What disaster did the wolf bring?

Generally speaking, wolves can be regarded as two completely different symbolic images. One is negative. Its dangerous and cruel nature makes it suitable to symbolize the negative forces that bring people fear, threat and harm. This symbolic image of the opposite wolf is the most common in novels. For a cruel man, the wolf is his best symbol, as Ms. Naoko Kondo said: "Man-eating" looks like an indescribable creature besides being compared to a wolf or something. "(Naoko Kondo: Scenery Walking with Wolves, translated by Liao, p. 30, People's Literature Publishing House, 200 1. ) The true story of Ah Q in Lu Xun's Diary of a Madman, best wishes, Jack? In London's Love for Life, Chen's White Deer Plain and China's ancient note novels, the wolf is endowed with such symbolic significance. The wolf written by Lu Xun has even become a symbol of the most terrible thing in China society and human nature in China, a symbol with prototype significance.

Another symbolic image of the wolf is positive. It symbolizes lonely, angry and desperate survivors who are cornered, and symbolizes people who refuse to accept the existing life order and value system, but remain alienated or even opposed to society. The wolf in Hesse's Wolf in the Desert, Lu Xun's Lonely Man and Aitmatov's Guillotine are such symbolic images. The wolf in Hesse's novels is a typical positive symbolic image. Harry, the hero of Wolf in the Wild? Haller is out of tune with his time and society, so he "feels the pain of his soul": "In an era so satisfied with the status quo, so middle class and so lacking in spirit, how difficult it is to find God's footprint in the face of this kind of architecture, this kind of business transaction, this kind of politics and this kind of people! In such a world, how could I not be a wolf and a rude hermit? I can't agree with the purpose of this world. It is not happy for me. " (Herman? Hesse: Wolf of the Wilderness. Trans. Li Shilong et al., page 24, Lijiang Publishing House, 1997. He was so desperate: "I am really a wild wolf, a beast lost in a strange and incomprehensible world, a beast that will never find its hometown, air and food, as I often claim." (Herman? Hesse: Wolf of the Desert, page 25. Such a symbolic image has a shocking allegorical power, which helps people to know more deeply the problems existing in the life of the times, as well as the value crisis and moral dilemma they face.

The wolf described by Jia Pingwa is neither a symbol in a negative sense nor a symbol in a truly positive sense. It lacks the necessary clarity and sufficient depth. At the beginning of this novel, the author once described how thousands of wolves captured the ideal city and killed hundreds of women and children. Not only that, the author also clearly pointed out that it was the wolf disaster that triggered the chaos of bandits and brought man-made disasters: "From the last century to the beginning of this century, there were dozens of bandits in Shangzhou, but every time the bandits messed up the wolves (all? ) plays a great harm ... "(Jia Pingwa: Page 7 of Missing the Wolf, Writers Publishing House, 2000; After quoting this book, only indicate the page number after quoting. Obviously, wolves are the makers of terror and disaster. According to the usual logic, the author should manage his own wolf symbol along this road, and connect the wolf with some vicious and corrupt alienation force in real life, thus giving it practical symbolic connotation and social critical power. However, no, Jia Pingwa's spiritual world is full of morbid world-weariness, gloomy hatred of the world, frivolous scolding of the world and Le Tao Tao's seclusion, but he lacks profound thoughts and thorough critical spirit. In essence, he is an old scholar; Judging from his personality characteristics, he is a timid and introverted person; From the perspective of interest and value orientation, he is more interested in things on the level of senses and material desires, while the fields of meaning and thought rarely excite him. In this way, in his works, it is normal and natural that the wolf is not given the symbolic meaning in Lu Xun's novels. Therefore, the wolf is regarded by Jia Pingwa as a sharp weapon to curse urban civilization. In fact, in Missing the Wolf, we can't see the rationality of this "curse". The most ridiculous thing is that the novel's inexplicable attitude and view towards wolves is actually a joke made by an official who drank more than two ounces.

When the Commissioner of Shangzhou District made a report on the current situation of Shangzhou area in the auditorium, he said that there were fifteen wolves in Shangzhou. "This sentence shot into my ear like an arrow" (what a poor metaphor! )。 He also said that he conducted a census and counted the wolves. In his view, the wolf is extremely important to the villagers in Shangzhou because:

"If there were no wolves, what would Shangzhou look like? People in your provincial capital don't know about mountains. Let's give a simple example. Children in the mountains cry at night. Adults have been coaxing children for generations, saying,' Stop crying, the wolf is coming!' Don't cry, child. If there are no wolves, think about it ... "

"I know this. Wolves are terrible to children, "I said. "Wouldn't it be better without wolves?"

