Yu Hua, a contemporary writer, is from Haiyan County, Zhejiang Province, and his ancestral home is Gaotang County, Shandong Province. He is the author of short stories such as Going Out at Eighteen, Bloody Plum Blossoms, 1986, April 3rd Incident, Things in Smoke, Doom, Errors by the River, Classical Love and Trembling. There are also novels such as Shouting in the Drizzle, Living, Xu Sanguan Selling Blood, Brothers, and many essays and essays. People with the same name include rowers and doctors.
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brief introduction
1960 was born in Hangzhou, Zhejiang Province on April 3rd (the source of April 3rd incident). Later, he became a doctor with his father Hua, and his mother was Peiwen (whose parents' surname was the source of Yu Hua's name) and moved to Haiyan County. After graduating from high school, he became a dentist. Five years later, he abandoned medicine and joined the county cultural center and Jiaxing Federation of Literary and Art Circles. Yu Hua went to Luxun College of Literature in Beijing twice for further study. During his stay in Luyuan, he met the poetess Chen Hong and later became his wife. Because Chen Hong worked in Beijing, Yu Hua moved to Beijing for more than ten years. Now lives in Hangzhou, Zhejiang.
Yu Hua, 1984, who began to publish novels, is a representative figure of Chinese mainland's avant-garde novels, and is as famous as Su Tong and Ge Fei. His works have been translated into English, French, German, Russian, Italian, Dutch, Norwegian, Korean and Japanese, and published abroad. The novels "Living" and "Xu Sanguan Selling Blood" were selected by hundreds of critics and literary editors as "the ten most influential works in the 1990s". 1998 won the Italian Greenzana Carver Literature Award and the Australian Suspense Literature Award in 2002, and the French Literature Knight Medal in 2004. Zhang Yimou made the novel To Be Alive into a movie.
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The rise of Yu Hua and other writers in China's literary world in the mid-1980s is undoubtedly a great event in the history of China's avant-garde novels. In a sense, he represents the real beginning of contemporary avant-garde novels. Yu Hua's novels directly describe the ugliest areas far from rationality in life in an almost cruel way, which often gives people a spiritual shock and has a strong impact on the state of contemporary literature resonance. Yu Hua is a famous lone ranger in China's literary world, and more influential works should be promoted. These works established his position in China's literary world and fully demonstrated his own writing style.
Yu Hua 1960 was born in Hangzhou, Zhejiang Province in April. At the age of one, he left Hangzhou and came to Haiyan. Since then, he has spent more than 30 years in that place called Haiyan. Yu Hua's memory began with Haiyan, who couldn't even see her bike. When I was a child, I often locked him and his brother at home because my parents didn't have time to look after him at work. All they can see is the street paved with stone slabs outside the window and farmers farming in the distant fields. Because he grew up in a hospital, he was used to the bloody scenes in the hospital, the scenes of patients crying in the face of the death of their loved ones, and he carved a tragic consciousness in his young mind, which eventually dominated his thoughts on the road of literary writing in the future. The development of Yu Hua's works explores human's living space and directly reveals human's living state. His novels describe death, blood and violence in a calm style, and on this basis reveal the cruelty of human nature and the absurdity of existence.
Yu Hua became a dentist under the arrangement of his parents, because both parents are doctors, so his parents also hope that he can embark on the road of becoming a doctor. But Yu Hua doesn't like hospital work. Later, he was transferred to the county cultural center by his own efforts and embarked on the road of literary creation. However, the experience and knowledge of working in the hospital laid the foundation for his future creation and became the source of creative themes and styles. Yu Hua didn't go to a regular university, and he always resented it. Later, I went to Lu Xun College of Literature for further study, and finally washed away my resentment with the graduation certificate of the graduate class.
