In Shanghai in the 1930s of the Republic of China, there was a "pavilion culture", which was an important part of "Shanghai left-wing culture".
Pavilion is the original name of the building. The space located above the stove and under the terrace has an area of six or seven square meters at most. It is small and dark and is often used for storing sundries or for servants to live in.
A large number of impoverished literary and artistic young people could not afford to live in good houses after arriving in Shanghai, so they had to rent the cheapest pavilions. In the cold winter, hot summer, drafty and rainy environment, they wrote patriotic articles one after another, which were circulated
Later generations.
Lu Xun later published a collection of essays called "Qie Jie Pavilion".
"Ting" means the pavilion room, and "Qiejie" means semi-concession. Together they form "the pavilion room of the semi-concession".
Therefore, some people think that those essays were written by Lu Xun when he lived in a pavilion in Shanghai, but this is not the case.
Lu Xun was a rich man, and he had Xu Guangping with him, so how could he live in a pavilion? He named his collection of essays "Qie Jie Pavilion" because he only recognized the "pavilion culture" and classified himself as a "pavilion writer"
.
Lu Xun now lives at No. 23 Jingyunli, Zhabei. There are many cultural celebrities in this area. For example, Lu Xun's younger brother Zhou Jianren, Ye Shengtao, Rou Shi and Mao Dun.
On this day, Lu Xun was revising the "Bi Xia Translation Series" that was about to be published, and Andrei, a reporter from "Zi Lin Xi Bao" came to visit.
Xu Guangping, who was pregnant with his belly, brought him some tea. Andri thanked him and said to Lu Xun: "Mr. Zhou, I wish your future children will be healthy and lively."
"Thank you." Lu Xun was in a very happy mood.
Since Xu Guangping became pregnant, Lu Xun's temper has improved a lot, and even the tone of his articles has become more tactful.
Andre chatted with Lu Xun for a few words, then quickly got to the point of the interview and asked with a smile: "Mr. Zhou, have you read the works of another Mr. Zhou? I am referring to Zhou Hexuan."
Lu Xun said in surprise: "I thought you were going to ask about the debate between Hu Shi and Chen Dezheng in this interview."
Andre shrugged and said: "The civil war between Mr. Hu and Mr. Chen involves some inconvenient reasons. Zilin Xibao will not be involved in it. I am here specifically to talk about another Mr. Zhou.
.You know, Mr. Zhou’s works have recently caused a sensation in Europe.”
"I have read all his works." Lu Xun replied.
Andre asked: "What is your evaluation?"
Lu Xun smoked a cigarette, exhaled smoke and replied with a smile: "What kind of work do you want to see?"
Andre said: "Can you elaborate in more detail?"
Lu Xun said: "I like his poems very much, whether they are "A Generation", "Answer", "To the Oak" or "Fragment", they are all very beautiful and wonderful. Especially the first two poems are sharp and firm. His
Issue novels are also well written. "The Goddess", "The Dog Official" and "The Dog Official" provide a thorough observation of Chinese society. As a new historical work, "The Rise of the Great Powers" contains many things worth learning from."
"You seem to have had a quarrel with him?" Andre deliberately provoked trouble.
"It's not called a pen fight, it's just a difference of opinion," Lu Xun said. "I strongly disagree with his political philosophy in the last chapter of "Guns". He is too naive and thinks too much of those in power.
Bright and selfless. Regardless of the last chapter, the other chapters of the book "Guns" are still very groundbreaking."
Andre asked: "Since the publication of "The Goddess", a genre of magical realism has emerged in the Chinese literary world in the past two years. As a leader of local issue novels, what do you think of magical realism works?"
Lu Xun shook the cigarette ashes: "First of all, I am not the leader of any literary school. Secondly, I hate the so-called magical realism very much."
Andri smiled and said: "Didn't you just say that you highly approve of "The Goddess"?"
"What I agree with is the content of "The Goddess"," Lu Xun explained, "but many subsequent magical realism works have greater form than content. In order to be new and different, writers often deliberately mess up the time and plot, so as to increase reading.
Difficulty, and it does not help in expressing the theme of the novel. This is a ridiculous approach, simply putting the cart before the horse, turning reading novels into guessing puzzles. What is the purpose of our vernacular movement? It is to make articles easier to understand. Today's
Magical realism literature is more difficult than classical Chinese novels, and I firmly oppose this form of writing."
Andre asked again: "Recently, the European literary community predicts that "The Goddess" is likely to win this year's Nobel Prize for Literature. Do you think this work will win?"
"I don't make predictions, and I'm not interested in it," Lu Xun said.
"Why? The Nobel Prize for Literature is the highest honor in the world of literature." Andre said.
Lu Xun put out his cigarette butt, smiled and said nothing.
In fact, as early as two years ago, when Sven Hedin, who was qualified to be nominated for the Nobel Prize in Literature, came to China for inspection, he planned to nominate Lu Xun as a candidate and asked Liu Bannong to ask Lu Xun for his opinion.
Lu Xun directly rejected the letter, and the excerpt is as follows: "... Liang Qi is not worthy of the Nobel bounty, and neither am I. To get this money, you have to work hard. There are no writers better than me in the world. Can they get it?"
To... Maybe what I gain is that I am Chinese, and just by relying on the word "China"... I feel that there is really no one in China who can win the Nobel bounty, and it is best for Sweden to ignore us, and no one can
No. If the yellow-skinned people are treated extraordinarily and leniently, it will only increase the vanity of the Chinese people and think that they can really compare with great writers from other countries, and the consequences will be very bad."
It can be seen that Lu Xun, like the Chinese people nowadays, looks down on himself. In other words, he always feels that he is not good enough and has to keep working hard to compare with others.
It can also be said that Lu Xun's mind was very clear and he was not dazzled by the halo of the Nobel Prize. Because judging from the scale of world literature, China does not yet have a writer who is good enough to win the Nobel Prize for Literature.
Of course, Zhou Hexuan is an exception.
The magical realism style is so cool that it completely subverts the way novels are written today. "The Goddess" is its pioneering work, and its content is also exceptionally good. It is fully qualified to win the Nobel Prize for Literature.
In Lu Xun's view, Zhou Hexuan winning the Nobel Prize was a bad thing for China.
It is conceivable that when the time comes, everyone will have inflated vanity, thinking that China has reached the forefront of the world, and the reality of the poor national conditions will be covered up by these illusory honors.
Andre conducted the interview for nearly 20 minutes and finally said: "Please give a comprehensive review of Mr. Zhou Hexuan."
Lu Xun thought carefully and said: "To be fair, in terms of thought and academics, Zhou Hexuan is the first person since the late Qing Dynasty. He surpassed Gu Hongming and Liang Qi by a lot. In the field of poetry and novels, he is also the best, especially the novels.
, there is no right person in China today. As for his political views, I still don’t agree with him.”
