After Jiang Yulou came out, he found that everyone looked at him strangely.

He leaned over to Wang Meng and asked in a low voice, "What kind of eyes do you look at me, it makes me feel weird." ”

"Psychologically, everyone is just happy for you." Wang Mengpi smiled and said with a smile.

"Really?" Jiang Yulou touched his chin, "Wouldn't it be envious that my novel would be published in Ming Pao, right?" Actually, it's nothing, I'm a newcomer, I can't get much remuneration, and I can't compare with the famous writers in Xiangjiang. ”

Wang Meng's heart was sour, and when he saw his appearance, he couldn't help but say: "That's "Ming Pao" with a daily circulation of 100,000 copies, the more you know the influence of "Ming Pao", the more you can see the gold content of the serialized novels on it!" ”

Not to mention that there are tens of thousands of yuan in remuneration, they are simply envious.

In this literary exchange meeting, these old comrades did not reap much benefit, and they were all eaten by Jiang Yulou, a little comrade.

Jiang Yulou shrugged and didn't say anything more. He doesn't want to be so high-profile, but excellent people are like a cone in the bag, and the end is immediate.

The next day, the weather in Hong Kong was very hot, and the exchange group had to attend a tea party organized by the literary and art circles of Hong Kong.

This is the first time that writers from the two places have participated in a tea party of an exchange nature. The whole exchange group from top to bottom attaches great importance to it.

Even the sweltering heat didn't stop them from wearing very formal attire to the tea party.

The participating writers in Xiangjiang were mainly Liu Yifang, and Ni Kuang and Mr. Jin also appeared.

Under the soft lighting, the literary exchange venue was filled with a strong cultural atmosphere. An exchange activity with the theme of "avant-garde literature" is in full swing.

In the center of the venue, a rectangular wooden table was set up, on which were placed several classic literary works, which were the heart of the exchange.

At the table, several elderly men in civilian clothes are discussing the characterization of one of the classic novels. Their voices are sometimes high and excited, sometimes low and powerful, as if they are in that special era, experiencing joys and sorrows with the characters in the book.

Here I want to talk about what avant-garde literature is.

Avant-garde literature is an important genre of modernist literature. A small group of writers with a strong sense of self, according to the principle of "continuous innovation", break with accepted norms and traditions, constantly create new forms and styles of writing, and introduce neglected and taboo subjects.

Writers of avant-garde literature often declare their "subjectivity" by self-declaring the established order of "divorce", and their goal is to shock the sensibility of readers influenced by tradition and challenge the dogmas and beliefs of traditional culture.

Avant-garde literature is one of the modernist literatures, which includes "symbolism, futurism, Dadaism, Imagism, surrealism, abstraction, school of consciousness, absurdity, etc.", and its tendency is to reflect the deformed alienation relationship between the individual and society, between man and man, between man and nature, between the individual and the self, and the resulting mental trauma, abnormal psychology, pessimism and nihilistic consciousness in modern Western society.

It may sound like avant-garde literature is a niche, but it's not. The writers of this era were more or less influenced by avant-garde literature.

For example, innovation, and breaking tradition.

Their writing styles are different, but they all have something special about becoming famous.

At this time, the work that aroused heated discussions among writers on both sides of the strait at the exchange meeting was called "Circular Ruins". This work is one of Borges's second collection of novels, "Fiction", and is an important novel that embodies Borges's "emptiness of time" and "consciousness of death".

"This novel is undoubtedly absurd." Liu Yifang first set the tone for the novel, and then elaborated on his thoughts, "Its absurdity lies in the fact that the magician created the boy in his dream, knowing that the boy is an illusory shadow, and he is undoubtedly "God" relative to the boy." As the novel says, fathers care about their children in times of confusion or happiness, and the magician is no exception, but just when he fears that the boy will find himself a created illusion when he steps into the fire, he finds that he is also safe and sound when he steps into the fire.

The description of this passage is described in the work, "He walked towards the flames. The flames did not consume his flesh and skin, but soothed him without burning or drowning him. He was relieved, ashamed, and frightened to know that he himself was also an apparition, another man's dream." Doesn't such an ending show the absurdity and tragedy of the magician's life in the work? ”

"I think this work has an excellent understanding of death." Wang Meng responded after Liu Yifang's speech, "Borges's thinking about death is full of Western-style speculation on the meaning of life. In the identification of death, he is pessimistic, believing that no human effort can change the outcome of an individual's final death, and the inevitability and inevitability of death are full of fatalistic pessimism. Fatalism, on the other hand, may have been influenced by Buddhist teachings. And in this work, it is death that gives meaning and dignity to life. ”

Jiang Yulou stood next to them and listened with great interest as they discussed the connotations of Borges's work, with the emptiness of time, the layering of existence, and the consciousness of death being the most mentioned.

There is no shortage of praise for character description and writing skills.

However, did these writers think that Borges did not think so much when he wrote this work? I just think it's interesting to write like this, and the understanding of later generations is all far-fetched with personal understanding?

For example, before he was reborn, he heard an anecdote, the writer A Lai once appeared on a program hosted by Mr. Sa called "Let's Talk", in which a girl from Jiangsu asked him that his essays are often tested in Chinese exams in his school, can he make these questions himself?

Ah Lai also admitted that he had a very embarrassing experience, and a friend's niece happened to be able to read his article, so he asked him for advice. Unexpectedly, after I confidently agreed, I found that I didn't understand those topics, which was very embarrassing.

Moreover, this is not an isolated case, many writers have encountered such things.

Feng Xianzhi looked at Jiang Yulou standing beside them thoughtfully, and asked, "Yulou, what do you think of this novel?" ”

Jiang Yulou was stunned for a moment, "What?" ”

He didn't expect Feng Xianzhi to name him, he didn't think about it so much just now, he was just thinking about it.

"What do you think of this novel?"

The noisy venue instantly became quiet, and everyone wanted to hear what the hottest and youngest writer had to think.