In Wang Anyi's novels, ordinary people are the main characters, expressing their extraordinary experiences and emotions in their ordinary lives. "Understanding" and "love" are her creative purposes. In artistic expression, her early novels are full of emotional expression, while her recent creations tend to be calm and meticulous.
We can generally feel a kind of generous love from Wang Anyi's works. She endows the characters in the story with "heroism" and shows the beauty and kindness of the characters. She controls the delicate atmosphere development of the story and the psychological changes of the characters with sensitivity and superb understanding, which is delicate and accurate. Her works tell an ordinary story, a daily living, but she explores the powerful and merciful natural laws behind the story, which is her concern for human nature, human living conditions and the ontological world, which makes her works have extraordinary significance. At the same time, women's tenderness is always reflected in her works, together with her cautious introspective and thoughtful character, which makes her exist as a maverick in the literary world.
Related works:
Song of Eternal Sorrow
Author: Wang Anyi
Page number: 384
Pricing: 2.
Publishing House: Writers Publishing House
Introduction: < In the forties, Wang Qiyao, a middle school student, was chosen as "Miss Shanghai", and her ill-fated life began. The canary who became a big shot changed from a girl to a real woman. After the liberation of Shanghai, officials were killed, and Wang Qiyao became an ordinary people. The surface days are as dull as water, but the inner emotional tide has never subsided. The complicated relationship with several men is predestined. In the eighties, Wang Qiyao, who was already in the age of knowing her destiny, was doomed. She had a deformed love affair with her daughter's male classmate and was finally killed by mistake.
Off-topic:
Wang Anyi's "Three Loves" and others
If someone asks me why my room is so messy, books and magazines about Wang Anyi are spread everywhere on the bed, desk and floor, and the electric fan is turned to the maximum gear, and the wind keeps blowing, and the wind rolls up a corner of the book, while I just sit on a wooden chair, as if thinking about something.
This China writer was born in Nanjing in 1954. His ancestral home is Tongan, Fujian. His mother is a writer Ru Zhijuan and his father is a playwright Wang Xiaoping. When Wang Anyi was over one year old, she settled in Shanghai with her parents, where she received her initial education. When she was in primary school, she often participated in district and city children's song writing competitions, and she had a deep affection for literature. He graduated from junior high school in 1969, and the following year he went to the Liu Zhuang Brigade of Toupu Commune in Wuhe County, Anhui Province to jump the queue and was elected as a county, regional and provincial activist. In 1972, he was admitted to Xuzhou Cultural and Art Troupe and participated in some creative activities. In 1976, she published her first essay "Forward" in Jiangsu Literature and Art. Two years later, he worked as a novel editor in Shanghai Children's Times magazine, and soon published famous novels "Who is the future squadron leader" and "Rain, Sasha Vujacic". In 198, he attended the fifth literature workshop of Chinese Writers Association. In 1983, she participated in the literary activities of' International Writing Project' of the University of Iowa. Later, he served as a director of the Shanghai Writers Association and the fourth Council of the Chinese Writers Association. Although her resume is very short, it has been immersed in life and has become a truly rich life.
Since the publication of the novel "The End of this Train", her galloping pen has no end. She has been surpassing her parents and becoming one of the most influential writers in contemporary China literature ... In front of me, there are her novels, Rain, Sasha Vujacic (Baihua Literature and Art Publishing House, 1981), Black, White and White (Children's Publishing House, 1983) and Wang Anyi's Short Stories (1983) Sichuan People's Publishing House), Time Has Passed (Sichuan People's Publishing House in 1983), Xiaobaozhuang (Shanghai Literature and Art Publishing House in 1985), Flowers on the Sea Dream (Huacheng Publishing House in 1987), Love in the Barren Mountains (Hong Kong Joint Publishing House in 1987) and Utopia Poems (1993) Sichuan Literature and Art Publishing House), Junior High School Students of the 69th Session (China Youth Publishing House, 1986), Thirteen Chapters of Running Water (Shanghai Literature and Art Publishing House, 1987), Mini (Jiangsu Literature and Art Publishing House, 199), Song of Eternal Sorrow, and the collection of essays "Mother and Daughter Roaming and Strengthening Health" (co-authored with Ru Zhijuan; In 1986, Shanghai Literature and Art Publishing House), Dandelion (in 1988, Shanghai Literature and Art Publishing House) and the long travel story The Story of Traveling to Germany (in 199, Jiangsu Literature and Art Publishing House). Her novels "Who will be the future squadron leader", "The Terminal of this Train", "The Passage" and "Little Baozhuang" all won national awards. Many novels have also been translated into various languages.
