After learning Lao Wang, I bought her anthology. Numerous stories are hidden in a thick book. Among them, Six Chapters of Cadre School impressed me the most.
Six Chapters of Cadre School is divided into six short articles, which are Farewell to the Lower Class, Digging Wells, Idling in the Schoolhouse, Little Tendencies, Adventure and Luck, and False Biography, respectively, describing six events of Mr. Jiang Yang after he went to the countryside. After reading this article, my biggest feeling is that such a work of decentralization is so warm and full of interest in Mr. Jiang Yang's works.
School life itself can't be an interesting thing at all. Decentralization means bidding farewell to hometown and relatives. Think about it, they are all intellectuals, who can't pick and carry. Suddenly let them do farm work, a pampered scholar suddenly took a fancy to a coolie who sold his labor. In that dark age without a glimmer of light, many people were even ready to "never return". However, in Mr. Jiang Yang's eyes, decentralization is just a special life experience. It was painful to leave, but she thought that she and her husband, Mr. Qian Zhongshu, were close to the cadre school and could meet often. As for my daughter, "she is not a fragile girl. I should be able to leave her." At work, no matter the locals or the "alumni" who were sent down together, everyone took care of her and let her do the lightest work and the simplest work. We often see some works saying that life in cadre schools is hard and difficult, but this feeling is rarely seen in Jiang Yang's prose. Is it the difference between cadre schools and cadre schools? I don't think so. I'm afraid it's the difference between people. Pessimists always like to make inexplicable comparisons between difficulties and the best things, and finally draw pessimistic conclusions. Good and bad are always thought about. If you change your attitude when the objective environment cannot be changed, you may have a completely different life.
But when you think about it, Six Chapters of Cadre School is not completely without sadness. The author only uses a cold and humorous way to calmly interpret the absurdity and desolation of the Cultural Revolution from another angle. The author is comforting himself and millions of people in the same situation. She tried to dilute the tragic sadness with comic language, so that those who had experienced that darkness could get some comfort without infecting those who had not experienced the Cultural Revolution. She doesn't want readers to suffer with her.
There should be a true self in the article. In Jiang Yang's article, I read her optimism, her open-mindedness, her natural and unrestrained, her wisdom, her peace and, of course, her helplessness. Writers of the older generation, such as Jiang Yang and others, have experienced the turmoil of the war and the sufferings of the Cultural Revolution, and have long been indifferent to life and death, joys and sorrows, gains and losses, so they can calmly describe all kinds of sad stories in turbulent years, so their joy is really touching and their sadness is really thrilling. It is Jiang Yang's prose that makes me understand that there is a joy and a sadness, and a sadness is calm.
Reflections on Jiang Yang's reading II. Ms. Jiang Yang's prose is unique in today's literary world, winning readers' love with its distinctive style. I also like her works without exception. Recently, I read one of her lyric essays, Yin, and I was deeply touched.
Since ancient times, there have been many articles on flowers, birds, insects and fish, but it is the first time that I like to write "Yin".
The first is the author's careful observation and unique experience. "A dense tree, standing in the sun, looks like a profound person." A few strokes outline the posture of a tree and endow it with human temperament. A deep tree. "The face is shining like a happy face, and it floats when the leaves are blown, really like a brisk smiling face." "But under the leaves, one layer is dark, green is gloomy and quiet, like meditation, with some melancholy and some peace." Seeing this, I can't tell whether a tree looks like a person or a tree. Because we can also think in reverse: people are often like trees, with a "bright face" and a "brisk smile", but their hearts are "a little melancholy" and "a little comfort"? It can be said that I was attracted by the author's wisdom from the beginning.
Then there is the "deepest and densest" "pine and cypress shade"; "Vast and grey" and "Shade of buttonwood and walnut trees"; "thin shadow" and "extremely shallow" yin; Grass "mixed shadows", "if there is nothing, there is a shadow" or even "one tree and one stone" and "taking pictures in the sun". "There is also a shadow between the shadow and the stone and the wood." There are also shadows of walls, houses, mountains and clouds. These shadows are not simply piled up, but presented calmly in the author's brisk pen, without any far-fetched traces. This is a kind of comfort.
