The similarities and differences between stories and novels are not profound knowledge. Now there are a lot of complaints. Said that the novel should go home and return to the story. It seems that the novel creation is chaotic to the point of no fixed abode. What is puzzling is whether the cry calling for the story is driven out of my mind or thoroughly remoulded. The novelist Wang Anyi once published a collection of theories, which discussed the relevance between novels and stories in detail. This book is called Stories and Storytelling and was published 199 1 years ago. Most of the articles in the book were written in 1988 and 18 years ago. /kloc-The problem of 0/8 years ago has gone through several times, but now it is inexplicably back to the starting point. Looking back when you are sad is really unbearable. Novelists and theorists have always given many annotations to novels, and what I value most is ambiguity. Slightly different views have multiple meanings, such as polyphony, argot, irony tension, intertextuality and so on. Hemingway also has a well-known iceberg metaphor, which is simply "there is something in the words." Yang is a narrator who has been groping for a long time in the lower officialdom with the eyes of a novelist. The story he told is readable, but it's not my concern. What I care about is the novel in the story. Because I believe in alejo carpentier's famous saying, which was repeatedly stated in an interview with Vargas Lue Sa: "The novel becomes a novel because it transcends the story."

Polysemy comes from the conversion mechanism, and there is no polysemy without conversion. Inadvertently tearing off the official veil that people have long been accustomed to, beating the tense nerves with nonsense and street laughter, and mending the structural defects with "amorphous" fragments of life, while the ugly writing is concealed by very capable simplicity, with ulterior motives behind it, but the ugly plot is greatly conducive to readability, all of which constitute the transformation of Yang's works. Someone once concluded that "a very satisfactory state of novel creation is that the imagination sinks into the work, and the author quiet inside is calm." Calm is the most distinctive transformation of space-time argot in Yang's novels.

The Waves is superficial. According to the title of Yang's novel, it is called "full of doubts". In "Blue Chip", Ya He Jiang, relying on his ability to dare to think and bear hardships and stand hard work, deftly lost no time to have a conflict with Monkey Village, risked his life to intervene in the large-scale battle between the two villages in time, and resolutely dealt with the explosion accident of the South Bridge. At the same time, with his blue-chip philosophy of life, he was promoted from the deputy director of the county civilization office to the county magistrate. Finally, it disappeared from people's sight because it caused a major traffic accident with two people and three lives. With the injury of colleagues revealed by the narrator from time to time, it is difficult to hide a indifference. Ten years of official career has been written off, and the theory of buying shares has also flown away with "self-mockery". Intermittent introduction, fragmented information and narration, and constantly inserted analysis, speculation and judgment make the story like a "reasoning" puzzle. While the mystery is constantly taking off his coat, Ya He Jiang, a figure in front of him, is constantly casting a shadow, and the events are gradually becoming clear and the images are increasingly complex and diverse.

If many puzzles are its waves, then its surprises are often reflected in the interpretation of puzzles. Habitual inertia holds that the end of the story is the end, and the fate of the characters can only be shaken off, saved and surpassed at the end, and profound and unfathomable themes can be revealed and exposed. The whole effort of this ending depends on a surprise. On the contrary, Yang's narrative follows the usual route of many stories, but "not surprised" is the ink at the end. Just like the end of "I wish you happiness and peace", it is no longer how Kang Zhenkun ended the corruption and bribery case. Until the silent ulcer was finally exposed, Xu Lina, as his wife, didn't know that she was persistent and difficult to get rid of the psychological mirror image and began to show off; Just like the reporter in Nicotine, he saved a forest on the southern seashore with less than a thousand words, which made a large-scale reclamation project rock-breaking, and also destroyed the county magistrate in charge of the shallow Shawan project. The novel does not let the two sides choose right and wrong, victory and failure as the ending, but let the two sides cross each other from their own understanding, behavior, methods and effects, so that Zhong Lulin could not help crying when he finally learned that four people, including the county magistrate, died in shallow Shawan under the frontal attack of a strong typhoon. It is this narrative strategy that does not like ending and takes surprise as surprise, which gives us more room for imagination and understanding. "Like a lit cigarette, it burns the branches and leaves of plants. The smoke is full of tar and nicotine. Tar is toxic and nicotine is addictive and dependent. " Updike praised that "the blending shock at the end of the novel should be like the last tremor when two symmetrical wings shake out in the darkness". In Yang's works, we can know a thing or two.