Zhu Jinghua
Jing Zhu: I have been thinking about a question: What kind of relationship should our writers keep with reality? From conscious rejection to unconscious recognition, to becoming an accomplice in the real world, and finally sinking into the real world and becoming a part of the real world. This is a typical "listless state of mind". Because we have given literature the overriding mission, facing the severe real world, literature will inevitably show some powerlessness, powerlessness and helplessness. This phenomenon began to exist in Wen Yiduo's Dead Water, and later it was rambled in many writers' works. Because of their sense of powerlessness and helplessness, they finally agree and fall into a realistic dilemma, so as to resolve their opposition and conflict with the real world and their sense of failure. The real world is ridiculously powerful, and human survival is almost primitive to animals, and it is the same desperate "stagnant water" they describe. The difference is that literary latecomers lost Wen Yiduo's sincerity, love and independence. I think literature should go beyond a single realistic concern, express more humanistic concern for the suffering and dark world, explore the mysteries of natural environment and life, discover and celebrate the beauty of human nature, life, thought and existence in hardships, and seek the fire and light of thought in the absurdity of life, the absurdity of history and the darkness of human nature! Your Game-writing Tale 1940- Suixi Anti-Japanese War (published by Ningxia People's Publishing House in 2008, hereinafter referred to as "Game-writing Tale") and your companion wyndell dichinson 194 1- Suixi Anti-Japanese War (Ningxia People's Publishing House 20/KLOC) These two novels, first of all, reflect the heavy historical consciousness and the spirit of the Anti-Japanese War, which may be the main feature that distinguishes them from other novels. In the historical narration of these two novels, the time marks, historical images and historical figures of the past tense are not only the basis of narrative development, but also the ontological significance, because the works discuss the conflict between human nature, destiny and history. In this way, the historicity presented in "A Story-writing Tale" and "wyndell dichinson" has become an important situational symbol in the works, bearing rich meaning orientation and value orientation. The works depict the historical situation by literary means and reveal the mystery of human nature by revelation, which not only activates the painful memory of the nation, but also makes people feel the unique artistic charm of war literature. Therefore, I think that literary dialogue, as the freest, liveliest and most vivid style, can effectively and directly express and highlight the spiritual quality, spiritual dimension and ideological accumulation of the interlocutor. We try to expand the dialogue a little and extend it to the universal significance and value orientation of literature as far as possible.
Ma Shuhua: You talked about the literary value orientation of some writers. I think the main factor is the writer's lack of an appropriate narrative position, emotional attitude and value orientation, as well as the depth and height of thinking about people and things, history and reality in his works. This situation is due to the long-standing concept of the role of a writer's spokesperson and the result of realistic slavery. I have always lacked my own independent thoughts, values, world outlook, aesthetics and beliefs. Our thoughts are either the official ideology or the practical and instinctive survival values of the bottom civil society. In the stories of realistic concern conceived by the writer, there is almost no shadow of the writer's own thinking A writer will always be a bystander of reality, and will always downplay or ridicule the sufferings of others and other times, which have nothing to do with himself. In suffering, they are not empathetic, but absent narrative. In "The Story of the Stone" and "wyndell dichinson", I tried my best to integrate my thoughts into the historical narrative state of the dilemma of "war", and suffered with the characters in the novels with a feeling of compassion. Therefore, regarding the narrative of life suffering, I will never give up my independent position and idea as a human conscience, stand on the people's side and speak with their values and attitudes towards life. The position here is not only a criticism of the real world, but more importantly, it is to promote and lead people's spirit and save and soothe the fallen human nature.
My creation * * * mainly comes from the shock of Suixi's anti-Japanese war history to my mind. Kubuqi Desert, located in the central and western Inner Mongolia, has been eroded by wind and rain for two-thirds of a century, leaving the bones of an anti-Japanese martyr outside the tomb of Ngebei terraced fields. Seeing the "tower of death" with many bones greatly shocked my soul. Later, I concluded that this is a feeling of "sympathy", and I think this comparison is not hypocritical. In the Tang Dynasty, I suddenly remembered Chen Tao's poem "Poor bones along the river, still living in a dream". The images and thoughts of Jin Ge's iron horse and Spring Girl's dream began to wander in generate, and the blood was accelerating. I think as a literary creation, this theme must not be missed. The Suixi War of Resistance, which would rather die than surrender, endowed human beings with eternal themes of life and death, love and hate. In the later days, some vague characters began to emerge in my mind; In my dreams, I often wander around the battlefield where the smoke has not retreated in those years, as if I heard the sound of gunfire and shouting ... In the later field investigation, I heard that many years later, when people happened to pass by the Ngebei platform, they saw the teeth on the human skull neat and firm, indicating that the dead soldiers were all young people ... History was dusty and forgotten, and the remains of martyrs made people feel extremely sad. 80-year-old Xu Shuanghu is the person who buried the body. He said, "... 480 people were buried here alone, and more than 500 people were buried there. "These prompted me to start searching for documents, sorting out historical materials and preparing for my own creation. It was not until vivid characters stood up in my heart and even had a wonderful "spiritual connection" with me that I decided to erect a monument to the heroes of the Anti-Japanese War by literary means.