1987, Yu Hua officially set foot on the literary world with a unique short story "Going Out at Eighteen", telling the story of a teenager's mental journey away from home, full of nightmare surprises and fears. Yu Hua's extreme description of the present situation of human existence in real life is incredible. Yu Hua was deeply influenced by Kafka and French new novels. Kafka's works make him particularly sensitive to the primitive evil of distorted human nature. Sallot, Simon, and Rob-Geyer, three narrative styles that are infinitely close to the physical image but swing in the critical state of reality and illusion, have been clearly publicized in Yu Hua's works. At the same time, influenced by Lu Xun's cold brushwork and his writing attitude of daring to expose the dark side of human nature, Yu Hua appeared capable and sophisticated when he entered the ugly world to interpret the evil of human nature. In today's China literary world, Yu Hua is famous for his cold narration. His melancholy eyes never disdained to look at the blue sky, but he lingered tirelessly in those damp and dark corners at that time.
In April 3rd Incident, Errors by the River, A Reality and Doom, he described the killing between people in detail. For example, "a reality" is like talking about the cause and effect of a thing. Although people hurt each other and kill each other, the essence of life is so cruel, but human beings are still inexplicably multiplying. In his early novels, when the narrator expresses this indifference and cruelty, the author's attitude is ambiguous because he deliberately pursues a cold style. In fact, Yu Hua's seemingly super but calm narrative style comes from the tense relationship between the writer and reality, and he hopes to keep a distance from his characters and the cruel and cruel side that represents human nature. No matter good or evil, he should remain detached after understanding, which produced a kind of compassion, which also led to the change of his style in his works "Living" and "Xu Sanguan Selling Blood" after entering the 1990s. These novels still maintain a calm brushwork when describing the blood and tears of ruffians, but what is more striking is that they add the factor of compassion.
The earliest reading of Yu Hua's "Alive" originated from the film "Alive" directed by Zhang Yimou and starring Gong Li and Ge You. Not to mention how Zhang Yimou directed, how Gong Li acted and how Ge You acted, the plot of the characters in the novel attracted me deeply. After watching the movie, I was still wanting more. I couldn't help but go to the bookstall to search for published novels and read them fiercely. Living implies Yu Hua's strong concern for vulnerable groups, and the primitive ignorance of these little people living in rural areas is sad.
Alive tells the story of Xu Fugui, a rich young master of the landlord family. Because he has nothing to do all day, he idles in the street and indulges in eating, drinking, whoring and gambling. Later, because of gambling, he lost everything and was forced to wander the streets, almost becoming a beggar. Fortunately, he met a girl in his previous home and took him in. Later, he became his wife. They got married and had children, and then they were taken to be able-bodied men to fight against the Japanese aggressors, and then they fought. Xu Fugui thought on the battlefield: I have fought dozens of wars, and I will live even if I die. One sentence broke the tragic form of his existence, and the tragic consciousness was not in the character of potential characters. Xu Fugui wanted to go back early because he missed his wife and children at home, and then he left the army secretly. Xu Fugui showed his great vitality in the disaster. When he came back, he was shot by everyone who had a glimmer of hope in every dark cloud, and Erlong took his place (Erlong won all his possessions because of gambling with him, but was shot because of the land reform revolution), so Xu Fugui felt very lucky. He thought that if he had not been the black sheep of his family, he would have been shot, so he thought it was a great blessing that he was in distress several times on the battlefield but didn't die. Maybe his parents gave him a good name or his ancestral grave was buried high, so he could live well. Although the days that followed were not better than those during the war, they felt very happy. The way of life in their family makes people feel that it is the lowest way of life of unconscious animals, and everyone has a deep affection in their hearts. It is his existence that sets off the truth of their lives and seeks a humble way of life for them. However, Yu Hua raised his humble right to exist with almost cruel tragic consciousness. The daughter became deaf, the son died of blood transfusion for the son of the county magistrate, and his wife died of rickets soon. Xu Fugui's tragedy is purely man-made. The potential tragic consciousness in Yu Hua's character is: good life is not long, good life is bitter.
Yu Hua said in his novel: From the beginning, he found that hypocritical characters also have their own voices. He believes that these voices should be respected and let them seek answers with the wind. Therefore, the author is no longer an invader of narrative, but a listener, a patient, careful, considerate and empathetic listener. He tried to do so. When he narrated, he tried to cancel his identity as a writer. He thinks he should be a reader, and so is he.
