Ke Yan, female, is a famous contemporary poet and writer. A native of Nanhai County, Guangdong, Manchu.
He began to create professionally in 1949. He has been a full-time screenwriter for China Youth Art Theater and China Children's Art Theater, and a resident writer of the Chinese Writers Association.
Ke Yan is engaged in writing in various literary styles. For more than 30 years, he has published "The Most Beautiful Picture Album", "Blind Date", "Auntie "Little Confusion"", "Premier Zhou, Where Are You?" "Strange Letters", "Cancer≠Death", "Searching for the Returned World", "News of Spring", "Selected Works of Keyan", "Selected Poems of Keyan for Children" and other 30 works.
Due to Keyan's literary achievements, she was elected to various associations and societies and held many social positions. Such as: All members of the Chinese People’s Committee for the Protection of Children; All members of the China Federation of Literary and Art Circles; Director and Secretary of the Secretariat of the Chinese Writers Association; Vice President of the Chinese Reportage Society; Vice President of the Beijing Youth Care Association; editors and consultants of many publications, and The candidates are professors at China Youth University for Political Science, Shandong University and many other colleges and universities.
A writer's status in literary history and influence among readers are established through his works.
"In terms of creation, I am never satisfied with one form, and always want to try more styles. I feel that mastering one more form is like a warrior with one more weapon..." I She always said this when she visited Keyan many times. Keyan wears clean and elegant clothes, simple and elegant. She moves quickly and her big eyes reveal intelligence. The language is refined, rhythmic and organized. She has a very strong memory and can blurt out some poems and famous sayings by famous Chinese and foreign writers. Lively personality, rich emotions, joy, anger, sorrow and joy are always expressed in color.
Ke Yan has a chic and approachable demeanor. He is an ordinary person and a famous poet and writer. Therefore, a writer said to me: "Ke Yan is the leader of our generation." Yes, if the Chinese literary world is a garden of hundreds of people, then Keyan's works are quite unique and attractive in this garden. Eye-catching flowers.
"Ke Yan" is a pen name. Regarding this pen name, Ke Yan explained: "Our ancient Chinese people called small green trees Ke Yan, which is of course a big hard stone. It is difficult for trees to grow on rocks, so anything that can For a tree that lives on a rock, its roots must find soil through the cracks in the rock and pierce the roots deeply into the earth. Its vitality must be doubly tenacious... I chose it as my pen name because I know that writing is It is a very difficult thing, and I am determined to stay rooted in the earth and climb hard all my life, so that my works can be as full of vitality as the small trees on the rocks." With his solid creative practice, Ke Yan fulfilled his literary dream when he started. , has won a place in the history of contemporary literature. In her creative career of more than 40 years, her hard work has borne fruit in the fields of children's literature (poetry and drama), poetry, prose, reportage, novels, film and television, etc. yielded abundant fruits. Therefore, people call her an all-around writer in the Chinese literary world in the twentieth century.
There are many conditions for a writer's growth, which are probably restricted and influenced by family or personal living environment.
Keyan is a Manchu, formerly known as Feng Kai. He was born on July 14, 1929, in a family of railway workers in Zhengzhou, Henan, and was originally from Nanhai, Guangdong. At that time, it had only been two years since the failure of the Northern Expedition. China was in ruins, filled with white terror and darkness. Both Keyan's grandfather and maternal grandfather worked as small officials. His father was an upright intellectual with a rebellious character since childhood. In order to oppose feudal marriage, he broke with the family and ran away resolutely. In the extremely difficult years, he struggled tenaciously and Live. He was diligent and hard-working, and after working part-time and studying, and personal struggle, he finally became a railway technician and engineer. He loved reading and literature. He was frugal and used the little money he saved to buy literary books. He loves talent, worships knowledge, loves Lu You's poems, and respects his noble patriotism. He has always despised those wealthy and powerful people who brought disaster to the country and the people, and often complained in an angry tone to ridicule or abuse those officials, big and small, who were ignorant and incompetent and relied on bragging to climb up the ranks.
