"The Tribulation of Eternal Life: Part I" is self-narrating

In January 1994, the Party School of the Ministry of Railways of China. As a young boy in the literary world, at the age of 27, after searching in Beijing for a long time, I finally had the opportunity to meet with celebrities from the Chinese Writers Association and the Ministry of Culture, such as Zhou Ming, Lei Lei, Zhang Tongwu, Cheng Shuzhen, Cui Daoyi, Ye Nan, Yang Zimin, Ding Guocheng, Zhou Gang, Wu Taichang, Han Zuorong, Li Bingyin, Wang Fu, Lu Liutong, Yang Zhaoxiang, Lu Feng, etc., to listen to their teachings face to face, get their personal guidance, and they also spent a lot of time revising our manuscripts.

At that time, I brought with me more than a dozen free poems such as "Xiangshan Red Leaves", several sets of prose poems such as "Freehand in the 21st Century", the essay "Beautiful Scars", the essay "A Preliminary Study of the True Distance of Language", and the novella "Little Difference", which only wrote more than 60,000 words. They were able to discover a potential that I had in different genres of literature, by different people—that behind each of your essays there was a story hidden, and if you could keep writing novels, you would have done well. Sure enough, it is a famous vision, and I can see my top priority in the comprehensive major I have studied. Mr. Li Jingze took away my unfinished novella "Little Difference" and said that he was going back to read it. He said to me, you have been leaning your energies towards philosophy for several years, and now it is time to turn around, and still engage in our profession, especially novels, and you have the responsibility and ability to make my way not alone and promote my way.

I was so embarrassed that I didn't dare to bear their high expectations. I know they're encouraging the younger ones who have a little potential, not necessarily saying how great I am. Maybe they will forget what they said at the time, but I have to remember something, and what I want to remember is their expectations, not to spend a week with famous people to add a little talk to their complacency.

At the meeting, they said many times that the situation of pure literature was already extremely embarrassing at that time, and the People's Literature Magazine, which was an extremely important banner of pure literature in China, was so tight that it could not even come up with the money to repair Santana. Pure literature is almost isolated in the small circle of authors and literary youth, and it does not break out of the encirclement. And the literature of the stalls fills every corner like a song. At that time, there was an argument that the shell of popular literature should be used to pretend to be the fruit of pure literature, and many literary masters were noncommittal about it, and many literary masters of the older generation were also confused, and they could not reach a conclusion for a while. However, the famous artists especially admired Mo Yan and Niu Han, and the two of them were the role models they gave together, and we should learn more from them.

The teachers who came to tutor expressed in different ways that they would not do that themselves, that they had been doing pure literature for half their lives, and that they would become impure when they were old, and they would not be able to do such a ruthless hand. "This big topic is yours, especially those of you who have a strong foundation, love to think and love to do, we have placed the most ardent hopes!"

I always felt that when Mr. Cui Daoyi was saying this, his eyes were fixed on me, and then, at least ten of the famous people on the rostrum also turned their eyes to me. On that occasion, I was one of the ten representatives elected from more than 300 members, and I was the only peasant representative. As a representative, it is normal to have more opportunities to get along with all the famous artists, to listen to more teachings, and to leave a deeper impression on them. But to say that they care about me as an unknown person, or do they feel too good about themselves, and they are putting gold on their faces. But that's how I felt at the time, they were looking at me, they were looking at me, they were looking at me, they were looking at me. I wish every member at that time felt this way and thought like that. It is because I have been thinking like this that I have been able to endure all the humiliation over the years, never forget to hone myself in literature, and then I can pick up the pen again and write many years later.

In the face of all of you, I was extremely unconfident at that time, but secretly I made up my mind to combine the pure and the mundane, and there was no longer a distinction between the fruit under the shell. It's a delusion, and it's not just a literature fan. When parting, Mr. Cui Daoyi gave me the word "expressive", and he paid special attention to the expression of literary language. Green Wind is Ke Lan's proud disciple, the secretary general of the Chinese Prose Poetry Society, and circled my prose poems "Freehand in the 21st Century" and "Bee Flower". When the green wind gave me the inscription, it was very solemn, he thought about it for a while, and looked at me deeply for a while, before he wrote down a big "Hui" word. I've watched him inscribe dozens of members, and I've never seen him stare at it for so long. It's associated with my name, and it's also in line with what I'm good at. Green Wind stared at me again after writing, and my expression was very firm: I understand! He nodded, knowing that I had focused on the true distance of the language, and it was still possible to understand this word. The green wind held my hand for a long time and clenched it tightly. His palms were large and thick, and they could completely envelop the hands that I had been working for since I was a child. "Get in touch later!" he said. Soon after, Ren Zibin of China Environment News wrote the same thing to me. As a result, I never contacted them again, but I will never forget their words.

The word "Hui" that I understand, in addition to wisdom, intelligence, wisdom, wisdom, wisdom, etc., just dissecting the font, that is, to regurgitate things that are twice as rich as ordinary people in the heart of ice and snow in order to get a wisdom word. For three and a half years after that, I did not dare to publish any more works lightly, and I did not participate in any literary activities except for a short story and a few sets of free verse. I am further accumulating and enriching my experience and ruminating everything. It wasn't until mid-June this year, a month and a half after joining the company, that I started writing the novella "The Tribulation of Eternal Life: Part I". This is the birth of a child after I have been pregnant for three years and six months, and I can't expect him to be able to turn over the river and the sea like Nezha in his life, but he is indeed the pioneer of my re-entry into Wenhai, and the importance of him goes without saying, he is my proud son. But in the eyes of everyone, he may also be a freak and a deformity. He will die before he even gets on the market - and even if he dies, he will not die in my womb again, I have given birth to him anyway, and I will send him where he belongs.