When we read a literary work, we are influenced by the characters and stories in the work. We need such influence to correct our thoughts and attitudes with the thoughts and attitudes of the characters. It is worth mentioning that when many great works handed down from generation to generation affect an author, the fictional characters and stories in his own works will also affect him.
Yu Hua's cold tragedy realized that Xu Sanguan's body was different from Xu Fugui's. Xu Fugui's tragedy is caused by the times, and the tragedy he experienced is related to the times environment in which he lived. War, social unrest and the oppression of three mountains constitute the root of Xu Fugui's tragedy, and the author's works also reflect his keen sense of that era. Xu Sanguan's tragedy has been extended, giving readers a profound tragic meaning. The irrationality and absurdity of Yu Hua's novels reveal human nature. From his works, we can see his sensitive nerves hidden in the world, which is similar to the seemingly crazy Diary of a Madman by senior writer Lu Xun.
"Xu Sanguan Selling Blood" tells the story of a cocoon delivery worker in a rural silk factory who lived for 30 years. Xu Sanguan, who went back to his hometown to visit relatives, came across the custom of villagers selling blood and went to the hospital with him. In exchange for 35 yuan, Xu Sanguan married Xu Yulan, a "beauty of fried dough sticks" in the city. In the next ten years, Xu Sanguan sold blood to save the crisis every time his family changed. It was not until his three sons finally formed their own family that he suddenly realized that time had taken away his health. The good times of "selling blood for emergency" are gone forever, and the fear of future disasters makes him cry in the street. From the beginning, the novel was doomed to the tragic color of Xu Sanguan. Farmers are destined to live on the land. When the land can no longer provide farmers with adequate psychological and practical protection, "selling blood" has become the standard to measure their health and even their marriage and children-"selling blood once can earn 35 yuan, and working in the field for one year can earn so much." Farmers' labor has depreciated to this extent! So that it is absurd to make a living by selling blood and extend your life by selling your life.
At the beginning of the Cultural Revolution, Xu Sanguan, as a bystander, broke the essence of the movement: "What is the Cultural Revolution? In fact, this is an era of personal hatred. " The damage caused by the Cultural Revolution to China is historic, and the almost crazy movement has created thousands of tragedies. Yu Hua grasped the pulse of this era, and through the story of Xu Sanguan, a little person at the bottom of society, revealed the trauma of the Cultural Revolution to the people and the living conditions of the people at the bottom of society. As a small unit of society, Xu Sanguan was inevitably smashed in this historical catastrophe, and the first disaster of the Xu family befell the housewife Xu Yulan. Xu Yulan, with a hot personality, was called a "prostitute" at the critical meeting of ten thousand people because of a libel poster posted by a jealous person. Then this "conclusion" was accepted by the people as a fact, and the usual logical reasoning was disrupted, resulting in the root of the tragedy. Xu Sanguan delivered food to his wife, but his reasonable behavior was regarded as abnormal. Husband and son held a family criticism meeting for their wife and mother solemnly because they accepted a casual instruction from a passer-by. All this makes people clearly see from an objective standpoint that people in the real world at that time were numb, devoid of conscience and destroying human nature. Yu Hua's works always quietly push the characters to one disaster after another, and those characters of Yu Hua are always doomed to conspiracy, disaster and death. They have long been cast a shadow of fate. They face disaster, but they are close to death unconsciously. Surprisingly, they are so determined and numb to the disaster. These abnormal descriptions used in Yu Hua's works create a strange and unfamiliar absolute truth, and at the same time bring readers into a strange field. Here, people going to their graves is like going to a masquerade ball in high spirits. People live on the edge of conspiracy and danger, but they feel at ease and even take their time. Yu Hua is good at explaining the pain and helplessness hidden in the fate of small people in plain language, and is good at refining every nuance of their lives. The calm tragic consciousness in their characters makes them quietly tell the sorrow of their existence and inner sorrow. At the same time, it is also a potential sadness in the author's heart. It seems that the gloom and sadness in his works can't make us look directly at the clear sky and bright sunshine outside.
The potential tragic consciousness in Yu Hua's character is further reflected in his work Shouting in the Drizzle. Yu Hua carefully pulled out his potential inner torrent, sadness or secret with calm words, and in his calm anatomy, he moved from the initial group of reckless and melancholy teenagers with underdeveloped sexual consciousness to tragedy or perfection.