From "quiet and smart" tree shadows to "loose and complicated" mountain shadows, the author is a photographer who considers light and shadow all the way. Some are "thinning shadows under the screen", some are "leaking light", some are "how many layers of light and shadow are exposed", and some are "hidden shadows" that change shape with the rotation of the sun.
Finally, "in the twilight of day and night, all the shadows are shrouded in the shadow of the earth and covered with a heavy mystery." As night falls, the shadows of trees, grass, walls, houses, mountains and clouds cannot be distinguished, and the night engulfs all the shadows. "This is an irresistible law of nature. But it seems that what the author wants to express is not only the superficial natural laws, but also the deeper thinking about human nature and the obscure and mysterious forces in the universe.
Recently, my daughter and I finished reading Jiang Yang's prose and gained a lot.
Among many articles, Six Chapters of Cadre School impressed me the most. Nowadays, this kind of theme about the Cultural Revolution is rare. Our generation experienced the Cultural Revolution, but they didn't have the personal experience like Mr. Jiang Yang. "Six Chapters of Cadre School" awakened my memory, and at the same time let me know a lot of things that I have never experienced, which is quite instructive.
Today's children don't know much about the Cultural Revolution, but as a part of history, the Cultural Revolution is destined to be remembered. Mr. Jiang Yang's prose interprets the Cultural Revolution from a special angle, peeling off the shell of the Cultural Revolution or mystery or horror, and letting children understand this history more objectively, which is exactly what children need and what we hope as parents.
A good book is worth a thousand words.
After reading Jiang Yang's prose, it seems that in an autumn afternoon, the afterglow of golden sunshine is sprinkled all over the earth and on the thick fallen leaves. Birds fly in the sky without a trace, but they take away all the noise. Standing at the window, holding a cup of fragrant tea, watching the golden sunshine merge with the earth, the world is so quiet, and the windmill of life is still with the world at this time. This is the picture that came to my mind when I first read Jiang Yang's prose. I describe it in words, but my poor handwriting can't describe the throbbing in my heart at that time, as well as the warmth, tranquility, wisdom and openness.
What is the charm of Jiang Yang's prose? Plain language is the most common story in life, but it is this most common combination that is the most touching. Her brushwork is either her own experience or that of her relatives and friends. In the form of such narrative prose, she draws materials from ordinary things in life and records the ups and downs of life, life and death, honor and disgrace. Implicit and restrained, boring and interesting, it conveys the philosophy and wisdom of life to us.
Jiang Yang, formerly known as Yang Jikang, was born in Wuxi, Jiangsu Province in July,191. She graduated from Soochow University, Suzhou, majoring in political science, and was admitted to Tsinghua University as a graduate student in the Department of Foreign Languages, and then went to France and Britain to study. She was a professor of foreign languages at Shanghai Aurora University and a professor of foreign languages in Tsinghua University. After 1994, he was a researcher of foreign languages and literature research group of Peking University Research Institute, and now he is a researcher of Literature Research Institute of China Academy of Social Sciences. China is a famous translator, essayist, novelist and literary critic. However, it is too blunt for me to introduce a writer I like. I should summarize her in more emotional language. She is a learned scholar, an old man who has experienced many vicissitudes, a wise man in life and a wife who shares joys and sorrows with Qian Zhongshu. The tempering of life has given her not only inspiration and material for writing, but also a dull and detached attitude towards life, and she has sublimated all this.
Speaking of Jiang Yang's prose, first of all, its language is very distinctive, plain and simple, calm and subtle, occasionally interesting, and has the power of being deeply rooted in people's hearts. No liquor, no water. Her language style is also a powerful attack on the previous impetuous and grandiose language style, reflecting the most real things in the simplest way. In Memories of Father and Memories of Aunt, I recorded the daily communication between her father and aunt in plain and simple language, especially in Six Chapters of Cadre School, which described, "But when I saw her lonely back, I felt sad and closed my eyes, the more I could see her packing in our broken and messy home, which was really an eye-opener. I can't see her back outside the window anymore, so tears flow into her nose and stomach. " This is the scene when her daughter sent her away when she was sent to the cadre school. At that time, her daughter's husband committed suicide a month ago, and she and her husband were sent to the cadre school, leaving her daughter alone. As a mother, her inner pain can be imagined, and the pain of separation of relatives flows into our hearts in her pen. There are few lyrical comments in her prose, and the feelings to be expressed are naturally revealed from this faint narrative and description. Occasionally sensational comments are not imposed, and there is a power that penetrates people's hearts. For example, "I look back now and see a broken heart when I understand it" in "Recalling Aunt", which profoundly reveals the tragic experience of my aunt at that time. And lyrical, such as "Remembering Father", "May my parents hide in Lingyan Mountain as soon as possible, and then follow the earth quietly with Yanshu", is a kind of relief and open-mindedness for their parents to leave.