Since he was born, I have looked at him over and over again, and I have seen something strange in myself. He was naked, revealing his nature and form. His heart is as pure as white paper, and his outer body hangs on his roots. He is not a purebred, not even a pure dog mongrel. He can be said to be a hybrid of a man and a dog! Can such a bastard be born? He makes me sad, and I am not at peace in confinement. Now that he is two months old, who will he entrust to? Who will be his nanny? Who will raise him to adulthood? What kind of love will he need to raise such a life?

Why, the originally clear rivers are inevitably polluted? I use the form of a novel to reflect this common phenomenon in a thrilling way, and this reality, which is not to be frightened but also frightening, is like a fire roasting our limbs. And we (individuals, units, groups, countries, and the world) are so numb that we don't know the pain when we are burned, and we don't feel humiliated when we are ruined. Because of our numbness, we have become a medium for the spread of this phenomenon, and we are not yet conscious. Because we're also a hotbed of this phenomenon, and we're growing it. And then it spreads endlessly.

I use this idea to structure the whole novella, and on pages 95∞101 of the manuscript paper, I condense it into a fire to describe, which is a fire of active thoughts, and I am confident that this part can reach a very high level. I am a person who is too strict, strict with myself to the point of being boring, absolutely strict in my personal behavior, and I will not indulge myself. But this novel looks very erotic, just because I changed this phenomenon into a woman writing it, and put her in the position of a snake gall. The polluter is represented by a man, the woman is owned by a strong man who is not very knowledgeable, and the other woman represents another stream of woe. The urine bucket is the magnifier, Uncle Hong, my family, the group of people, the officials, the public, etc. have become the background of people, and the longevity residence, tofu podium, melancholy ditch, a bowl of water, and Longwang Town have become the background of the environment, and the changes in China in the past ten years have become the background of time.

The novel has its own development, and it cannot be as rigid as me, an author who has no roots and no reason to anchor in this inexplicable bay. The formation of the novel has its own genes of internal constraints, and the author has bred it like **, but its image is not something that the author can knead casually. As Teacher Cui Daoyi said: Let the moral and high-spirited see the prostitution, let the wise see the wisdom, let the benevolent see the evil, and let the affectionate see the will!

There are many things in the world - they are very strict and solemn, but they look funny, ridiculous and even obscene. This phenomenon itself is a mixture of elegance and vulgarity. This phenomenon is the basis for the coexistence of the elegant and the vulgar. The purpose of the creation of this "Eternal Life Tribulation?Part I" is this, mortals can see the vulgar in it, and the vulgar is also pleasing to the eye. The wise person can also know elegance and elegance when he goes deep into it. can make those who have a heart frightened, and let those who have no heart be stunned, this novel Lin has power. To this end, I have made some important descriptions on pages 17-19, 25, 67-68, 70-71, 90-91, 95-101, 136-139, 141-143, 147-149, 158-160, 164, 168-169, 176-177, etc.

In the novel, it is inevitable that men and women love each other, and in this eternal life, love between men and women is more necessary, because it is the point of impact, the point of radical change, and the point of breakthrough when the reaction is impregnated and assimilated and infects the next person. Analyzing the process is like attaching importance to the theory of catastrophe. It is difficult to grasp the description of love, so I try to replace it with the description of the change of scenery, in the hope of producing a musical symphony effect and the romance of the scenery. These descriptions, which avoid sensitive organs, can win clothes without revealing their bones, and carry the appropriate atmosphere with the confluence of literary style, which is also a kind of presentation of the essence of words. These descriptions are mainly found on pages 34-36, 47-18, 119-120, 130, 144, 146, 160, 162-163, and 174. I consciously listed these page numbers to make it easier for the editors to approve them. Most of these descriptions are handled by transference, and although I have been careful enough, I still can't say that the degree has been properly grasped, because the "amount of alcohol" is different for each reader. If this novel can meet readers, please have a lot of readers, please forgive those who are uncomfortable, and please be considerate if they are dissatisfied. If I am given the opportunity to write the middle and lower parts, it will be a newer and more mature way of writing. …… (The manuscript behind the autobiography was lost, and the manuscript of the novel was lost) Thank you.

Notes:

1) Looking forward to it!

Who Xie Shenzhou replied: Like my son, it is impossible to come back to life.

I'm sorry for the boat, I stinged you!

Who Xie Shenzhou replied: I'm not afraid of pain for a long time, the pain is too much, I will self-medicate.

I'm sorry boat, I'm really sorry, and I can't make up for anything?!

Who Xie Shenzhou replied: There is really nothing, and the painful experience is also a valuable asset, without these, my words would not have such weight. The experiences of life are really writing works for us, and this is true of poetry, and the same is true of novels. So I deeply agree with your teacher's words.

2) Mo Xiaoyu: The more Shen Zhou's writing is written, the thicker it becomes, and I appreciate your endless pursuit. Have a nice weekend~

Who Xie Shenzhou replied to Mo Xiaoyu: In 97, my condition can only be written by hand, and it is written directly on the manuscript paper. Send it out when you submit it, and all that is left is an incomplete preface to the manuscript. The same goes for another novella, "Dangerous Drag".