"I don't want to be granted the title of Marquis of Ten Thousand Households, I just want to know Han Jingzhou" is one of the famous sentences he often uses to educate his children. His way of being a human being is: "A gentleman does not flatter those who submit to superiors, and does not read those who submit to subordinates." This self-proclaimed and arrogant attitude towards life made his life path full of frustrations, and he often had conflicts with his superiors. Transferred, demoted or unemployed. When he was young, he also wrote many short stories and translated the popular French detective novels of Van Demoes... The value of his rich literary activities mainly lies in the influence on Ke Yan. Keyan's mother was also a rebel against feudal ethics and was kicked out of the house for free love. She was a woman who was not proficient in writing but had a strong sense of art. She longed for knowledge and dreamed of a better future, but the difficult livelihood suppressed her enthusiasm. and pursuit. In addition to occasionally reciting some Tang poems and Song lyrics to express her feelings, she pinned her lifelong unfulfilled ambitions on her children. She often told them various stories about people with lofty ideals, loyalty and filial piety that she respected, hoping that they would work hard and learn well. Expertise. The personality, character and hobbies of his parents left a deep imprint on He Yan's young mind. Ke Yan said: "I have loved literature since I was a child, admired talents, respected knowledge, and pursued spiritual life. These are inseparable from the influence of my family."
The employees on the railway are like trains, constantly moving. Run around and never stop at one station. Ke Yan was favored by his father, and he always took her with him wherever he went. In this way, Keyan has been following the railway line since he was a child, and has experienced many beautiful mountains and rivers in the motherland and the suffering of the people.
Ke Yan’s childhood was lonely and empty. She innocently longed to play freely in the kingdom of children, but her parents, who were running around for food and clothing all day long, and her brother and sister, who were studying hard to get scholarships, could not satisfy her simple request. So she often ran out to play alone, was bullied and beaten, and complained in front of her mother in tears. The mother felt sorry for her daughter and would not let her go out anymore, so she promised to tell her stories. In this way, she began to come into contact with folk oral literature such as "Mulan Joins the Army", "The Legend of the White Snake", "A Horsepower Is Known by the Road", "The Girl Missing Hands", "Meng Jiangnu Cries at the Great Wall", "The Empress Casting the Bell", etc. She never tires of hearing these stories, and the more she listens to them, the more she loves them. Some stories have been told several times, but she still pesters her mother to tell them. The story in my mother's heart has long been told. She has even learned to recite famous poems such as "Pipa Play" and "Song of Everlasting Sorrow". The story has turned into a wheel and is repeated all day long. The father took pity on the mother, so he found the "Juvenile Library" and asked her to read it to his daughter. From then on, five-year-old Ke Yan knew that there was a "little match girl" and a "scarecrow" in the world. She hoped to have a sister in purple and a beautiful big sister like Yongming...
In When Ke Yan was greedily in love with all the stories in the world, she went to study at Changxindian Railway Workers' Children School. She is the youngest in the class, but she studies the hardest. She felt that there were many lovely characters waiting for her in the book, and she had to know the beautiful and interesting stories. By the second grade, books had become her good friends. She began to read all the books she could get her hands on indiscriminately, skipping words she didn’t know, and looking fascinated, eagerly pursuing the stories and characters in the books. The little protagonist in "Education of Love" made her understand that children are not just free takers of their parents. "Little Women" made her feel the warmth and power of friendship. Ye Shengtao told her about right and wrong, good and evil, and Bing Xin let her Her childlike innocence longed for the sea and poetry. Zhang Tianyi's "Big Forest and Little Forest" left a completely opposite image of the poor and the rich in her young mind. Green and Andersen painted a magical and beautiful world for her...
