Current location - Quotes Website - Signature design - In the eyes of Li Er Weekly,
In the eyes of Li Er Weekly,
People Weekly: The flowers and Xiaohong in Cherry on Pomegranate Tree are cute and funny. Do you think these people can be judged by good and evil?

Li Er: I care more about the role than the morality of the role. This may be an occupational disease of novelists. I have standards of good and evil in my heart, but I won't ask readers to agree with my standards. A friend joked that the farmers you wrote were not like farmers, at least they came from technical secondary schools. Ha, look down on farmers. The survival wisdom of farmers is extremely great. A self-righteous intellectual deals with farmers, and farmers can sell it to you. Isn't it often reported? Which female college student was sold by a farmer, only after the wedding night did she know that it was not "you at the same table".

People Weekly: What do you think of the writer's moral sense?

Li Er: From a professional point of view, accuracy is a writer's only virtue.

People Weekly: Did you make up those "reversals" in the book or did you hear them?

Li Er: "Inverted characters, inverted characters, cherries on pomegranate trees; East-west road, north-south road, when you go out, you will meet a biting dog. "It is widely circulated among the people. The first two sentences are very interesting contradictory rhetoric. But I made up most of the inverted sentences in the novel. One day I wrote hundreds of lines, which made my mouth thirsty and my tonsils inflamed. But in the end, only a small part was used in the novel.

People Weekly: There are a lot of local literature in China. Do you think you are writing about the real native China?

Li Er: I can't say that what I wrote is the real China native land, but I can only say that what I wrote is my native land experience. What is experience? Experience is a vivid impression. Anyone who still writes Shen Congwen's local novels is either a fool or a fool. What we should learn is Shen Congwen's method of dealing with experience, rather than copying his writing. On the other hand, I don't like to complain about my suffering through writing. Some writers cry until they can't stop, and then sign books everywhere, and their elbows are worn out, which affects his golf. His pain is actually the pain of not playing golf well. Of course, the pain is very real and vivid, but if I have to write about farmers to express my pain, I will put the book down. I know many people like this kind of writing. Do they usually play golf?

People Weekly: After the German version of Cherry on the Pomegranate Tree was published, the local bookstore held a reading party for you. You haven't enjoyed this kind of treatment in China, have you?

Li Er: On Ba Jin's centenary birthday, a book club was held in bumper harvest, and some authors were invited to recite their works. I think this form is very good, just like buying a basket of flowers and cakes. At that time, I recited The Silent Voice, a novel about adultery, and others didn't feel anything wrong. Just kidding, the author's recitation may also have an impact on broadcasting aesthetics. It must be more interesting for Jia Pingwa to recite "Shaanxi Opera" than Luo Jing. I recited it several times in Germany. There is an actress who plays the leading role in fassbinder's film. She recited German and I recited Chinese. She doesn't know Chinese, but she says listening to me recite helps her understand the work.

People Weekly: The German version has caused great repercussions in Germany. What about the French version?

Li Er: The translation and publication of the French version is very interesting. A translator was almost finished and finally gave up. He studied Chinese in Fudan during the Cultural Revolution, but he couldn't stand the discussion and description of the Cultural Revolution in the novel. The publishable contract has been signed and will expire soon. What should I do? There had to ask my advice, saying that if I wanted to go to court, there was nothing they could do; If I don't go to court, they will pay a little more liquidated damages. It's better this way. I don't have time for any lawsuits. Most importantly, I suddenly paid tribute to that translator. He can give up economic interests for his own cultural position. Don't such people deserve my respect? I told the French publishing house that I really wanted to meet this translator, invite him to dinner and communicate with him. I told them I wasn't kidding, and they didn't believe me.

Some people always feel that they are not living.

People Weekly: What is the relationship between the characters in the novel and you?

Li Er: The characters in my works are not very bad, so I am not very bad; They are not very divided, so I am not very divided. All writers who write ugliness have ugly parts in their minds. People write darkness on the basis of their own inner darkness, and can't write that step until the darkness reaches that step.