Jiang Yang's prose is mostly narrative prose, and his works are all the products of experience. He tells his own experiences and daily contacts with relatives and friends, and devotes himself to running his own spiritual garden. Jiang Yang's life is full of vicissitudes. In her later years, she wrote the world-famous Six Chapters of Cadre School, which tells the story of her experience of being sent to Cadre School during the Cultural Revolution. In such a bad political environment, depression and pain are inevitable. But in her narrative, it is more of a forbearance, and she is not used to expressing pain. This is a transparent and open-minded attitude towards life. In the article "Sinking Well", it is obvious that she is a very bitter and tired manual well-digging. An intellectual committed suicide, but no coffin was hastily buried. She witnessed the incident with her own eyes and was shocked. She repeatedly reminded Qian Zhongshu, who had visited her before the grave, not to step on the grave, because there was no coffin and the body was under the soil. She was worried that the grave would crack after it snowed. She always has her own unchanging standards of good, evil, beauty and ugliness. In essence, from her works, we can see that she always cares about people, has a compassionate heart, has a deep understanding of life and society, chews human suffering, and makes her have a complete understanding of the fate of their generation of intellectuals, so she is always a humanist. Jiang Yang experienced a lot in his life and really thought about the value of life. She cherishes everything in her life, the understanding and friendliness of her colleagues in the process of decentralization, the happiness brought to her by a puppy named Xiao Ju, and the relatives and friends who have accompanied her through her life. She accumulated these experiences and then narrated them in words, which was full of her feelings about life and the most sincere and basic grasp of social history.
Therefore, reading Jiang Yang's prose brings me not only the artistic charm, but also the wisdom, understanding, tolerance, gentleness and gentleness of life. Reading her prose, feeling her perception and experience of life and learning her wisdom in life are my greatest gains.
The novel about the thought of Jiang Yang's Reading 5 describes the ideological change experienced by intellectuals for the first time after liberation-it was generally called "three evils" at that time, also called "taking off pants and cutting tail". These intellectuals had delicate ears and didn't like the saying "taking off pants", so they renamed it "bathing", which was equivalent to what westerners called "brain". -"Bathing"
Just finished reading Jiang Yang's Bath, I am full of expectation for Mrs. Qian's works out of my love and admiration for Mr. Qian Zhongshu's works. Fortunately, Mr. Jiang Yang didn't disappoint those who were eager to turn over the books, but gave the readers a small surprise. What I don't understand is why such an interesting novel hasn't been made into a film and television work. Perhaps the theme of "three evils against five evils" is still a "sensitive topic" under the current film and television censorship system?
Many readers think that Jiang Yang wrote that heavy history too lightly. It is said that Bathing was shortlisted for Mao Dun Literature Award twice, but this work failed because the judges and the author had different views on history or politics. But after reading it, I feel that although the story background of the novel ("the movement against the three evils") is a typical symbol of political events, Mr.
The topic of intellectuals is always full of contradictions and antics. Intellectuals are human beings. As long as they have shortcomings, they will all have them. But because of their knowledge, human shortcomings are more colorful. Some of the intellectuals described by the author are kind and lovely, some are pedantic and ridiculous, some are disgusting, some are sinister and terrible, and their faces are lifelike.