In addition, on 20 10, two years after the publication of "The Story of Writing Games", a young reporter and I visited the "Western Army Tomb" in Dianhao Village, Dalat Banner, Inner Mongolia, and we were lucky enough to interview the old man Shi Weishi. He was one of the witnesses who helped bury more than 500 Ningxia anti-Japanese war martyrs in a cold winter in 194 1. A road that is neither wide nor narrow passes through the cemetery, trucks come and go, and the old man with crutches stands beside the forgotten cemetery, unable to tell what it feels like. Earlier, two local female teachers also recorded the scene of soldiers wearing shorts in the cold winter of Suixi. There is an old man named Yang Sancheng who is not related to the deceased. He insisted that every year Tomb-Sweeping Day should carry a bag of "paper money" to Suixi Yinglie Cemetery to pay homage to the dead. Now 30% of the old Yang Man has passed away ... These real historical details have caused a fierce shock in my mind. It turns out that in people's hearts, there is still a heroic liberation! Although the soldiers who died in battle were humble and the people who burned paper were ordinary, the people of China were not humble and their hearts were not lost. This is my original intention and preparation for writing wyndell dichinson.
Jing Zhu: It is often said that the best way to describe historical life is not history, not historiography, but literature. Literature is the history of imagination, not necessarily all facts, but its delicacy and vividness, and the truth of imagination it creates, are not comparable to ordinary historical works. From these two Suixi Anti-Japanese War novels, we can also feel the historical context and details at that time, thus making this historical life richer and more real. There are also comments that literature is more reliable than history. At least Marx said that France he learned from Balzac's novels is much richer than France described by historians. When analyzing lev tolstoy's War and Peace, Mo Luoya also said that no historical document would describe an emperor like Tolstoy: the emperor's hands were small and fat. Words like "Xiao Pang" will definitely not appear in historical documents, but in novels. In this way, the novel supplements the texture and context that historical works lack, thus effectively preserving the substantive part of history. Looking through Bi Xue and wyndell dichinson, we can see that not only the landscape of the times is colorful, but also the folk culture elements such as folk customs, Ningxia Huaer, northern Shaanxi folk songs, Northwest Shaanxi opera, Jin-Sui duet and Mongolian Manchu-Han tune run through them, showing the life, life and customs in the war dilemma and writing in an aesthetic way. The creation of aesthetic images in the text is the best embodiment of this aesthetic imagination, not only because aesthetic images are born in the infiltration and agreement of emotion and imagination, but also because of the aesthetic charm of these two novels.
Ma Shuhua: It is natural for a bloody writer to talk about history, especially the history of the Anti-Japanese War, with literature. As far as modern literature is concerned, we can see the hesitation, pain, depression and awakening in the transformation of modern China, as well as the national historical memory of suffering and shouting from novels such as Midnight, Home, Spring, Autumn, The True Story of Ah Q and Four Generations, and dramas such as Thunderstorm and Sunrise. People often lament that the past is like smoke, because history is easily diluted by time and forgotten by years. I wrote Suixi Anti-Japanese War in the past, just to record this history with pen and ink and to die on the land behind the Yellow River. Soldiers in Ningxia are hungry and cold, the Japanese aggressors are rolling with swords and shadows, the Japanese aggressors despise China's "wool shoes", the Japanese semi-factory cooking carries ice cubes and dry food to our army, and planes, tanks and cannons add poison gas bombs to suppress the history of "Hanyang made" ... Here we must explain: Japanese soldiers' leather shoes. "Maoxie" refers to the socks made of raw wool by China soldiers themselves and put on straw sandals to keep out the cold. If you want to show these histories, someone must describe them. Although novels are not memoirs, these histories must be written. In order to make the atmosphere of the novel not too cruel, I try to give the background color of the work a "warm" tone, and reproduce the true colors of the world with warm "sour songs" and high-pitched Qin operas. In the war with the one you love, love is entanglement and venting. For example, when the suona king touched the yellow sand, he used the suona to blow the last long sound into the air. However, I let readers feel that the fields are silent in an instant. Because at this time, the vast Ngobeh desert died. When the machine gun shooter He Gui fired the last bullet, he lay down and shouted, "Little Zhenzi, I can't go back ..." The next moment, I had the illusion that he met her again. When I wrote this, tears welled up in my eyes ... I asked Xiaozhen to inquire about the second lane of the provincial capital of Ningxia. Seeing the blind old lady sitting alone on the kang, she burned a little hot water to wash her hair and silently helped her comb her messy white hair. Of course they don't know that the missing relatives have shed their last drop of blood.
