All my life is to live for a novel.

Wang Anyi, born in March 1954 in Nanjing, Jiangsu Province, originally from Tongan County, Fujian Province, is a modern writer, writer, vice chairman of Chinese Writers Association and professor of Fudan University. She published her first prose, "moving forward" in 1976, and was transferred to the creation room of Shanghai Writers Association in 1987 to engage in professional creation. In 1996, he published his masterpiece Song of everlasting regret, which won the Fifth Mao Dun Literature Award. In 2004, "Love words from the hair Salon" won the third Lu Xun Literature Outstanding short Story Award. He was awarded the Knight Medal of French Literature and Art in 2013.

She has lived for novels all her life. In the eyes of Chen Sihe, a famous literary critic and old friend for many years, Wang Anyi's only skill is to write novels. If a writer has too many things in his heart, he will certainly leave the novel at some time, because there will be the best parts and troughs in the development of everything, but Wang Anyi never leaves, and she always accompanies the novel. Perhaps, it is this pure love that keeps Wang Anyi productive for more than 30 years and constantly changes her writing themes and writing styles. Gu Bin, a German sinologist, said: no one has written so many works that deserve to be taken seriously since 1979.

In November, Wang Anyi was invited by the Chinese Contemporary Writing Research Center of Huazhong University of Science and Technology to give a two-week resident lecture and participate in a series of activities such as the 2014 Yujiashan Autumn Forum on Chinese Contemporary Literature. On the 14th, at the reading meeting of Wang Anyi, our favorite book club sponsored by the Hubei Writers' Association, the reporter had a close communication with Wang Anyi and talked about the most important element in her life-novels.

Writing is destiny.

It is a good thing that works are not often adapted.

Mother, famous writer Ru Zhijuan.

Father, Wang Xiaoping, a famous director and writer of the people's Arts.

In the eyes of many people, it is natural for Wang Anyi to embark on the road of literature and art. However, this is not the case. During the Cultural Revolution, Wang Xiaoping, a returned overseas Chinese, was classified as a rightist, which made Ru Zhijuan firmly opposed to the children taking the path of literature and art.

In 1970, 16-year-old Wang Anyi left Shanghai to jump the queue in rural Huaibei, Anhui Province. Her talent for writing was discovered in letters to her mother. At that time, she had no books to read and thought the things written by children were quite good-looking. At the suggestion of her mother, Wang Anyi began to keep a diary every day. Later, with the help of her mother, one of Wang Anyi's essays was included in the essays of the educated youth of Shanghai Literature and Art Publishing House. Although the book was not published in the end, it gave Wang Anyi a great encouragement.

In an interview, Wang Anyi repeatedly mentioned the experience of participating in the International Writing Program of the University of Iowa in 1983. There, she met Chen Yingzhen, a Taiwanese writer. at that time, we had just struggled out of the fate of educated youth, with a lot of anger, but Chen Yingzhen said to me, look around, there are so many world events happening every day. Wang Anyi said that during the argument with Chen Yingzhen, she began to think about her real ideal and the life she really aspired to. Without him, I might not be like this today.

After returning from the United States, Wang Anyi published Xiao Baozhuang, which showed a special picture of the world in rural China under the background of historical, geographical and cultural life, which became an important harvest of the vigorous root-seeking literary trend of thought in 1985. When writing Xiao Bao Zhuang, I was assigned to & lsquo; Root-seeking Literature & when rsquo;, wrote the Song of everlasting regret, I was classified as Shanghai School. Wang Anyi doesn't seem to be satisfied with this classification, she said. It may have something to do with the subjects I pay attention to, one is Shanghai, the other is rural areas.

In 2000, the Song of everlasting regret won the Fifth Mao Dun Literature Award, and since then it has been adapted into films, dramas and other artistic genres. But beyond that, most of Wang Anyi's works seem to have nothing to do with film and television. On the contrary, Wang Anyi thinks that it is a good thing. When I write a novel, I carry out the narrative very thoroughly, and it is very difficult for the narrative to be transformed into intuitive images. I want to keep that forever. The beauty of the novel is different from that of the movie. I don't think this is a bad thing. If you give it to the film and television, you have to be prepared to endure different degrees of misunderstanding. I basically don't see any good in this.