This is Wang Anyi. Wang Anyi has developed so fast.
I picked up the just-sent Literary Newspaper on July 29th, 1993 from the ground, and there was a summary of Wang Anyi's speech at the 4th Shanghai Literature Congress. Wang Anyi said,' In an environment full of winds, intellectuals should keep their own independent thinking. She said that writers should have artistic ideals, and this era of great changes needs writers' attention. It is a waste of talent and experience, or a lack of artistic ideals to blindly eulogize romantic affairs.' Yes, Wang Anyi's creation has stepped out of the ego. Recently, she has been thinking that if a writer only starts from extremely personal joys and sorrows, it is purely a small skill. Her creation has reached the harvest season. The maturity of this thought is that Wang Anyi began to pay attention to grand things and sad things. This change in creation is towards the aesthetic ideal of human beings.
Since her novella Uncle's Story, Wang Anyi's creation has made a great leap on her own basis. Her artistic ideal has been brought into full play, and she has really made herself more atmospheric and deeper. Uncle's Story is of great significance to contemporary literature. It has a huge historical connotation, which can definitely stand the repeated chewing of history, and is also a symbol of the maturity of Wang Anyi's creative thinking. If a writer gives up her ideological pursuit, she will naturally fall behind the times, especially in the 199s, and she can't give up the writer's participation and thinking about life. Without thinking, there will be no weighty works. In recent years, Wang Anyi has indeed written weighty works. For example, the novel Documentary and Fiction published this year and the novella Sad Pacific all show the writer's generosity and emphasis on human aesthetic ideals. These two works mark that Wang Anyi's creation has reached another new peak.
Wang Anyi not only keeps her unique pursuit in art, but also is quite introverted and rigorous in life. This has something to do with her education since childhood. I'm afraid everyone knows that she is RuZhiJuan's daughter. She loves reading, treats people warmly, loves thinking, talks philosophically and likes seeking truth from facts. As an upright writer, she deserves it.
Of course, everyone already knows a lot about Wang Anyi's life, so there is no need to repeat it here. But to truly interpret a writer, we must never ignore her important works in her growing period. Then, for Wang Anyi,' Three Loves' is an important part in her whole literary creation, so the analysis of' Three Loves' has become the key point of my comment.
Wang Anyi led me into a world.
A world full of life, depression, suffering, burning hope, light and excitement-the ontological world of life.
"Three Loves" is a symbol, and abnormal sexual descriptions show people charm. I have to truthfully admit that her sexual consciousness just circled on the edge of life and did not really enter into human life instinct. Because after all, she failed to resist strong moral persuasion, Wang Anyi seemed to find her psychological balance in a self-suppressed persuasion.
there is a kind of inclination in "chasing deer in the middle street". She made women's lives collapse directly, fell into the arms of their families, and acted as a foil for their husbands. They simply didn't realize the existence of self-worth. "The Century on the Hill" directly entered the human life instinct' sex'. In the face of the most real life, any hypocrisy and any concealment will be of no help. Sex provides men and women with equal rights to be human beings, just as the combination of Adam and Eve in the Garden of Eden constitutes human integrity, and the same power of men and women casts the same rhythm of life.
One of the basic features of modern novels is that the extended family disappears, and a small family composed of two people appears instead. The image of the father disappeared, replaced by the image of the husband. The role of women has also changed from mother and daughter to wife and lover respectively. But this change is only the role exchange within the family relationship, that is to say, the discourse about the family has not changed, and the budding consciousness about women's sex is still shrouded in family ideology in deep psychology.