The break between Sun Guanglin and Suzhou and Hangzhou is his personal inner experience. Sun Guanglin endured the loneliness and loneliness of breaking up, which is the potential melancholy and loneliness in Yu Hua's heart and the potential source of his tragic consciousness. Sun Guanglin is afraid of himself and the world because of physiological changes. A secret doubt and fear often hides an unknown joy and attempt. However, this unknown joy and attempt ended in the tragic consciousness hidden in his character, and his hopes and desires were always lost in the description of Yu Hua's potential tragic consciousness. With the constant disillusionment of Sun Guanglin, he had to accept the cruel reality, and he was both confused and confused before sex. The fear of never experiencing a physiological secret made him confused and indifferent, and sex was mysterious and disgusting in his heart, full of novelty and yearning. Sun Guanglin is moving towards maturity and sadness step by step. In fact, life is just a helpless tragedy, including sex. This tragic consciousness is hidden in Yu Hua's heart, conscious and unable to struggle, and his heart is in the swamp with sunshine. This tragic consciousness is also integrated into the characters in his works. The insanity of Su Yu, Su Hang, his brother Sun Guang and his father aggravated Sun Guanglin's tragic consciousness. In that era of "putting all evils first", their sexual flowers were confined by the goodness of nature and inherent vice's eternal thinking and training. In the repressed reality and thinking training, the abnormal opening became a sin. Sex is beautiful and beautiful, but people in real life spoil this beauty. This is a kind of sorrow, the sorrow of China's human consciousness and the sorrow of China's ancient sexual history.
As the woman Sun Guanglin loves, the teacher he worships and the good friends he knows are separated from his world one by one, the sadness in his heart is even more inescapable, and his disappointment and fear of the world are deepening. Finally, it was gloomy for Sun Guanglin to send Lulu home to warm the friendship with Su Yu in the past. Yu Hua's calm narration makes people feel a strong but sinking twitch, and that kind of profound resistance or strength is the potential tragic consciousness in Yu Hua's character. No matter how peaceful and warm the scene is, it is shrouded in his tragic consciousness and shows his tragic side.
Every novel written by Yu Hua from 1986 to 1987 is an fable. He tried to build a closed world of personal novels, through which he gave the outside world an image model that he thought was true. On the surface, he simulated the extreme humanity of society. In fact, through this extreme narrative technique, he reflected that the other world is the state of human existence, and he never avoided exposing the dark side of society and the good and evil of human nature. He discovered the other side of the world. However, during this period, his deliberate pursuit of the narrative effect of "no self" forced him to create a mask: a cold and almost cruel narrator who shocked readers with this cold and cruel novel. This is highlighted in his novel A Reality: Pippi, the son of Xiaoshan, killed the wife of Shanfeng and killed Xiaoshan with the help of the public security organs. The cruel killing methods and results between them all stem from trivial matters, which shows that the civilized side of human nature can't resist its barbaric and stupid side, which is on the verge of being tempted. Once triggered, the two will automatically develop and expand like dominoes until both sides are destroyed. This cruel way and tragic ending give people a shocking feeling. A writer said: "Yu Hua is creating pain with words."
Yu Hua said: "What I am looking for is a narrative way without self", in which "direct narrative should be avoided as much as possible and the gloomy sky should reflect the sunshine". Different from traditional storytelling, Yu Hua designed an indifferent narrator. With the help of this narrator, he provided another perspective to observe the world, which made people see the other world picture and the animal side of people very directly. Yu Hua claims that what he pursues is "truth". He consciously showed the cruel and dark side of human nature and called it "the truth of life". What is the truth of life? From the unintentional injury of children to the killing of adults, everyone's criminal hand is accidental or instinctive, just like a game. In fact, many tragedies in the world are caused by people's attitude towards life. Life is not a game, but human beings in reality seem to be more keen on taking life as a game.