Most people who have read the novel will not agree with the author's statement in the preface that there is no hero in this novel. What haunts readers is not necessarily how the poor intellectuals "bathed", but the sad love story between Xu Yancheng and Yao Mi. The whole story unfolded slowly in the author's calm narrative. In the author's pen, Yao Mi was endowed with too many beautiful feelings. She is young, beautiful, intelligent and professional. She is quiet and uncompromising in the face of fate, like a quiet lotus blooming alone. Xu Yancheng, an ordinary intellectual who returned from studying abroad, condensed many * * * characteristics of intellectuals of that era. He is really talented but also very sour, but he has to bow to the secular with lofty heart, and he always looks back when he longs for the freedom of mind. He and Yao Mi's untimely love, though struggling in their own hearts, finally calmed down and nothing happened. Although love is the mutual induction and experience of two people's worlds, the aftermath of love will inevitably spread to people around. With the prudence of Xu Yancheng and the delicacy of Yao Mi, it is not perfect. It is conceivable that in the context of the concerted efforts of the people of the whole country to build a new society, in the Beijing painting "Picking Flowers and Gathering Filipinos", Xu Yao and his wife met to visit the Western Hills, talked about their experiences in the library, and left notes for each other in the book. Yao Mi boldly declared "I would like to be your Fangfang" (Fangfang was a supporting role in the book and was discovered by her husband during a tryst with her lover). The sad scene of their final farewell was vividly described by the author.
Of all the characters in the whole story, I like Xu Yancheng the least. The triangular relationship between him and Du Fu can arouse Du Fu's sympathy, so he also suffers greatly. Yes, Du, like her nickname standard beauty, has a certain scale in everything she says and does. No wonder Xu thinks she is bored. But Xu Du and his wife have no love and lived for many years. How can he forget the old and forget the new, insist on divorce and pursue his true love if he wants to divorce? Besides, Xu was not forced to get married that day, and Du Xu didn't object to his proposal. Were all the China literati at that time fond of imitating Xu Zhimo's persistent view of love and determined to find the other half of their soul in the vast sea of people? Xu promised to be loyal to Du after marriage, so when he fell in love with Yao and was responsible for his loyalty promise, he would think of divorce to solve his embarrassment. What kind of logical thinking is this? At least I don't understand. Although Yao Mi was calm and prevented the further expansion of the mistake, the betrayal of the soul has already occurred, and it is so natural. A visit to Xiangshan is a sacrifice if you leave. Xu Yancheng and Yao Mi, a pair of poor people who love each other, feel hypocritical. What they gave Du Lilin was like a nobleman sitting in a carriage begging alms from a beggar in the street. Look at this passage:
Xu Yancheng and this time has restored calm. They have something urgent to say, and they have no time to indulge in obsession, but they feel that they have known each other for a thousand years, and they have known each other for several lifetimes. There is only a small desk and a small stool in the small study. At this time, Xu Yancheng was sitting on a small table, and Yao Mi was sitting on a small round stool opposite, talking intimately. Her face rested on his knee and his hand rested on her arm. Yancheng looked up and saw Li Lin; Yao Mi looked back and they stood up at the same time.
Yao Mi spoke first. She smiled and said, "Mr. Du, please come in." She smiled sweetly and charmingly. Li Lin thinks this is the winner's smile.
Yancheng said, "We have something to tell you."
Li Lin went into the study and said, "Let's talk."
Yao Mi said, "Mr. Du, please sit down first and have a good attitude." She asked Li Lin to sit on a small round stool, while Yan Cheng was still sitting on the table. Yao Mi pulled a small ladder with two steps and sat on the bottom floor. She solemnly said:
"Mr. Du, I only have one sentence, please believe me. I will never come among you and destroy your family. "
Yancheng said, "I will never do anything that I am sorry for you, her or Aunt Yao. I also ask you to believe me. "
After reading this passage, Yao Mi's first good impression was suddenly knocked over and he felt cheated. Yao Mi's perfection, appearance, knowledge, chastity, quietness, purity and purity all give people the illusion of her gray uniform. At the end of the novel, Yao Mi said that she would not marry anyone and live with her mother. Hearing this, Xu Yancheng was comforted. Love is possession, this selfish possession. Maybe Yao Mi and Yan Xu are waiting for one day in Chengdu, where they can meet again and cherish the memories of the past. Therefore, their relatives and pain can't arouse my ripples.
