Library

The rivers and lakes are like a dream, the martial arts world is like drunkenness Like waking up from a dream, fighting alone with sword One person, one shadow, one drink and one sword Intoxicated.

Is the history of Chinese literature in the 20th century just a subject of accumulation and examination of historical materials? There are an endless number of literary history works at present, but in my personal opinion, I prefer those works that can stimulate dialogue with the current literary situation and even personal life through reading literary history. In the continuous communication, mutual interpretation and reorganization of tradition and contemporary times, a way to narrate literary history can be established.

The art of fiction is actually between the virtual and the real, the hidden and the explicit. The so-called "subtraction" of literature is to treat this exploration dialectically. The subtraction of literature finally presents a world like this: in the countryside far away from the hustle and bustle of the city, a group of simple people seek to prove the simple principles of life.

Sixty-four hexagrams, sixty-four worlds, each world is full of dangers and wonderful...

There is a wind coming from the south, carrying new sprouts on its wings. A good literary researcher should be such a "listener" who uses the works of writers as a medium, and the Huang Zhongdalu of the times can hear the hums and chants of people's hearts. Writer theory is Jin Li's personal favorite writing method. "It's like having a long conversation with friends, but it's not deliberately looking for or managing it, just like being transported by all kinds of unexpected winds." On the basis of thorough and careful reading of the text, he studied six writers who are active in the contemporary Chinese literary world, namely Ye Mi, Lu Min, Tian Er, Ge Liang, Zhang Ji, and Zheng Xiaolu, to taste the interest in the writers' words and explore their insights into society and people's hearts.

Dongbagou is very poor, but the villagers in Dongbagou are very enthusiastic. To use the words of the village chief Yan Fangliu to describe it, that enthusiasm is like the sun in the sky. Except for the crack in your crotch groove, it can't shine on the rest. With a lot of effort, it can make your whole body shine! Although this metaphor is inappropriate and a bit exaggerated, from the moment the Wang Xi sisters set foot on the land of Dongbagou, they really felt it. The sun is the most poisonous at noon in summer in Dongbagou. There are very few people walking on the dirt roads between villages. When Wang Xi's car first entered the village, they stepped on the brakes, smoked a cigarette, and waited for a while in order to find a villager to ask for directions. Entering the village committee compound, he met Yan Fangliu and explained his purpose. The news that they were going to do something good for Dongbagou Village and help a few poor people was like wings that suddenly sprouted, attracting enthusiastic villagers. In the sparse village committee compound, more and more people are entering.

The essence of contemporary literary history is to dialogue with specific life and establish the connection between tradition and modernity. A literary critic with great potential in Shanghai, writing a new wave of criticism. A literary critic with great potential in Shanghai, writing a new wave of criticism. A collective appearance of Shanghai's young critics. It not only explores the modern spirit and practical experience in language, but also explores ideological resources that are suitable for contemporary times. Is the history of Chinese literature in the 20th century just a subject of accumulation and examination of historical materials? There are an endless number of literary history works at present, but in my personal opinion, I prefer those works that can stimulate dialogue with the current literary situation and even personal life through reading literary history. In the continuous communication, mutual interpretation and reorganization of tradition and contemporary times, a way to narrate literary history can be established. The first volume of "Written on the Edge of Literary History" explores the modern spirit and real-life experience in language; the second volume is a set of historical essays on modern Chinese literature; and the third volume pays tribute to previous scholars and classic works.