"That child always cries!"

I smiled: "You are an environmentalist!"

"I am a Commissioner!" He said that it really made me understand the truth. (Page 2 1)

Commissioner Shangzhou's words are obviously unreasonable, bordering on nonsense in a spring dream and jokes on the wine table, but it doesn't seem to prevent me, a wolf-stricken aboriginal, from agreeing with the Commissioner's point of view, nor does it affect my disgusting compliment to him: "And a Commissioner can protect and prohibit hunting in the general cause of quick success and instant benefit." Of course, what surprises and fascinates me more is that this is only a few years, and a danger that threatens mankind is likely to become a landscape for people to enjoy. The connotation of this suddenly inspired my long-lost creative desire! "(page 23) In short," I became a Buddha in my place and suddenly became an ecological protector "(page 23), and I also inexplicably came up with the idea of taking pictures of these wolves.

Actually, I don't have a mature idea of "ecological protection". The reason why I protect wolves is actually supported by some chaotic and unscientific negative thoughts: "I worship the voice of the world and always use the first voice I hear every day to predict the good or bad of this day, but now there is no voice." Hunters generally suffer from soft foot disease. They think that wolves are disasters without wolves. Wolves correspond to them. With wolves, they have them. With them, there will be wolves. As a symbol of human fear, people have lived and multiplied in fear for generations. Now the wolf that has been struggling with people for thousands of years suddenly became extinct, and the stars in the world fell like rain at this time. What kind of disaster does it indicate? " (page 52) It seems that without wolves, human beings can't survive and the world will be destroyed. It is right to attach importance to the ecological value of wolves, but it is absurd to regard them as a major factor affecting human life and death. However, with absurd ideas, there will be absurd behavior. Finally, accompanied by my uncle and a hunter named rotten head, "I" embarked on the road of finding and shooting fifteen wolves.

I think the Xiongerchuan people in the novel have become very weak in the competition for survival because they haven't had wolves for a long time (page 2 18), and "I" even suggested that the Commissioner put new wolf species in Shangzhou. This absurd suggestion naturally met with dissatisfaction and opposition from the "village people": "The village people know that I advised the Commissioner to release new wolf species, so they became cold to me." (Page 127) Finally, when the wolves really came, the "angry crowd" even wanted to beat him. The conflict between "village people" and "me" shows the opposition of different attitudes towards wolves, which reaches an extremely sharp level at the end of the novel. When wolves have been madly hurting villagers and livestock, "I" still stand on the side of wolves, helping the besieged wolves escape, and even carrying out the "administrative office" and "public security department" in an insidious way to threaten the death of those who are fighting with wolves: "Since the situation is out of control, I will leave here immediately, and I will report to the state administrative office, which will send the public security department to intervene." (23 1 page) It seems that the "administrative office" and the "public security department" are not "serving the people", but relatives and patrons of wolves. No wonder "villagers" want to say, "This fucking city dweller lives an easy life just to protect wolves. Who will protect us? " It was this bastard who gave Fu Shan a confused soup. Tie him up! Tie him up! "Then," a fist, I was knocked down. I put my head in my hands and squatted on the ground. Immediately, someone turned me over from the back hip. Hair pulled up and clothes torn. Countless red eyes and creaking teeth quivered in front of me, and a thick sputum fell on my nose. Finally, tie me to the persimmon tree in front of the door with hemp rope. I called out to my uncle and he looked back at me. He didn't come to save me, not even a word to stop it. I'm still screaming:' There are only three wolves left!' Everyone laughed. Finally, in my opinion, the wolf was killed and the meaning of human life was lost: "At this time, in my heart, I also feel that in my uncle's heart, we are all really missing the wolf." (p. 259) Thus, there is a saying that both language and justice are semi-impassable: "When a man sees a wolf, he has to fight. This is a person. But people can't live without wolves, and wolves are people. In the days to come, live, live, we only have wolves in our hearts. " (Page 260) What is even more ridiculous is that without wolves, my uncle has become a "werewolf". And the whole Xiongerchuan people are "crazy" because they take the blame for their uncle. Faced with this situation, the "District Commissioner" is considering whether to block it as a restricted area, because he "can't arrest them all or shoot him". I even think that "Shangzhou needs such a restricted area".