Wang Anyi's world is a world with strong subjective consciousness. The issues she cares about, the language she uses, and the narrative style before and after her works have changed greatly. There is both the self-deprecation of women and the submission to male society; There is also a kind of unrest that can't be concealed and desperately wants to liberate themselves. But no matter how it develops, the author's creation is playing herself. What determines this kind of play is another' absent' being, who (I use' he' instead of' she' here) determines that Wang Anyi writes this way instead of that. In this way, when Wang Anyi writes with a pen, she is no longer' her', but' him', because the code order in her writing must be consistent with the social code order of' him'. That is to say, society is male, not' his'. Women writers can't write without the social background. According to Lacan,' Women enter the language and cultural system in a form of lack or castration in this patriarchal society.' Although women strive to achieve the achievements of male culture in writing, they have unconsciously accepted this man's prejudice against women.
what kind of' prejudice' is it? The status of women that Wang Anyi cares about is sometimes not in society, but in the family. She thinks that returning to the family is a return to a natural life. In a small family that is very comfortable and comfortable, women naturally perform their duties and responsibilities, sacrifice, forget themselves, be morally pure, be a good wife and mother, and to put it bluntly, be an' angel in the family'. This kind of' lady' woman satisfies Wang Anyi's psychological needs to some extent. Thus, it also satisfies the social order of' he', that is, women-family; Men-social. Therefore, it is also a man's request for women, which is a kind of worship of men as' real women'.' They have been together since childhood.
In a small city, they are always practicing. She asked him to help spread her legs and legs. They touched like an electric shock. She became a mother of a son and a daughter. She is as gentle as a virgin.
-Love in a Small Town
The narrators in Wang Anyi's novels all appear in the third person, which is obvious in itself. The narrator constructs a unique universe through her own incarnation. She created this universe, in which she can know everything, and she has the ability of being a god. She can judge her hero, heroine, good, evil, beauty and ugliness at will in a very rational situation. This historical observation of putting herself completely above the meaning of the work makes the narrator completely become the creator of truth. The hero and heroine in "Love in a Small Town" have had some stormy sex, and then the man took her in a bullying way, and then dumped her, which made them even more afraid of her. In the eyes of the narrator, the man is an incompetent degenerate, and the woman is a victim, just a very gentle, broad and sacred victim in the eyes of the narrator.
In fact, Wang Anyi conveys to people such a value that she has already recognized subconsciously through her narration: she thinks that women in China today should be like this. Although women are half of the whole human race, they are strongly attached to the other half. Although people's needs, especially sexual satisfaction, are indispensable to meet each other. But women lack the physiological characteristics of men, so she has no right to create.' It's space' and there's no motivation to fill it. This physiological difference is on the one hand. On the other hand, social factors. There is no difference between men and women, but there is a sharp contradiction between women and women. In today's China, being a woman sometimes means giving up the right to be a man. In the face of this contradiction, women try to find a way out. They get married and have children. They want to confirm their personal status through their families, but on the contrary, they fall into the trap more and more. The concept of' family' in some women's minds is that this is their' God'. Maintaining the status of the family and being loyal to the family are loyal to their duties. Wang Anyi's "Chasing the Deer in the Middle Street" is quite typical in this respect. She is still a third-person narrative way, and is still an all-knowing and all-powerful God who generally turns herself into a moral manipulator.
A well-educated middle-aged female teacher keeps her eyes on her husband blindly, and follows her all day when she suspects that her husband is having an affair, as if the whole meaning of her life is to control her own man. Let him love this family and love her wholeheartedly as she does. Only in this way can the hostess's mentality remain stable forever. She regards the stability of the family as her bounden duty, and it is the greatest happiness in her life to keep her husband and control him so that he can seek happiness with her in the paradise they opened together. But her husband is not like this. He wears jeans and goes out to restaurants with beautiful young girls and learns to dance disco. He keeps preaching that he wants to live a free and easy life, and he is trying his best to make his life free and easy. When he clearly knew that his woman was following him all day, he was not restrained, but more proud of being free and easy. Like one's own