Later, she went to Jiang'an Rotary Primary School, where children of Hubei railway workers were born. After the outbreak of the Anti-Japanese War, her father participated in the Burma Highway Project, and she also went to Yunnan. When she was nine or ten years old, she went to elementary school in Baoshan and Xiaguan, a beautiful place in Yunnan. Keyan's ten brothers and sisters live on their father's salary. Living in Japan has always been difficult. At this time of national disaster, the burden on the family of this ordinary civil servant has been even greater. Prices are rising day by day, and my father is often unemployed... But no matter how hard life is, my mother makes sweaters, makes needlework, sells rags, and still struggles to provide for her children to study.
In order to reduce the burden on the family, Keyan and her sisters studied hard, striving to be admitted to public schools and receive scholarships. During that time, life at home was extremely miserable. When her father lost his job, the family was in ruins and there was no food to eat. She and her mother, My sister often went to the streets to sell used clothes, knit sweaters and sew socks for others... No matter how hard it was, young Ke Yan always had the flame of seeking knowledge burning in his heart. Under the dim little oil lamp in Yunnan, she read many books silently, including the works of Goethe, Heine, Pushkin, Tolstoy, Shakespeare, Balzac, Maupassant, Hemingway, Ba Jin, Bing Xin, Zhang Tianyi and many fairy tales. , are her initial sources of understanding society and life. Beauty and ugliness, sublimity and despicability, honesty and hypocrisy are clearly divided in her heart; human compassion, sense of justice, light and freedom, and the roots of nature's beauty all extend into her heart. Even novels about heroes in the forest can make her worship heroes and long for her to be able to fight against injustice, kill the rich and help the poor when she grows up. At that time, she did not understand class oppression, but the reality of the disparity between rich and poor made her vaguely dissatisfied with the old society. She still remembers the folk songs she recited at that time:
The oil seller rubbed her head with water,
The shoemaker walked barefoot,
The tile carpenter had no house Live,
The old man selling salt drinks light porridge,
The weaver girl has a bare back,
The wheat farmer eats vegetable bran,
The mat-maker lay bare on the bed,
Beside the dead end carrying the coffin...
The song of injustice made her grow the injustice in her heart. She kept reading the book every day and had a blind date with the characters in the book. She despised those ladies and dandies among her classmates who had no ambitions and only focused on eating, drinking and dressing up.
When Ke Yan was a child, he had a fierce personality, very much like a boy. She has known since she was a child that if she doesn't work hard, doesn't get a scholarship, or fails to get into a publicly funded school, she will drop out of school. Therefore, like her brothers and sisters, she worked tirelessly and even successfully jumped classes many times. During this period, this little girl, who was only about ten years old, had already expressed her literary sentiments - when her father received a letter with a literary flavor from her, he excitedly said to his family: "We are going to have Xie Bingxin in our family!" "
After the age of twelve, Ke Yan studied in Yunnan Overseas Chinese Middle School, Baoshan Normal School, Kunming Yuexiu Middle School, Kunhua Girls' Normal School and other schools. When she was at Kunhua Women's Normal University, she looked forward to Chinese classes every day, because every class taught her a lot of things she longed for. The female teacher recited Wang Bo's "Preface to Prince Teng's Pavilion" while reciting: "The setting clouds and the solitary birds fly together, the autumn water is the same color as the sky. The fishing boats sing late, ringing on the poor Pengchi shore; the formation of wild geese is startled by the cold, and the sound of Hengyang is broken. Zhipu..." This respectable teacher not only deeply influenced Ke Yan in her writing and interest in literature, but also taught her to love her country and love her great motherland ideologically.