As can be seen from the plot of Missing the Wolf, the wolf as a symbolic image is a failure, and it is an image pieced together by the author with fragments of words. It looks fuzzy, but it's empty. The author's thoughts in those argumentative words about wolves are not only absurd and bizarre, but also anti-human, which does not help to strengthen the symbolic meaning of wolves and sublimate the theme of novels. A simple common sense is that the purpose of environmental protection or maintaining ecological balance is for the better survival of mankind. Therefore, the bottom line principle of environmental protection is that the ecological balance of the environment cannot be maintained at the expense of people's interests or harm to people's lives. Even when the conflict between man and the natural forces that hurt him reaches a life-and-death level, there is only one truly humane choice, that is, human life and value are above everything else. In addition, maintaining ecological balance does not require people to return to the original state of predatory nature, nor does it require people to passively obey a savage natural force (including wolves), but to live a more civilized, progressive and poetic life in a balanced and harmonious ecological environment. Therefore, without wolves, there would be no life in nature and no important components in the ecological environment, but human beings are by no means missing. About wolves, Hesse's thoughts are far more profound and valuable than Jia Pingwa's confused understanding: "There is no way to go back, neither wolves nor childhood. Things are not innocent from the beginning. All creation, at first glance, seems to be the simplest thing, but in fact, it has always been guilty and has been played by Xin Shuo. Huh? Panic? Hey? What is Monet's trick? (3) Change the curtain by drowning? Do you want to change? Idle! ? Herman. Hesse: Wolf of the Desert. Trans. Li Shilong, pp. 54-55. Lijiang Publishing House, 1997. )

Sex scenes, love and sexual ambiguity

Starting from "The Wasted Capital", Jia Pingwa became more and more interested in sex and secret phenomena related to sex, and his narration became more and more unrestrained, almost reaching a morbid level. The novel has written many times about anus, hemorrhoids, feces, excrement, urination, menstruation, semen, breasts, genitals, masturbation, bras, pants, naked bodies, hidden penises and naked penises. This kind of high-frequency description can neither increase the aesthetic feeling of the novel, nor help to shape the characters and deepen the theme, which is completely superfluous to the organic composition of the work. In fact, it is related to the author's interest tendency, which is a morbid interest type. This type of interest is also the expression of two morbid psychological phenomena in aesthetic behavior: one is sex, and the other is sexual divergence.

William Ellis's explanation of sexual love is "I like to spy on sexual scenes and get excited", and this kind of behavior and psychology is "not abnormal within a certain limit". As for the cause of this phenomenon, "it is because social habits are too humble, and I am too secretive about my sexual life and nudity;" The more strictly forbidden things are at ordinary times, the more we want to find out, which is a very common psychology "(William Ellis: Sexual Psychology, translated by Pan Guangdan, page 74, Joint Publishing Company, 1987). )。 In fact, in my opinion, another reason, perhaps more important, is the ethos of the times. That is to say, if an era lacks elegant upbringing, a necessary pure attitude towards sex and moderate "secrecy", if sex and sex-related things are turned into vulgar stories on the table and reckless topics in salons, then it is possible and in fact it does make writers of this era unconsciously become sexual scenes. Because, in his time, through daily realistic scenes, his moral worries were relieved and he was given the courage to describe sexual love in words. Although sex is a very complicated psychological phenomenon and aesthetic phenomenon, it is also a common spiritual landscape in literary works, but the research on it is far from enough. For a writer like Joyce, Gross's research is limited to pointing out that he "suffers from several classic Kraft-Ibn symptoms: fear of homosexuality, strange addiction to underwear, and the illusion that he needs to be abused by the opposite sex and peep at sexual activities to get sexual pleasure" (Gross: Joyce, translated by Yuan Henian, pp. 27-28, Joint Publishing Company,1986; Nabokov also pointed out that "the theme of sex is constantly intertwined with the toilet theme in Bloom's mind and the toilet theme in Joyce's works" (Literature Lectures, translated by Shen, page 385, Joint Publishing Company, 199 1 year). )。

Sexual alienation is an abnormal sexual phenomenon, which refers to a wider range. According to William Ellis's explanation, "from a broad perspective, all sexual differences are examples of sex, because in this case, things that have no sexual value to ordinary people, even things that have no value, have become valuable things, in other words, they are all symbols of daily love" (William Ellis: Sexual Psychology, translated by Pan Guangdan, p./kloc-. )。 He divided the objects involved in sexual divergence into three categories: first, body parts, including hands, feet, breasts, buttocks, hair, secretions, excreta and corpse love; Second, utensils, such as gloves, shoes and socks, garters, skirts, handkerchiefs, shirts and things that don't fit; 3. Actions and attitudes, including automatic flogging, abuse, naked killing or physical self-display, passive abuse, sex, defecation and drowning love, fecal action or loss of love, animal mating behavior.

