Literary Master 1879: Traveling Alone in France

Whenever you are criticized, you will come out and yell that everyone does not understand. It is because you did not understand the meaning of this paragraph and that paragraph in my novel. It is all because of the readers who do not follow my ideas. You are extremely stubborn and irresponsible. This is too clown. The way to remedy it is to accuse others of not understanding that I thought this is what you thought in this paragraph😅

The author writes about the thunderstorm as a climax of the plot, and talks about his actual feelings. The author frequently uses a lot of descriptions that arouse emotions. However, as a reader, he is seriously out of touch with the content expressed in the article. There is no sense of resonance or empathy at all, but it feels noisy. It can be compared to Wukong listening to Tang Monk nagging in Journey to the West. I thought carefully about why I felt it was noisy and boring. One thing is that the author created the protagonist into a "compassionate" image, worried about the future of the country, the people, and the writer friends. This image has begun to lose touch with readers. If the background is placed in a special period like the Republic of China, everyone will still have national resonance, but this image is in France. My feeling as a reader is that this is none of our business. As readers, we morally admire the character of the protagonist created by the author, but cannot resonate with it. Even because the protagonist was Chinese in his previous life, it is somewhat difficult to understand his current behavior and mentality, and we cannot share the same frequency. Your protagonist needs to survive in the early stage and improve the quality of life. You need the support of all parties. You package yourself as a very positive and even politically correct image. Everyone understands you and praises you for your wit and wisdom. You wrote Sherlock Holmes, which was a great success, and you pretended to be famous. Everyone is proud of it. But why do you really want to be the French Lu Xun? This route is not impossible, but from now on, readers no longer view this protagonist as "one of their own", but as the development history of a French conscience. As readers, we hope that the author will become a "big capital" after completing the primitive accumulation in the early stage, and fully release his desires while showing good conscience. Of course, the author has his own route, and may just copy and publish books from now on, but it is recommended to control the scale of emotional catharsis. There are so many chapters before and after Thunderstorm, and it feels very out of control. Readers cannot resonate with your emotions. The more surging you are, the more black question marks we have.

Oh? Why did the author silently change the name back?

It is much easier for a person to travel back in time and become a literary giant than imagined. I saw a saying on Zhihu: Any internet writer who travels back in time to the late Qing Dynasty and the Republic of China can easily become a master of the Republic of China - not a fake master like Hu Shi, but one who truly founded a school and left his name in history. To achieve this, you don't even need to copy texts, predict the future, or write anything profound. All you need is to write an online article at your normal level. You are the father of modern Chinese literature. Why? Because the Chinese people at that time were confused not only about the development of the country, but also about the development of literature. Chinese literati at that time realized that in order to popularize culture, classical Chinese and even vernacular Chinese should be eliminated, and they urgently needed to create a writing system that was simple and easy to learn. We see that the works of writers at that time were so weird. For example, Mr. Lu Xun's works contained a lot of complicated terms that were difficult to understand. It was because at that time, modern Chinese had not really taken shape, and writers were all using their own methods to explore how to make articles simpler and easier to understand. The articles written by us modern people are already the completion of modern Chinese. The usage of language sentences in them are the result of the joint exploration and efforts of so many writers and linguists from the Republic of China to New China. It is a perfect enough system. We don't even need to study Chinese grammar specifically. As long as we write articles according to modern people's habits, it will be an absolute guiding light for people at that time. The same principle applies to the protagonist. The protagonist himself does not even need a sophisticated level of literary theory. The articles he normally wrote naturally contained the fruits of literary development over the past 100 years, which could bring a lot of enlightenment to the people at that time.

The entry point is a little late. Think about it, if Zhou Shuren had not read "The Old Guard" written by the protagonist in a few years, and wrote about Kong Yiji, would Zhou Shuren be said to have "plagiarized" the French work?

The writing is good, and the writing style is also good. The only uncomfortable thing is that the protagonist's articles criticizing human nature and introspecting are too dense. One article follows the other, which is a bit aesthetically fatigued. French people have to reflect on themselves every day, and it makes my scalp numb just thinking about it.

I'm not dissing this, this book is more to my personal taste than the Russian writer's book

How can I put it this way? I have been reading this type of novels since last year. British and Russian novels. If this type of novel is scored out of ten, I would give this one a nine. The author's writing is good. I recommend it.

I have watched both the plays "Thunderstorm" and "Teahouse". The following comments are only based on the content of this book. I have written several chapters related to "Teahouse", but for me personally it is not as good as writing "Thunderstorm". At that time, "Thunderstorm" was hyped with another master, and the theater was also involved in modifying the lighting and scenery. And then there's the theater hype. It attracted a lot of people's attention. It was the first time to see the new theater and the mainstream cultural hot spot at the time (women), and then it exploded, and it made sense. What about "Tea House"? "Teahouse" was marketed as a Christmas comedy, and then that was it. Looking above actually, there are new overhead lights. After performing a serious satire on history and politics, the audience then shouted "liar, liar, liar" in praise from their seats? And then yelled "Author, Author" I just feel like I am enjoying myself, just like a concert, it is purely star chasing, and this star is the protagonist. Now the protagonist gives me the feeling that he has become more stereotyped and cliche-like. Copy classic articles, and then copy later generations' comments and interpretations. The public praises the protagonist. This has been the case from "Old Guard (Kong Yiji)" to "Cafe (Teahouse)", with more than 400 chapters. "Cafe" has foreshadowed so many chapters but it is still the same old routine. It is not even as good as before. It does not even have the conflict point of slap in the face. It is just praise. This routine is tired. It is not as interesting as the emergence of new conflicts in business, after all, it is unknown.

Please recommend similar novels by famous writers, preferably completed ones.