After Lin Zixuan crossed over, he gradually discovered a fact that would be ignored by most people in later generations, that is, the Chinese textbooks of later generations were too powerful.

The articles in the textbook include many essays, novels and poems from ancient and modern China and abroad, and most of them are famous articles.

Coupled with the extracurricular reading part, he was surprised by the amount of reading he had.

But when I was in class, I didn't feel that I was learning the essence of literature, but I didn't like it very much, and I found it boring.

Perhaps it has something to do with the fact that the teacher always talks about the central idea of the text and the gist of the paragraphs, what reveals the decadence and decline of capitalism, and what expresses the author's criticism of feudal society.

Does a middle school student know this? Do you like to hear this?

Lin Zixuan did not want to criticize the way of language teaching, but felt that language should tell the beauty of words, rather than being divided into paragraphs, and perhaps even the original author did not know the profound meaning.

Of course, if that's the case, middle school students may still not understand it.

In short, after crossing over, Lin Zixuan realized that Chinese textbooks were a big killer and provided him with the works of many writers.

Although some articles are just excerpts, it doesn't matter, he just needs to know the general plot setting, he has a huge group of writers as a backing, and he can completely carry out secondary creation.

He wants to solemnly remind future travelers that it would be good to travel with Chinese textbooks, and the era of learning mathematics, physics and chemistry and not being afraid to go all over the world is gone.

"The Dancing Girl of Izu" is a first-year high school read, and it is an early work of Yasuki Kawabata.

It fully embodies the literary characteristics of Kawabata's "Buddhist scriptures", and due to the influence of the Buddhist cosmology, Kawabata's ideal of life seems both magnificent and ethereal.

The novel follows an orphaned college student on a trip to Izu, where he travels with a wandering entertainer, and develops a feeling of affection for a 14-year-old dancer.

The novel carries the typical characteristics of Japanese literature, deliberately delicate, with a touch of sadness and hazy artistic conception.

This is the explanatory text that Lin Zixuan saw in his extracurricular readings in later generations, and there is also a brief introduction to the life of Yasushi Kawabata.

Born in 1899 and graduated from Tokyo Imperial University, Yasuki Kawabata is a Japanese writer of the New Sensation School.

The so-called Neo-Sensibility School is a literary genre that emerged in Japan in the early 20s.

After the end of World War I, Japan's economy recovered and developed, but the economic crisis that broke out in 1920 caused serious difficulties in social life, and a kind of nihilism and despair spread in society, as well as a Western culture of coveting instant happiness.

The Neo-Sensibility School believes that people should use their senses of sight and hearing to understand and represent the world.

They believe that the task of artists is to depict the inner world of people, rather than the superficial reality, and they emphasize the role of subjectivity and intuition, believing that the symbolism of literature is far more important than reality.

Neo-Sensation was introduced to China and was all the rage in Shanghai in the 20s.

Most of these novels are based on the sick life of the metropolis, and by describing the various daily phenomena and worldly conditions in the metropolis, they expose the depravity and indulgence, loneliness and emptiness of urban men and women.

Perfectly suited to the atmosphere of Shanghai Tang's Ten Mile Ocean Field, it has grown into the most complete genre of modernist fiction in China.

In later generations, the representative of the Neo-Sensibility School was called Mo Yan, and his "Transparent Carrot" shook the literary world with its peculiar, sensual, and experiential narrative method and ethereal artistic conception.

In the Western literary world, this style of writing is called stream of consciousness.

In Japan, the stream of consciousness combined with Japan's peculiar aestheticism became the New Sensibility.

Chinese writers, on the other hand, tried to accommodate a variety of different methods of expression, and incorporated "various emerging creative methods such as psychological analysis, stream of consciousness, and montage into the orbit of realism", thus forming a "new sensibility" novel with Chinese characteristics.

Lin Zixuan is no stranger to stream of consciousness, and Virginia Woolf of the United Kingdom is a representative writer of stream of consciousness.

The two exchanged this method of writing in their letters.

Rather than moving in a straight line in chronological order, stream-of-consciousness storytelling organizes the story through free association as the person's consciousness moves.

The arrangement of the story and the cohesion of the plot are generally not restricted by time, space, logic and causality, and are often manifested as jumps and changes in time and space, and there is a lack of close logical connection between the two scenes in terms of time and place.

Past, present, and future often overlap or overlap in time.

Recognized masterpieces of stream-of-consciousness fiction include Proust's Reminiscences of the Lost Years, Joyce's Ulysses, Woolf's To the Lighthouse, and Faulkner's The Noise and the Tumult.

Although Yasuki Kawabata was the initiator and central figure of the Neo-Sensibility, he did not insist on this method of writing.

For example, his masterpiece "Snow Country" returns to the creation of Japanese classical literature.

In classical Japanese literature, "mono mourning" is the aesthetic norm of traditional Japanese literature as a whole.

They believe that "among all the feelings of man, only bitterness, sorrow, sorrow, that is, all things that are not satisfactory are the most touching to people."

Therefore, Japanese literature always revolves around the two themes of "beauty" and "mourning".

Snow Country

This novel is full of sad feelings such as frustration, loneliness, and sentimentality, and the ending also has a certain tragic color, which can be said to have reached a very high level of "beauty" and "material sorrow".

Of course, "Snow Country" also embodies the characteristics of neo-sensation novels, but also mixed with Japanese Zen and nihilism.

Lin Zixuan didn't quite understand this deliberate pursuit of beauty and sadness, he felt that it was a little too pretentious.

But this is a world-class novel after all, and it can only be said that his level of literary appreciation has not yet reached that height, and his greatest advantage is that he will not pretend not to understand.

Fortunately, plagiarized novels don't need to be really understood, just write them down word by word.

"Snow Country" is less than 80,000 words, and it was written in half a month, and Lin Zixuan needs to consider a Japanese pen name.

He remembered a Japanese writer who would be mentioned every year when the Nobel Prize in Literature was about to be announced, and the odds of winning the Nobel Prize in Literature were extremely high.

It's a pity that he has never won the Nobel Prize in Literature, and he has been running with him all year round, and he can be called the most tragic finalist.

and Xiao Li, who has been impacting the Oscar for Best Actor, can be said to be in sympathy, it is said that Xiao Li is going to hit the Oscar again, but Lin Zixuan can't see it.

This person is called Harushu Murakami.

Lin Zixuan wrote the name to the position of the author of "Snow Country", and then handed the manuscript to Ping Banya and asked him to find someone who is proficient in Japanese to translate it.

He would publish the book and put the manga version of "Clever Ikyu" on consignment at Uchiyama Bookstore to see how the Japanese reacted.