It should be said that the three categories of sexual alienation summarized by William Ellis are mostly described in almost all novels, novellas Aji and short stories The Hunter published by Jia Pingwa since 1990s. In Missing the Wolf, the description of sexual ambiguity is even more surprising. According to my incomplete statistics, in this novel with less than 200,000 words, there are as many as 13 stories about excrement and urine, as many as 14 stories about ass, asshole (anus), fart, washing ass and hemorrhoids, and as many as 20 stories about human and animal genitals and their hidden and exposed genitals. Writing and sexual intercourse (including tortoise sexual intercourse once, cock sexual intercourse once, wolf sexual intercourse once), masturbation, rape 10, writing and corpse removal 4 times, writing and menstrual belt (menstrual belt, menstrual cotton condom) 4 times, dirty trousers, a total of ***70 times, with an average of less than 4 pages, just writing and one-time ambiguity. If these narratives are crucial to the theme and characterization of the novel, then the author's courage and efforts should be affirmed and encouraged. The problem is that in almost all Jia Pingwa's novels, the descriptions of sex and sexual ambiguity are free, dispensable, exaggerated, neither elegant nor beautiful, which reflects the author's non-aesthetic tendency to pursue physical pleasure, and also shows that his aesthetic interest has fallen into a morbid situation. For example:

My wife slept with the door closed and had to relieve herself in the middle of the night. There is a urinal in the room, but she loves cleanliness, so she went to the backyard toilet, and the excrement outlet of the toilet is facing the outside of the hospital. A wolf began to drill in at that time. She grabbed her lower body with one paw and bled to death. When Blank started, a group of bandits gang-raped his daughter in the mill. When the bandits retreated, the neighbor's grandmother cooked her daughter's vagina with hot soles and produced a bowl of semen. (Page 5-6)

In this passage, there are typical descriptions of sex and sexual ambiguity. The author's interest is not to pay attention to the inner experience of the characters, nor to describe more meaningful things, but to describe the gender differences that can excite the readers physically from an external perspective with rough and exaggerated words. Generally speaking, these sexual descriptions have nothing to do with the main plot of the novel, which not only does not help to embody and deepen the theme of Remember the Wolf, but even deconstructs the unstable meaning world of the novel.

Others, such as writing about human-chicken sex (164), turtle sex (78) and a joke about "sex" between a man named Jiao and a doctor (12), are equally vulgar, boring and redundant. Apart from a morbid sexual scene and gender differences, we can't see its significance.

Then, why does Jia Pingwa describe a lot of sex and gender differences in a novel with the theme of "the missing wolf" and ecological problems? The reason must be complicated. Comprehensive analysis, especially from the perspective of psychology, is a complicated and troublesome job, and only people with various knowledge reserves can be competent and happy. But in my opinion, the serious sexual love and ambiguity in Jia Pingwa's novels are related to his lack of poetic moral sensitivity in his writing. He doesn't seem to realize that great literature is great not only because it is beautiful in artistic form, but also because it is healthy and pure in morality. The literature of our time is not great enough because in many cases, our writing is a contempt for morality. We only use the so-called "talent" or "talent" to evaluate a writer, without asking what is hidden under his talent. Over time, we are used to treating literature with a narrow or even anti-literary attitude, so that we lose the ability to distinguish the truth, beauty and ugliness of literature. Tolstoy said: "People can be trained to get used to anything, even the worst thing. Just as people can get used to moldy food, cigarettes, wine and opium, people can get used to bad art, which is exactly the case. " ("Leo? The Complete Works of Tolstoy, Volume XIV, translated by Chen Shen, p. 227, People's Literature Publishing House, 1992. It is time for us to change our morbid literary habits, restore our normal literary judgment and cultivate healthy aesthetic taste. It is time to emphasize the moral influence and personality construction of literature.