Jing Zhu: Novels are about creating characters. No matter what kind of characters, they can be the object of the novel. In Lawrence's words, even cabbage in the rain should be "live cabbage". Therefore, as a special character pattern in novels, characters have attracted the attention of all writers. Game Book and wyndell dichinson are full of poetic expressions by showing the living conditions of characters in a specific historical time and space, the tolerance of writers' mainstream historical consciousness and the infiltration of writers' main emotions, while the artistic world of their works, that is, the writing of human nature and existence, has strong universal significance. This is mainly an aesthetic expression of daily life in the war environment. For example, the life fragments of the main characters in the predicament shown in the works, the life details and ordinary life experiences of the characters intercepted by the writer, and the writer's presentation of the life experiences of each character in a specific historical time and space in the war are also related to the basic and emotional life, which is a process from simple war life experience to aesthetic experience. The cognitive orientation of aesthetic experience points to the subject, which is related to the propositions of human nature, culture and existence. It is also an expression of the writer's position. Based on this, the works show the unique life forms of those fleshy, humble and tenacious individual lives in a specific historical time and space. The life rhythm of these characters in the time and space with strong historical consciousness interprets the strength, helplessness, struggle, sadness and joy of ordinary weak life. The universality of these individuals finally shows the doomed relationship between man and war, man and society, and man and history. These characters have some profound and unique artistic charm, and their inner world is also unique.
Ma Shuhua: Mo Yan claimed for the first time at the Nobel Prize-winning conference that "I am a storyteller". In fact, the story is just a carrier. When the reader reads or listens to the story, he can feel the author's feelings looming in the narrative. The story structure of historical novels is a collection of the writer's description of the scene, thoughts and feelings and historical truth. To describe the history of Suixi Anti-Japanese War, it is necessary to set up one or more groups of "group images". Frankly speaking, copywriting is a vivid group image in Romance of the Three Kingdoms, Water Margin and other works. Bai Wu Geng, Liu Zibin, Jin and other "game legends" appeared in his works, and Suona Wang, Bater and You Sufu also appeared one after another. The little red shoes of Ding, Ma and the procuress, and Japanese kabuki also appeared immediately ... Historians Ma Hongbin and Ma Hongkui, Mongolian prince Darizaya and Japanese enemy chief Noda Hanabe. I want to express the changes in the relationship between people and war and between people in Engebe's History of the Anti-Japanese War, and reflect the ethical changes in the history of the Anti-Japanese War in Suixi. As far as the relationship between man and war is concerned, although people are far away from war, they have not lost their memory of that war, and the meaning of "war" will never disappear.
Zhu Jing: How does our literature talk to the literature of the outside world? First of all, there is no question of where the discourse is centered. From the beginning when we constructed the history of literature with the help of domestic and foreign discourse resources, we actively integrated into the whole discourse system. If we don't use the whole discourse resources at home and abroad, we can only become the double absentees of culture and literature. What we need to face is not only the lack of literary value, but also the lack of all-round culture and literature. Therefore, humanistic spirit, value concern, ultimate meaning, love and mercy, responsibility and mission cannot be the norms and standards to measure literature, because it has become a universal value norm. Our embarrassment is that we are neither willing nor able to talk to the world with western literature and values, nor with local literature and values, because after all, we don't have our own Yasunari Kawabata and Kenzaburo Oe, and we don't have our own Tagore. We can neither integrate modern words into the value system of world literature like Kenzaburo Oe, nor put aside the so-called reality to pay attention to the traditional beauty of Japanese culture like Yasunari Kawabata. It is impossible to reveal the delicate and sad spiritual world of the Japanese nation, and it is impossible to interpret the divine poetry, religious light and the pursuit of eternity in Bangladeshi culture like Tagore. With the piety of saints and the sadness of poets like Tagore, it is impossible to perfectly interpret the relationship between man and God and the beauty of their sacred existence. However, from the details and the relationship between characters revealed in Suixi's two novels, it seems that we can also find the intersection of modernity and nationality in literature, and we can also feel the natural spirit and poetic beauty in our national culture. Romance and detachment in tradition seem to be branded with modernity. For example, in the overall layout of the works, elegance and vulgarity alternate and set each other off; In the specific development of the plot, the characters themselves appear intimate and delicate in the difficult living environment, and they are integrated with the narrative, rather than simply expressing their feelings or rendering them with rich colors. These, as if, are also important entry points for understanding the narrative discourse of the two novels.
