Literary innovation is not a refresh. It's not the work of a mason dipping a brush in lime on an old wall, it's not the high jumper lifting the bar two centimeters, or the sprinter slacking half a second in a hundred meters. Literature is spiritual, and literary innovation is the new breath exhaled from within the human soul.

That's how I understand the word "machine."

A man travels long distances in a carriage, the roads are muddy and difficult to walk, and the horse is an animal, and he is tired and hungry, so he has to come up with the idea that it would be nice to have a horse that is not tired or hungry and can run fast. And just like that, the train was born. That idea is the machine, the motive, the heart, and the train is the instrument. The one that controls the machine is called a mechanism. Nowadays, the organization is called an agency, and the source is also here, and it controls the rhythm of the people's hearts.

The name of the novel is not modest, not polite, not small. Calling the novel is the old concept of literature, and it is the name given to the novel "when I was a child". Classical Chinese novels are divided into chapters called "Hui", which is unique in the history of world novels. In the past, novels were written for storytellers, and the "market" was in teahouses and bookstores, somewhat similar to today's sketches, and the main "work task" was "leisure and entertainment". Either that, or write for yourself, in today's terminology it's called "private writing." The original definition of the novel was "trivial words, not Taoism". The biggest innovation of modern fiction is to get rid of "small" and become the main channel of "Taoism".

To evaluate Jia Pingwa's writing, one word can be used - Chinese style. Looking at what is happening in this land of China, we need to use the perspective of Chinese, and the way of thinking and expression can "introduce technology", which I understand is an important factor that Jia Pingwa's literary creation has been concerned by readers for more than 30 years and has "prospered". Another factor is that Jia Pingwa's literary language is Chinese, Chinese, and he is basically not affected by the translated vocabulary and sentence structure.

Looking at the brushwork of Jia Pingwa's novel with the eyes of "Chinese painting", the effect is clearer. He is good at using "broken brushes and scattered fronts", rendering large areas of clumps, which seem to be stuffed, but in fact, there is a connection between layers and veins, and the true qi in it is dripping and warm, and vast and heavy. There are Western colors in the rendering, but there are Chinese lines hidden. He develops the traditional "freehand", which seems to be a mess of apportionment, neatness, and the details are vague and indescribable, but the whole is clear and clear.

Jia Pingwa is a representative of contemporary writers who "push through the old and bring forth the new", and his newness is not introduced, nor is it organ replacement. He is born from "Chen". Therefore, the characters in his novels are not exaggerated, simple and calm, some are depressed and gloomy, some are lonely and helpless, and the fate of the characters has the bitterness and tragedy of the world. His roots are rooted in Chinese culture, and he has practiced excellent realistic kung fu, infinite reality, but also infinite virtuality, the more real the more virtual, the more virtual the more real.