Yes, excessive sexual love and sexual ambiguity in Jia Pingwa's novels are a literary disease that should be paid attention to. Due to the lack of moral sensitivity, it is difficult for readers to see the intoxicating poetic spiritual picture in Jia Pingwa's novels. In the final analysis, the great power of literature is a spiritual power, which is closely related to faith and morality. A work that lacks stable belief support and beautiful moral passion can hardly have a universal and lasting positive impact on human spiritual life. Chernyshevski attached great importance to the relationship between moral feelings and the value of artistic works. He said: "Innocent moral feelings are pure, which seems to completely maintain the innocence of childhood and will give literature a beautiful and charming special charm." In our opinion, the beauty of Count Tolstoy's novels depends on this trait in many aspects "(Ni Editor-in-Chief: Russian writers and critics on Leo? Tolstoy, page 34, China Social Sciences Press, 1982. ); "If a work is permeated with moral purity, it will be as fresh and peaceful as nature. You know, nature has poetic influence because its secret is not its purity. The beauty and charm of Count Tolstoy's works also lie in this moral purity "(Ni Editor-in-Chief: Russian Writers and Critics on Leo Tolstoy, p. 35. )。 Jia Pingwa's novels are full of meaningless sexual scenes and descriptions of sexual differences. One of the important reasons is that he lacks the inner power of pleasure, because he lacks sufficient understanding of the pure meaning and value of moral emotion, that is, his era lacks the refreshing and quiet "moral purity breath". If Jia Pingwa wants to write truly valuable works, he must keep a distance from the moral environment around his anti-literature, and he must cultivate his belief in pure moral principles in his own mind, otherwise he will not be a great writer in the true sense and will not be able to write good works in the true sense.

What is negative writing?

I once commented on "Missing the Wolf": "This is a postmodern text in a negative sense"; Its "basic nature is false and pale, its narrative strategy is characterized by patchwork and fabrication, and its attitude towards readers is teasing and lack of sincerity." This is a game ... "(Li Jianjun: Literary Criticism and Questions and Answers of Shaanxi Writers' Creation, Literary Contention, No.6, 2000. I still think these comments are appropriate and responsible. Miss Wolf is such a failed work. Because of its intolerable failure, it has become a typical negative writing text of our time.

Negative writing is what I call a very popular writing mode in our time. This writing mode has some outstanding characteristics. First, there is a lack of realism and authenticity. Active writing, as belinsky pointed out, "always touches readers with authenticity, naturalness, correctness and reality, so that when you read it, you will unconsciously but deeply believe that everything it describes or expresses really happened in this way and can't happen in another way" (Selected Works of belinsky, Volume II, translated by Man Tao, p. 196). In his view, "truth" and "truth" are the same thing, and "truth" without "realism" does not exist: "Art is the expression of truth, and only truth is the supreme truth. Everything that transcends reality, that is to say, all the realities fabricated out of thin air for a' writer' are lies and slanders to the truth. " (Selected Works of belinsky, Volume II, p. 197. ) But we lack this kind of active writing. We are happy to talk about the virtuality and symbolism of literature, but we are ashamed to talk about the reality and authenticity of literature. We tend to emphasize the relationship between literature and reality as a sign of backwardness. We prefer to talk about skills, forms and subjective fields, but don't think profound meaning and objective and real life content are more important. In this way, our writing becomes passive writing, exquisite skill operation and empty discourse game. This kind of writing is not so much concerned with reality as escaping from reality; It is not so much an effort to describe real life as a means to cover it up. Bakhtin said: "Any creation is always determined by its own object and its structure, so it cannot be arbitrary. It is not fiction in essence, but reveals the content of the thing itself. People can draw a correct idea, but this idea has its own logic, so it can't be invented, that is, it can't be made from head to toe. " (Bakhtin: Dostoevsky's Poetics, translated by Bai Chunren Gu Yaling, p. 105, Joint Publishing Company, 1988. However, the negative writing of our time regards arbitrary fabrication and false fabrication as magic weapons and is unwilling to work hard under the constraints of real life. In short, due to the lack of realism and authenticity, passive writing rarely arouses readers' interest in reading, and it is difficult to win readers' trust and love for it.