On December 1, 1945, the "December 1" tragedy that shocked China and the world occurred in Kunming. Four patriotic young people who demanded democracy and fought against hunger were beaten to death. Wen Yiduo said: "This is China's darkest day. "During this dark and terrifying day, Ke Yan served as the chairman of the Kunhua Women's Teachers' Strike Committee. He went to the Southwest Associated University with his classmates all day long, participated in democracy rallies, and vowed to fight with the college students. To avenge the dead. Most of the students in the female teacher's department are the children of poor families. The school said that their strike was controlled by the Communist Party... But Ke Yan, influenced by his father, believed that being without party or faction was the most noble thing, and he thought she was actively participating in this movement. The sub-democratic movement was entirely motivated by a sense of justice and out of strong dissatisfaction with the Kuomintang rule and the dark reality.
After the victory of the Anti-Japanese War, she stayed in Chongqing with her brother for a year, and then moved to Hubei with the refugees. At that time, all the schools had passed their examination periods, so she had to go to the monastery to learn English first and then to the typing school. I typed, and also studied journalism in journalism workshops; half a year later, I entered Xilida Middle School, which had winter admissions, for my final year of middle school. At that time, Ke Yan's love for writing was already evident. In 1947, he published the essay "My Classmates" in the school magazine, and "Night" and "Loneliness" in "Hubei Daily". In Yangtze Riverside, she studied until 1948, when she was admitted to the drama department of Suzhou Institute of Social Education and formally came into contact with drama art.
In May of the following year, the ancient city of Suzhou ushered in liberation. Nineteen-year-old Ke Yan enthusiastically participated in the revolution and came to the north to engage in script writing in the creative group of the China Youth Art Theater.
Beijing, which has just been peacefully liberated, is devastated. The city needs construction and the people need education. The Ministry of Public Security quickly rounded up thousands of prostitutes and placed them in eight or nine women's labor and labor camps, where they were treated, educated, and reformed. Young Keyan participated in this work. Most of these prostitutes are girls from good families who were ruined by national oppression and class oppression and then resold to brothels. They live an inhuman life, and each of them has a history of blood and tears. With her understanding of Cao Yu's "Sunrise", Tolstoy's "Resurrection", the Qing Dynasty novel "Nine-Tailed Turtle" and the translated novel "Yama", Ke Yan enthusiastically went to the Beijing Women's Labor and Training Center to participate in the investigation Rehabilitation work for prostitutes. Keyan listened to their angry accusations with grief and indignation. They cried, and so did Keyan. Their tragic life scenes tortured Keyan's emotions from time to time and strongly shocked her soul. Although she has experienced war, poverty, hunger and pain since she was a child, she has never understood the injustice of this world from a class perspective. When the abscesses of the old society were displayed in front of her eyes in such a terrible form, her naive and party-free fantasy of being a pure "artist" was completely dissolved in this ocean of blood and tears. inside. Ke Yan said: "Open exploitation and open prostitution are the most shameful and inhumane behaviors in human society for thousands of years. However, the Communist Party is determined to completely eliminate them. What a bright and great cause this is!" Only the Communist Party can save China and save the slaves in hell!" So, she made a request to join the Chinese New Democratic Youth League and the Communist Party of China, saying, "I also want to join this ranks, and Fight for it all your life!" She believes that this is the principle of life and the bright road that should be taken, and it is the true pursuit of justice and truth.
In 1950, the Youth Art Theater organized a "Cultural Train" to perform among the masses for workers and railway soldiers. In 1953, she participated in a condolence mission to North Korea and came into contact with the most lovely people and the heroic North Korean people. Joined the Communist Party of China in 1956. In the first few years after liberation, Ke Zhe took advantage of various opportunities to go deep into life and have extensive contact with the masses. He successively created the one-act play "China Youth Art Theater", which was performed by China Youth Art Theater, Beijing Film Actors Troupe, Shanghai People's Art Theater, Shanghai Children's Art Theater, etc. The people of the DPRK are bound by flesh and blood" and the operas "Strive for Early Reunion" (1950), "Blind Date" (December 1957 issue of "Script"), "Doll Shop" (1957), "Shuang Shuang and Grandma" (1959) etc., and also wrote allegro, drama reviews, film reviews and some essays and poems.