People Weekly: How do you experience life?

Li Er: Someone called me this afternoon, saying that a publishing company cooperated with a TV station, invited a group of writers to live with ordinary people, and then wrote a biography of this ordinary person, and the TV station made it into a TV series. He asked me if I was interested, but I saidno. I live an ordinary life with myself and my friends every day. Some people always feel that their life is not life, so they should "experience life".

People Weekly: How do you usually write?

Li Er: I write for seven or eight hours a day, and I'm grateful to be able to leave a thousand words at last. Each has his own habits. As the saying goes, "cats drill cat holes, dogs run the dog road." Some people, such as Yan Lianke, write only two hours a day, but write thousands of words at a time. I can't, dawdle all day, in a word, whether to put it here or there, and so on. Treat novels a bit like women. It's also a mass of fat, with plump breasts and fat waist. In order to express various values, I want to know them deeply and know what every sentence I write means. This becomes very difficult. I think Camus' novels are like this. After experiencing introspection, every sentence expresses a life that has been examined, unlike life itself. I may not have reached such a height, but my writing habit has become like this.

This is not the worst. The worst thing is that your mind keeps changing. I often feel that this era is not suitable for writing long stories, because your experience is always impacted and washed away by new reality. Cao Xueqin's time was suitable for writing novels. Jia Baoyu knew in advance who he was and what he was thinking, so he just wrote step by step. Although that era is also changing, the values are as stable as the stone lion in front of Jiafu. If Jia Baoyu answers the phone and Lin Daiyu says that she is having a massage somewhere and can't go back to Jia's house today, he immediately thinks that the girl can't be had. The most frequently used word in modern novels is probably "suddenly". And suddenly? And suddenly? And suddenly? Take a nap, and your mind may change.

People Weekly: What is sincere writing? Are you loyal to your heart?

Li Er: When writing, you are infinitely loyal to your heart. Unfortunately, the inner life of this era is more of a bad reaction and a traumatic experience. Writing is the expression and reflection of this kind of bad reaction. Everyone says that inner peace is happiness. However, inner peace is actually a crime, showing your cynicism, your abandonment and your recognition of order. Therefore, in writing, you should not only express yourself, but also make necessary introspection on your own expression. Writing is similar to watching some kind of extracorporeal surgery. You are being yourself and being yourself. Of course, you are most worried about doing bad things.

People Weekly: Coloratura reflects your pursuit of structure and language, and you quote a lot in the novel.

Li Er: coloratura is close to my novel ideal. One day, we will find that what we have left in this world is some confusing, confusing and contradictory words, and all kinds of quotations that seem far away from you constitute your life. A person usually lives in other people's memories unless you write an autobiography. But this may lead to death; A person who has no time to write an autobiography or is only willing to write poems can only leave his life to others to write. For example, the protagonist of coloratura is unwilling to write prose, but only willing to write poetry.

People Weekly: Which writers do you respect?

Li Er: Two, one is Camus and the other is Javier. I have seen all Javier's works translated into Chinese. He is not a first-class writer but a first-class scholar. His nature has not changed since he became president. He greeted the distinguished guests on a skateboard and wrote absurd plays when he was free.

People Weekly: What does writing bring you? A little fame, a little money? What is your purpose or motivation to start writing?

Li Er: Not a little name or a little money, but a little roll call and a little money. After writing for so many years, my goal has become very simple, that is, to write my own novel.

Contemporary writers are shrouded in a sense of failure.

People Weekly: What do you think of Carver and Updike, two American writers who are recognized in China?

Li Er: I was invited to write Carver. He is a good writer. I should have seen the Buddha brand around 1989. Later, I wrote an article called Carver's Roses and Champagne. Carver used to stand in front of his bed and stare at the roses. His last novel was about his mentor Chekhov drinking champagne before he died, and the bottle cap of champagne popped out by himself. These two details mean very close. Carver pays tribute to his predecessors, bid farewell to this life and meet him in the afterlife. Writing is like this, handed down from generation to generation. A writer, often at the end of life, can finally understand what is death, what is life and what is happiness. Confusion and difficulties disappeared quietly at that moment, and then reappeared, demanding answers from later writers.