Second, negative writing is writing that turns writing into a negative habit. The motivation of this writing does not come from the discovery of life, from the uncontrollable passion in my heart, from the strong desire to change my life, but from a negative need like one's fingers itch without playing mahjong. Generally speaking, negative writing is the basic writing mode of professional writers, especially those who have become famous or even been dubbed as "masters". They know the trick of denying writing and how to concoct literary fakes, as Tolstoy said: "Every art has its own rules and tricks to make such fakes, so a talented person can make such fakes without emotion and quietly." ("Leo? The Complete Works of Tolstoy, Volume 14, translated by Chen [[Chinese] English and [Chinese] English], page 197, People's Literature Publishing House, 1992. Belinsky pointed out that the writer's "talent is very one-sided" when criticizing the fake "prolific" writer. His works have no depth or drama; Therefore, all the protagonists in the novel are carved from the same mold, and the difference is only in the name, which is repeated in every new work; Words are more than thoughts, and rhetoric is more than emotional expression. "And he is prolific," not because of outstanding talent, not because of excessive creative activities, but because of the proficiency and habit of writing. As long as you have some talents, study and cultivate your own nature, accumulate some concepts and brand these concepts with personality, then you can start writing from morning till night. Finally, you learned the ability to write anything you want at any time and in any mood. If you think of a few high-sounding monologues, it is not difficult for you to make up novels, plays and novellas; However, you should pay attention to form and style: they must be original works (Selected Works of belinsky, Volume I, translated by Man Tao, page 96, Shanghai Translation Publishing House, 1979). )。

Belinsky made a thorough analysis of the problem of "prolific" negative writers. The morbid writing mode he criticized is a trick of many "professional" writers in China, and Jia Pingwa is a typical example of "successful" use of this writing mode. Similar plots, characters, themes, details and jokes are repeated in many of his novels. For example, we have read the relationship between wolves and people in White Night (Collected Works of Jia Pingwa, Volume 8, page 284, Shaanxi People's Publishing House, 1998). ); Scraping psoriasis scene description can also see "White Night" (collected works of Jia Pingwa, Volume 8, page 325). ); Others, such as rats fighting on beams or slipping off light ropes, snakes crawling over beams, money hidden in soles, dogs peeing on telephone poles, etc., are all things that Jia Pingwa likes to describe repeatedly. In addition, in his novels, there is also the narrative mode of "instant transformation" that I pointed out when I criticized sandalwood punishment. This model is a trump card in all negative writing narratives. Constantly changing opinions and introducing new conflicts is a rhetorical strategy to deny writing. It relies on creative changes and conflicts to promote the plot and attract readers. It will soon make readers feel tired and fooled because of its falsehood and confusion. Therefore, negative writing can produce a lot of works, which can let the author get something other than literature, but it is difficult to write great works with life and value.

Thirdly, negative writing is a kind of alienated writing that lacks the power of positive spiritual construction. Great literature has always been a positive spiritual phenomenon, which takes scientific spirit, democratic thought and humanitarian principle as its soul; It keenly feels the pain of the times, finds the problems in the life of the times, and transforms these pains and problems into artistic images with appeal and influence, which can influence the public and push life to a more civilized realm. On the contrary, negative writing has no such modern values and spiritual orientation. It is a kind of writing that caters to the interests of the times and is covered by the shadow of the times. In the era of political alienation, it is a political tool; In an era when commercial value dominates everything, it has turned itself into a commodity. The negative writing in our times is mainly a kind of alienated business writing. It pursues printing and coding, and puts economic effects above cultural values and moral effects. It gave up the meditation and pursuit of meaning and depth in printing culture, and voluntarily leaned against the door to sell jokes in the spotlight of visual culture that dispelled meaning. For this kind of writing, the criterion for evaluating writers is not spirit, but material; Not connotation, but form; Not qualitative, but quantitative. Like the post-modern culture criticized by Eagleton, it "degenerated the terrible seriousness of pure modernism with its playful, funny and popular spirit, thus successfully increasing the more harmful seriousness produced by the market in imitating commodity forms." It unleashes the power of local, regional and personal materials and helps them to be evenly distributed around the world "(Terry? Eagleton, The Illusion of Postmodernism, translated. Hua Ming, page 36, Commercial Press, 2002. )。 Indeed, negative writing not only failed to provide a liberating force for people's spiritual life, but also disintegrated people's will to live and inner passion, making people lose their sensitivity and meditation on soul quality and spiritual life while intoxicated with sensory experience and material enjoyment.