and saying goodbye. How many years have passed, when we think of each other again, the man may be smoking his pipe and thinking, "I wonder what happened to Old Liu?"

"One Sentence is Worth Ten Thousand Sentences" is divided into two parts. The upper part "The Story of Leaving Yanjin" tells the story of farmer Wu Moxi, who lost his only "speakable" adopted daughter on the road in search of his wife who had eloped. He had to leave Yanjin in order to find his adopted daughter; the lower part "The Story of Returning to Yanjin" tells the story Niu Aiguo, the son of Wu Moxi's adopted daughter Qiaoling, also went to Yanjin in search of his eloped wife. In "1942", the cook played by Fan Wei is good at Yanjin-style baked carp noodles; in the movie "One Sentence is Worth Ten Thousand Sentences", Fan Wei plays Lao Song, who is also a cook in Yanjin. The new work "Three Autumns in One Day" also records the story of Chen Mingliang and his son leaving Yanjin and returning to Yanjin.

Liu Zhenyun in his youth

His hometown is his literary holy land. Starting from "Tapou" and "Recruit Company" in the 1980s, Liu Zhenyun, a representative writer of new realism, has walked along his hometown. His distant hometown can be seen in his works such as "Yellow Flowers in the Hometown" and "Community in the Hometown". "Cell Phone" and "My Name is Liu Yuejin" are also set in Yanjin. This background becomes clearer in "Three Autumns in One Day". Chen Mingliang paid a lot of money to look for the door plaque in the heart of the jujube tree, which is also the complex of Yanjin. It is Mingliang and the writer's constant abandonment of homesickness. Three thousand years ago, the fairy Hua Erniang of the Lengyou clan lived in Yanjin, Henan. She would dream of people every night asking for jokes. Those who could tell jokes would be rewarded with red persimmons; those whose jokes were boring would have to carry Erniang to drink spicy soup. Little did they know that Hua Erniang had turned into a mountain, and the people carrying the mountain were dreaming. Hua Erniang didn't know that her husband had a fishbone stuck in his throat while listening to a joke, and was thrown into the Yellow River and drowned; Chen Mingliang's mother, Yingtao, floated down the Yangtze River to Jiujiang after her death, and suddenly returned to the Song Dynasty. The joke saved her life, because the Lord of Hell also likes to hear jokes - everyone suddenly realized that they seemed to have been living a joke their whole life.

Liu Zhenyun used jokes to tell the story of the simplest life: there is nothing wrong with living like a joke. And between jokes and jokes, between people’s jokes and looking for jokes, it’s all about the art of structure. In Liu Zhenyun's works, structure is more important than story. How the story is told is more important than the story itself. "Three Autumns in One Day" breaks down the barriers of life. Inside and outside the play, ghosts and gods in the world, heaven and earth, inside and outside the painting, inside and outside the dream, reverse and forward, the structure is rigorous and full of tension. In addition to the plot and dialogue language, the secret and rigorous structure of "Three Autumns in One Day" shows the writer's skill with ease. He writes about negation, his writing is like a chain of twists and turns, a twisting of twists and turns.

"Ningba" is Liu Zhenyun's way of saying it. He tried to correct the "twisting" emanating from the bones through writing. Therefore, in many cases, his language is complicated, but simple and plain. It is what it is, without showing off skills or exaggeration. He uses simple language to build a wonderful artistic structure, which instead reflects the profound truth behind the story.

Insight is the yardstick to test the author

Liu Zhenyun likes to read "The Analects" and has studied it dozens of times. He concluded that Confucius has three major characteristics: First, Confucius is a mean person. "Isn't it a pleasure to have friends from far away?" It was because Confucius had nothing to say to the people around him. Mean people are knowledgeable, and behind the meanness lies compassion for everyone. Second, Confucius was a great writer and thinker. He did not explain things in a profound way, but explained profound things in a daily context. This state of mind is remarkable. Third, Confucius talked in a roundabout way, and after a long time he didn’t know where he was going.

Liu Zhenyun is very convoluted in his speeches and novels. In his concise and witty narration, simple stories become endless and make people want to stop. He attributed his unique way of thinking and language to his ability to think deeply and persistently, and his direct influence was his grandmother. The bright grandma in "Three Autumns in One Day" may be the writer's longing, but the previous "Yellow Flowers in the Hometown" simply said "dedicated to my grandmother".

My grandmother is only 1.55 meters tall. When she was young, she was a very big "star" in the local area. In Liu Zhenyun's eyes, her grandmother's fame is equivalent to Julia Roberts. It's not surprising that Julia became a star because she is an actress. It is not easy for my grandmother to become a star. She is a long-term worker. At that time, she was cutting wheat in the field, and the wheat that was three miles long was cut to the point where her head was not straight. Her "transfer fee" is very high, like Ronaldo. Grandma said: "Why do I cut faster than others? I know I can't straighten my waist. The first time I cut my waist, I want to straighten it a second time, and the second time I cut it, it's the twentieth time. I know I have to bend down to do anything. I don't straighten my waist, so I 'cut faster than others'." Liu Zhenyun said that he learned a lot from his grandmother's philosophy in his writing.