You said that the reading world and the media finally recognized Carver. I can't believe it. They recognized Carver this month. Who will it be next month?

People Weekly: What do you think of German sinologist Gu Bin's criticism of China writers? Li Er: Gu Bin has a nickname "Jesus in pain" in Germany, which shows that he is also suffering when talking about German literature. After Gu Bin's "garbage theory" came out, he was miserable in China literary world. He said that he had never said these things, only that a writer's works were rubbish. Qiu Huadong had a dialogue with him, but there was no place to publish it, because many media in China were not interested in his other words. At the beginning, the media only used Gu Bin's words to call names. If people don't swear, our media will be anxious to death. Note that he was invited to scold the writer, not any other writer. If he scolds any other writer, our media is either not interested or afraid to publish it. Isn't this interesting? One media first creates what it needs, and then other media compete to discuss the works carefully created by their peers, but it is difficult for others to know the real thoughts of the protagonist and they are not interested in it. If Jesus is really resurrected, will this be his real situation in the media age?

People Weekly: Sometimes westerners read China's novels just like reading some kind of social literature.

Li Er: When I was interviewing in Germany, I was often asked by reporters about Wei Hui and Mianmian. I told them frankly that if they are writers, I am not a writer; If I am a writer and they are not writers, there is such a big difference between us.

Mianmian actually writes very well and writes automatically. But that's the problem. When a writer demands himself, he must have a judgment on the history of literature and know where his writing is different from others, otherwise he can't write. Wei Hui is extreme, but it's just a fictional extreme. That kind of life is not her life, not the life of China people, but what she read from henry miller's works. This becomes a basic problem: absolutely false writing, the most true writing, may lead to unsustainable writing. The two of them only represent two States.

People Weekly: Don't we have a healthy system to make outstanding writers stand out? It seems that many writers lack real spiritual strength.

Li Er: I often have a feeling that there may be some great writers we don't know about. They write it, then put it in the drawer, lock it up and add the password. One possibility is that they don't want to publish, join the choir and be included in the order. Another possibility is that they published their works, but we ignored them, because the experience they expressed was different from ours, but the deviation was not exaggerated to the point of dazzling, so we couldn't see it. Compared with them, I have been very lucky. Literature history and literature system are both interesting things, which will filter out very rich contents. The mesh of the sieve is very large, and all articles and so-called successful people have been screened out. What is success? In mediocre times, success is a very suspicious concept, which is often a mixture of commercial packaging and self-boasting. Its only necessary condition is sales, but after five years, two or three years, or even two or three months, will anyone remember your book? All this is in vain.

Spiritual power? Is failure a strength? When we talk about spiritual strength, we often refer to the cynicism of successful people, who beat mosquitoes with anti-aircraft guns and tigers with broken brooms. The real strength is the grass tip under the snow cover and the red beak of the bird. It looks weak, but we often don't know how to cherish it.

People Weekly: In this case, as a contemporary writer, how do you handle yourself?

Li Er: Every contemporary writer is shrouded in a sense of failure. The earliest literary education we received made us want to express some thoughts, experiences and ideas and make them some kind of ideological resources. But this possibility has disappeared. Many works are on tiptoe to cater to, rather than stand firm to express. This is an era that does not pay attention to inner life, and values fall apart. But perhaps through the accumulation of wealth, people will re-recognize the beauty and significance of literature and art. It is said that many corrupt officials are willing to let their children learn literature, right? I am still optimistic.

People Weekly: What do you think happiness is?

Li Er: Happiness has become a concept of time, a sense of smell, instantaneous, subtle and concrete. It must be nice to smell the baby, but you can't hold him all the time. He also wants to find happiness. You are not his happiness, his happiness is breastfeeding. Writing a satisfactory novel is of course happiness, similar to breast-feeding a baby.