Reading Bath will naturally compare this book with Fortress Besieged, not because the two authors are husband and wife, but because there are too many similarities between the two works, which can be read as a companion. Many characters in the book can also refer to each other: Xu Yancheng has the shadow of Fang Hung-chien, which looks like it, but it is far less frank, transparent and likable than Tang. Du Lina is more cultured than Sun Roujia, hypocrite Yu Nan (homophonic "fish gizzard"? ) Compared with Li You. However, Fortress Besieged is obviously longer than Bathing in grasping the weight of the theme and controlling the overall structure. The length of Fortress Besieged is not grand, but the heavy feeling of life perception and irony is more sophisticated. The number of words in Bathing is enough for a long article, but it is always like a novella in terms of content depth and length structure, and its weight is a little shallow. Comparatively speaking, the story of Xu Yao Love occupies most of the space, but the content of Bath is not open enough, and the ending is a little hasty, which makes me feel a little top-heavy. In short, I feel that there are still many articles to be done. Nevertheless, Bathing is still an excellent work, which allows us to understand the thoughts and thoughts of intellectuals in the background of that great era and leaves us with many things to ponder and chew further.
After reading Jiang Yang's prose, I became interested in this woman writer who suffered greatly during the Cultural Revolution. Her words give me a clean feeling, but her concise and clear words are full of beauty and gorgeous, which makes people read fluently. But some articles are still incomprehensible to my level, but it is undeniable that many articles have touched me deeply and produced a * * * sound.
The first is the article "Reading Bitterness and Happiness", which is not long. As for reading, it says, "I think reading is like a series of doors-an' invisible' door. If you want to meet an admired teacher or a famous scholar, you don't have to say hello in advance, and you are not afraid to disturb the host. Open the book, break into the house, turn a few pages and enter the room; Or you can always go, always go, and leave without saying goodbye if you can't get to the point, or you can find another smart person and confront him. Don't ask the host we want to visit whether he lives at home or abroad, whether he belongs to modern ancient times, what his major is, whether he is talking seriously or laughing, and you can get close enough. " This passage is really vivid. After reading it, I just feel that reading is nothing more than this. I ask different wise predecessors anonymously. At the end of the article, Jiang Yang wrote: "It's a pity that what we" hide "but still" body "when we" visit "is just an ordinary bone. We don't have the insight of Tathagata, and we can take in everything in a glance the wisdom accumulated in the world for thousands of years, so we have to always remember Zhuangzi's famous saying, "Life is limited, and what we know is limited. ".We are just short-lived insects (not just insects turned by Sun's hair). We climb into the world of books, climb here and stop there. Sometimes we meet the right person, hear nice words, or occasionally get something from the problems hanging on our minds, just like opening our hearts and enjoying forgetting words. Isn't this' music' and' pursuit of enjoyment' the same thing? "This sentence is very classic. For Jiang Yang, reading is her pleasure. I feel that she is a person who can enjoy reading. In contrast, reading in my eyes is sometimes a kind of enjoyment, and sometimes it is forced. At that time, reading became a kind of pain, and so did going to school. For the current education system, it will hurt many beautiful teenagers, which is the same as the nature of the imperial examination system. It's just that what I've learned now is more useful than stereotyped writing. Learning to go to school is not a bad thing, but doing it under pressure often makes people's mentality worse. There are more people who study and go to school, but fewer people like to study and go to school. Everyone knows that this is wrong, but the reform is difficult, but I believe that as long as you work hard, the reform will be successful.
There is another article that touched me deeply, that is "Free Love by Shunjie". This article is very long. Shunjie is a person who has suffered a lot, but she has a good attitude and is honest and kind. In the article, she wrote down Shunjie's life in narrative, but it was layered, keeping suspense, making people think deeply and finally revealing. It makes people feel very comfortable and has the feeling of coming from the fog. Jiang Yang is very kind to Shunjie. Their feelings are more like sisters than servants. Therefore, I admire Jiang Yang's generosity. What bothers me most is the big lady. Shunjie is the landlord's little wife, and the big lady is the landlord's wife's daughter. She kept bullying Shunjie, but in the end she didn't get what she deserved. She also carried out the policy and flew abroad, which seems to be out of line with the characteristics of China's story. But I think it was written by the author on purpose. In fact, I want to make it clear that there are still many wrong justice propositions. This is just my personal opinion. But in any case, Shunjie was changed from an ignorant and simple little girl to a landlord's little wife, a bad karma. She didn't give up her life and called it free love. The eldest lady bullied her, but she didn't resist, just tried to avoid it. This perseverance is admirable.
I still can't understand many of Jiang Yang's articles, but I know the author to some extent. I believe that maybe after I have experienced more things, I can enter the heart of a strange girl from the words.