Literary creation has entered an insipid period.

Young writers should learn to talk to the world.

For Chinese contemporary literature, Wang Anyi believes that in the 1980s and 1990s, she experienced a very brilliant period, but now the writing is relatively insipid. To investigate the reason, Wang Anyi believes that because many social contradictions began to be resolved, in addition, in a time of rapid economic development, people will slightly give up spiritual things. But everything has a cycle, we may now walk in the mediocre period, but will be better and better, to another the best part.

Speaking of current trendy literature, Wang Anyi said that she is not very clear about what trendy literature is, but I know that some of the so-called writers who are particularly famous are completely packaged for publishers. At the same time, she points out that novels have become rampant, which is related to marketization. Short stories and medium stories are professional and elite, but publishers hope that they are long novels, which can promote publicity and boost sales. Including government awards, which are often given long stories. However, you did not think about it at all, so you lengthened the novel, that is, water injection. In the past two years, novels have become rampant, and the harm to writing is very serious.

At the scene of the event, some readers mentioned two young writers, Han Han and Guo Jingming, who have attracted much attention. Wang Anyi said frankly that she did not pay too much attention. Instead, she mentioned another unknown young female writer, Zhang Huiwen. I haven't seen her in person. I've only read her works in magazines, mainly short stories. I remember one of her novels, the story is very simple, a prison guard escorted a seriously ill prisoner back to his hometown. On the way, the two men lived in the same room. In the dark, the prison guard heard the prisoner moaning. He wondered whether to get up and visit. In the end, he didn't. At dawn, the prisoner died. The writing of the work is clean, the structure is reasonable, and most importantly, the work reflects the young author's concern for the surrounding environment. Wang Anyi believes that this kind of concern is the most lacking of young writers at present, and writers should take themselves as the center, expand the radius as far as possible to perceive the world, care about the people around them, and learn to talk to the world instead of talking to themselves.

Do not know 2B youth

Literature education is only to cultivate good readers.

In 2004, Wang Anyi joined Fudan University and offered a master's degree in literary writing. In Chen Sihe's words, this class is for writers. However, Wang Anyi said publicly on many occasions that writers cannot be trained. So, what is the significance of the existence of liberal arts colleges? What is the significance of the existence of the Master of Literary Writing class? When it comes to the cultivation of writers, I think this is a puzzling thing. I have always believed that literature requires talent, and talent cannot be taught. The other part is determined by your life experience. Wang Anyi said that she herself did not go to college and did not receive systematic writing education. However, I later found that there is still a part of literature that can be taught, and this part is technical. For example, the fictional ability, framework and structure of the novel, including language. I can at least let students know what language is good and what language is rubbish. And the ability to make things up. For example, you have a lot of life experience, the problem is that you have to make up a story with certain skills, that is, an ability. Wang Anyi further pointed out that now there are some writers who quickly use up their life experience and write one or two articles very well, but then they are difficult to sustain. I think our education can make writing a little more professional.

At the scene of the event, young readers asked sharp questions on the spot, saying that now 2B young people are in charge, while literary and artistic youth have become the object of ridicule. Wang Anyi is really a little confused about this question. Obviously, she, who has never used a computer, does not quite understand the meaning of this online buzzword. After some explanation, Wang Anyi suddenly realized and then had a deep feeling. When I was teaching in Fudan, I also found a strange phenomenon. Nowadays, children are easily amused by some superficial and vulgar things. Wang Anyi said: in this day and age, it is almost impossible for you to tell them that literature is important. They don't believe it when you say literature makes your life interesting, because there are so many interesting things in this world. Therefore, my goal is very low, which is to cultivate their interest in literature.