Ma Shuhua: There are two main lines of love set in The Story of the Stone: one is the love line between Bai Wu Geng and his wife (including the twists and turns when the bride Ding was killed by the Japanese "indiscriminate bombing"), and the other is the love line after the anti-smuggling official Jin and the prostitute Ma met in the Suixi grassland in Beloved. There are also two love sub-lines: one is the deserter Kena Sanwa and Elaeagnus angustifolia leaves on the Yellow River raft, and the other is the machine gun sharpshooter He Gui and Xiao Zhenzi (in short, "* * *" in "Love"). Of course, there are many "hidden lines" lurking in the story. For example, Wang Huai, a native of Shanxi province, carrying the tiger's head children's shoes abducted by the devil, played the stirring tune of Walking to the West with a bass suona. Under the leadership of the battalion commander Jin, he went to dock with the Japanese telephone line without losing the military power, ready to fight to the death and die generously. Before his death, his young wife "tofu flower" was lying on the kang wearing only a red Chinese-style chest covering. Wyndell dichinson also has two main lines of love. These settings mainly express the artistic conception of poetry through the love description of the daily life of "little people" and the psychological and emotional hints of characters, which is a poetic lyric text. Add lyricism and argument to the narrative, so that the author, readers and characters in the book * * *. When talking about the relationship between narration and lyricism, Wang Zengqi thinks that the emotional expression of the novel should not be specifically said, but should be contained between the lines, "lyricism in narrative, narrative with clear strokes." I integrate the subject's feelings into the narrative, and pay attention to the harmony between feelings and people, events, scenes and events. However, the expression of subjective temperament is limited by the narrative of the novel. Especially the novels with the historical theme of the Anti-Japanese War, their demands of war, sociality, historicity and reality also challenge my novel creation, and I also try to make some attempts and explorations in this respect.
Jing Zhu: In today's novel creation, there may be fewer and fewer people who insist on humanistic writing. In a general carnival atmosphere, aesthetic temperament seems to influence and even dominate the content of writing, making it decline all the way to cater to the public's interest. I may be biased in saying so. Because "popular taste" does not seem to be simply understood as an aesthetic style, and the pursuit of ideological depth is not the patent of humanistic writers. This is only a relative difference. In fact, it is difficult for any words to define its identity. Judging from your novels, on the one hand, you did not integrate your writing position and style into the trend of secularization and carnival, but insisted on your spiritual dimension and interest; At the same time, with a sense of responsibility and awareness of the times, from a historical perspective, this important proposition in the history of China and War of Resistance against Japanese Aggression in the first half of the 20th century was pursued persistently. In the novel, "suspense" and "honey trap" are used, as well as the Jianghu mystery and drama legend of "touching the top with a magic gun", which puts the historical spiritual proposition into the complex relationship and structure of the characters, and also insists on the perspective of internalization of the characters, that is, the in-depth exploration of the individual motivation of the subject, especially the historical world situation. These activities are often decisive factors for the fate of the main characters and some historical joints. This is probably a part of your philosophy and historical view with historical materialism and fatalism.