In short, whether we are people who have seen Yu Hua's works for the first time or already, the first impression is that the author Yu Hua himself may be a person with negative and dark thoughts, cynicism towards society and even a little neurotic. He likes to expose the bad side of human beings, to downplay human ignorance, ignorance, barbarism, rudeness and filth, and to arrange the ending of the protagonist in each story as tragic or tragic. This may be related to his own potential tragic consciousness, his childhood being locked at home by his parents all day, and his later years in the hospital, living opposite the morgue all day facing the cold bodies coming in and out, facing the sadness of people who lost their loved ones, and the bloody scene in Where are you going? These ideas were shared in his childhood mind, and even influenced his later writing style.
Yu Hua said: A true writer will always write only for his own heart, and only his heart will truly tell him how prominent his selfishness and nobility are. Let him truly know himself from the heart. Once he knows himself, he knows the world. I understood this truth many years ago. However, to defend this principle, we must work hard and suffer for a long time, because the heart is not always open, but more often it is closed, so as long as we write and persist in writing, we can open our hearts and expose ourselves to discovery, just like the light of sunrise illuminates the darkness. ...
When we read Yu Hua's works, we should learn to understand him in essence, his inner thoughts and his life experiences. Then, when we go back and read his novels, we will deeply appreciate the shocking power in Yu Hua's works, which comes from life, from the waste of time and from his own thoughts.
In the literary world of China, Yu Hua has always been famous for his unique cruel narrative techniques, and has always described the magic of the literary palace with his ideological realm and unique words. We also sincerely wish him to write more and better works.
Characteristics of works
Yu Hua's famous work is the short story Going Out at Eighteen. Before that, he published more than 20 novels, which didn't have much influence. After this work was published, it was well received by famous critics such as Li Tuo, and Yu Hua became famous in one fell swoop. Since then, he has published many experimental works in important domestic journals such as Harvest, which shocked the literary world and readers. With the close attention of critics, he soon became the most influential figure in China's avant-garde novels after Ma Yuan. Yu Hua is not a prolific writer, and his works are famous for their exquisiteness. With pure and meticulous narration, the work breaks the daily language order, organizes a self-sufficient discourse system, and on this basis, constructs one weird, grotesque, secretive and cruel text world after another, realizing the truth of the text. Yu Hua once said frankly: "I think all my creations are to be closer to reality. This truth of mine is not the truth in life. I think life is actually unreal, and life is a mixture of truth and falsehood. " Because there were not many readers of pioneer texts, Yu Hua made timely adjustments after he became famous. Since Shouting in the Drizzle, his works are no longer obscure, but inject a moderate sense of modernity into the realistic narrative, which has won the widest resonance among readers with concise brushwork and full emotions.
Yu Hua's early novels are mainly bloody, violent and dead, and human nature is evil. He showed the dark phenomenon of man and the world. The life in his novels is abnormal and irrational, and the characters and plots in the novels are placed in abnormal and irrational real life. As Xie Youshun pointed out: "Violence is Yu Hua's basic recognition of the nature of the world, and it is also a main word that runs through Yu Hua's novels."
Yu Hua said: "The works of that period reflect an important symbol of my world pattern in the Champions League, that is, the destruction of common sense. To put it simply, things that common sense thinks impossible are all conclusive facts in my works; And what common sense thinks is possible can't happen to me. The first reason for this destruction is the suspicion of common sense. Many facts show that common sense is not always as true as it pretends to be. I feel that the world has its own laws, and the world guests are always inferred from common sense. "
Yu Hua thinks: I pay more attention to the desire of the characters, and desire can represent a person's value better than personality.
In narrative attitude, Yu Hua pursues Rob Geyer's "zero-degree writing", that is, "self-free narrative style".
Structurally, Yu Hua adopted the novel of time structure. He transformed physical time into psychological time, and narrated it alternately for many times, which separated and dislocated time and presented multiple symbols.
Yu Hua's novels have made bold experiments and explorations in form and language, and the language feeling is similar to that of French new novels.
General catalogue of works
Novella collection: Bloody plum blossom, thriller, a reality, I am as timid as a mouse.
Collection of short stories: Smoke, Boys in the Dusk.
Novel: Shouting in the drizzle, living, Xu Sanguan selling blood, brother.
Essay: A warm and complicated journey, music has influenced my writing, and no road is repeated.