Ma Shuhua: The "suspense" I use is simply to clear the clouds and see the sun, or peel bamboo shoots layer by layer. Bai Wu Geng should have known Liu Zibin's identity speculation for a long time, but he didn't tell the truth, because he was both a comrade-in-arms and a brother who killed the devil. Including his daring to risk his life to rescue Liu Zibin. This is his magnanimity. Jin has fully expounded the knife method used. Hideo Kawabata was originally a family member of three generations of Japanese invaders, and his "array knife" Japanese knife method was unusual. King has a much better chance of winning: it is the spiritual power of justice. In 29 army's Great Wall War of Resistance against Japanese Aggression, the melee power of China broadsword once frightened the arrogant Japanese army and inspired the people all over the country. This is no accident. After the September 18th Incident, 29 army specially invited the coach of the northern martial arts master to have a quick hand-to-hand combat, and knocked open the "March 8th Cover" with a bayonet. As for the prisoner's "magic gun", there are indeed cheats in the rivers and lakes, which are recorded in the notes of the literati of the Republic of China, and the folk rumors in Beijing and Tianjin are enduring. In other words, everyone has a historical basis for life, not pure fiction. According to historical records, after the beginning of the Anti-Japanese War in Suixi, Japanese spies and spies secretly spread cholera germs at the junction of Ningxia and Suixi, creating terror. Poisoned people spit yellow water, and people and animals die. The Japanese army sent special agents to Zhungeer Banner on the south bank of the Yellow River to sell poisonous flour, and officers and men of a certain unit in northeast Ma Zhanshan were poisoned, causing casualties. Afterwards, it was detected as "Hula" (Japanese name, actually "cholera"). This is the origin of the image prototype of Japanese female spy Jing Xiangzi. She can speak Chinese and met the medical officer of Sima Heshan in Dengkou Field Hospital. Later, Sima sneaked into Baotou and was recognized by her ... This is naturally a "coincidence" of the novelist. She and Noda designed a "honey trap" to lure Sima into an embarrassing failure. This plot enriches Jing Xiangzi's character. Good at karate, killing people without blinking an eye, she escaped from her mouth and slept with Nakazawa Tomohide Island, and her inner weariness was intertwined with her persistence in "jihad". She looks down on China people in her bones, but she wants to conquer Sima, a native of China ... In fact, in novels, personal motives have an impact on the fate of characters, even on history-or on the contrary, personal helplessness and accidental events in history have an impact on characters.
Jing Zhu: It is not difficult to find that the characters' temperament and manners in the two historical novels of Suixi's Anti-Japanese War are obviously different from the "orthodox images" constructed by mainstream historical and literary works. The main reason is that the novel always takes the love narrative in the most intimate field as the plot axis, thus greatly shielding the penetration of mainstream ideology into the historical narrative of the novel. China's ancient novels were once regarded as "the history of the country". In the eyes of Balzac in the west, novels are "the secret history of a nation". It can be seen that the novelist's mission is to conceive the history in his heart. With the novelist's insight into human nature, life experience and people's perception of history, this historical period has been endowed with subjective poetic style. The historical faces in the novel are as rich as the profound explanations and insights of the historical subject "man". Therefore, it is better to say that we have improved our understanding of the war of resistance through the pupil of history than through novels.
Ma Shuhua: The positive characters in the two novels, regardless of size, rank, political parties and nationalities, all face life and death with the ultimate goal of understanding history. After the Revolution of 1911, the sense of "national" identity was not pure for some time. It is only 20 years since the Wuchang Uprising in191to the September 18th Incident in 193 1. Unfortunately, the road to open people's wisdom has been interrupted again and again, and most of them are illiterate. However, the ethics of home and country remains the same. Under the former concept of the United States, the spirit of "being a hero in 20 years" remains the same. "Courtesy, honesty and shame, the four dimensions of the country" still permeate the blood of China people. Under the influence of the Japanese aggressors, although there have been countless traitors ... the soul of the Chinese nation is still there. As images, "game-writing protocol" and "wyndell dichinson" not only contain the ideals of the 20th century's "revolution" itself, but also the ideals and aspirations of literati since ancient times. When the traditional foundation and modern ideal converge on the historical essence of the Anti-Japanese War, there is no doubt that they all take "game-writing protocol" and "wyndell dichinson" as images, which is why I take them as the key words of the novel. Based on this, I consciously integrate the traditional resources of China culture and literature, trying to embody this grand blueprint in the novel world.
Jing Zhu: History is always different in novels. Since 1990s, many novelists have created a large number of new historical novels. They gave full play to their bold imagination and painted colorful faces for history. Every writer has his own history in his heart, and the personalization of historical writing has almost become common sense today. However, the treatment of history in Suixi's anti-Japanese war novels is quite special. Historical details, historical scenes, important historical events (including important historical figures) and some important historical concepts have all become the carriers of expressing characters or their own ideals in novels. There are many details and actions of the characters in the book, which are transformed into the individual life pursuit of the characters beyond reality, and become the steps for the characters to find the meaning of life and the way to realize the writer's dream of "living poetically". Therefore, the history shown in The Story of the Stone and wyndell dichinson is not only an individual's external activity space in a general sense, but also an individual's soul's appeal. History has been restored in the novel, and it has been fully poeticized in the individual's existence and inner world, which coincides with the individual's appeal for existence. A strong and hard history becomes soft and cordial through literary narration. Making history true and vague, familiar and unfamiliar, this practice is actually the ultimate poetic writing of history, and it is also the "human archaeology" that traces the root of human nature in history.
Ma Shuhua: Your analysis and summary of the themes of these two novels are very interesting. I have made a thorough description of the two sides of the characters in my novels. The novel propagandizes the spirit of idealism, expresses the positive role of difficulties and dilemmas in saving people's hearts, and objectively shows the negative harm of difficulties and dilemmas to people. This double-sided presentation shows the novel's profound description of history. In this respect, my two novels also have some enlightenment, which gives a vivid perspective of the root causes of historical disasters and deeply analyzes the human nature in trouble. The main implication of the two novels is still the admiration for human nature and human ideals. With the help of revealing the hero's soul world, the novel fully expresses the ideal ideological complex. The growth experience and personal temperament of the protagonist entrust the author with the desire to respect historical materialism and break away from the secular world, revealing the author's hatred and criticism of dirty reality. The thoughts of the characters in the works have their own shadows, which come from the depths of the author's life.
Jing Zhu: The tone of the two Suixi Anti-Japanese War novels is warm, and the writers describe them almost everywhere. This reminds me that there is a fragile but noble spirit and a weeping soul in the novels of Japanese writer Miyamoto Hiroshi. Miyamoto's novels River of Mud and River of Fireflies convey the warmth of human beings and the beauty of nature in their tragic lives. In Nobel Prize in Literature's newly acquired works, we can still feel this humanistic concern and its humanistic spirit. Compared with the utilitarianism and scheming of contemporary writers in China, Miyamoto started his creation in this way: he did not seek fame and fortune for himself, nor did he have any grand plans to change society and history, but "picked up a pen in the pain and despair of life and wanted to pour out the accumulated sadness in his heart". Even for three years, five years or even ten years, regardless of poverty, suffering and failure, we must write down a life full of suffering and stay in the world. He said: "It was life that forced me to embark on the road of literature, but it was also life that provided me with materials. I hope my pen can give people courage, hope and confidence in life. " (Miyamoto: Turbid River, Jiangsu People's Publishing House, 1986, p. 207) The hope, confidence and courage mentioned here by Miyamoto are the same as the spiritual qualities expressed by American writer Faulkner in his acceptance speech in Nobel Prize in Literature. The purpose of my talking about this is to prevent literature from becoming a passive water and a tree without roots. The arduous and tortuous history is a rich literary resource that should be cherished in contemporary literary creation. To truly activate and cross this period of history, we need to get out of all kinds of spiritual misunderstandings made by human beings, return to the essential level of existence, face the truth of history and life directly, and tap personal unique survival experience, thus forming our own unique understanding and judgment of the times and life, which is a necessary condition for producing excellent works worthy of this era.
Ma Shuhua: Our literature should come out of the vague meaning of life and bring light and warmth to people in darkness and suffering. Works are light sources that illuminate darkness and warm people's hearts. Over the years, some anti-Japanese war literature has been a chaotic rewriting of historical facts, and truly innovative and insightful anti-Japanese war novels are rare. Anti-Japanese War novels should also explore the civilized atmosphere and context, with profound thoughts, grand momentum, solemn language, large pattern and great atmosphere. When we have to enter the modern era, we should not forget and stick to the eternal value and significance in human culture. Although my two novels have not reached this level, I am consciously pursuing this level. Of course, the quality of the work is ultimately judged by the reader.
Wang, whose real name is Wang, was the vice-chairman of Ningxia Federation of Literary and Art Circles, and wrote Wisdom and Awakening, Pursuing Truth, Goodness and Beauty-A Study of Poetry, and Two Academic Peaks-Wang Guowei, Chen and China's Modern Learning. Ma Shuhua, a member of Ningxia Writers Association, used to be an editor and journalist. Published more than 300,000 words of novels, essays and essays at or above the prefecture level, and published more than 300,000 words of news works.