People in China are never stingy with the dead, especially the ghosts in the literary world. It seems that the living have an obligation to flatter the dead, and everything that the dead dare not expect before, whether it is fame or fortune, will be satisfied to the greatest extent after death. If you are famous, you must create a famous literary prize. If you are still afraid that it will last forever, you will come up with some seminars such as "your birthday x anniversary" to commemorate it collectively. Less well-known is that at least these works should be collected and sorted out-death inadvertently plays the role of a lucky star, which vaguely equates death with life with a golden pen, which makes the end of a terrible life show some attractive kindness. After all, there are very few people like Kafka who are eager to burn manuscripts. For most persistent literati, their works are unknown, and the pain of never being known is undoubtedly 1000 times that of death. If death spreads, what is the regret of death?

So, dying several times is equivalent to winning the first prize-whether Wang Xiaobo has such an idea is unknown, but this does not prevent him from starting his lucky journey after his death in April 1997: 1997 In May, Guangzhou Huacheng Publishing House published Golden Age, Silver Age and Bronze Age. In February, 1998, Time Literature and Art Publishing House published Forever-A Collection of Wang Xiaobo's Novels and Plays, The Black Iron Age-Wang Xiaobo's Early Works and Unfinished Manuscripts. 1September, 999, China Youth Publishing House published Wang Xiaobo's Collected Works in four volumes, Trilogy of Times, Black Iron Age and Wang Xiaobo's Old Essays. In just two or three years, Wang Xiaobo's works of nearly two million words were published and reprinted in hundreds of thousands of copies, and there were countless pirates. Xiao Bo himself claimed to have many nicknames such as "urchin", "knight", "free thinker" and "master outside the literary world". Writers from all walks of life have imitated his writing style, and even set off a "Wang Xiaobo fever" in the literary world. Nowadays, there are still a large number of commemorative articles scattered in newspapers and magazines every April.

Before 1997, Wang Xiaobo published less than 300,000 words, such as The Golden Age and The Secret History of the Tang Dynasty. He won the novella award of Taiwan Province United Daily News and the best screenplay award of Argentine Film Festival twice. This is not an opportunity to show his fame, but a criticism: his works lack positive themes and cannot inspire people. Therefore, the publication of Golden Age singles in Chinese mainland was two years later than that in Hong Kong and Taiwan. But the chairman has a good saying: "it's going to rain, and mom is getting married. Let him go!" " "The implication is that if people go, it will be a matter of interest. What is the dilemma? Therefore, when Xiao Bo died, the voice of criticism was silent.

China people's respect and kindness to the deceased probably stems from the long-term infiltration of the Chinese nation's "human sacrifice culture" that lasted for thousands of years: needless to say, emperors and generals, warriors and horses, even ordinary people who can afford a coffin board know that the whole pots and pans were buried with the deceased-the whole history of China was dug out of rags picked up from rotten coffins, so it is no wonder that China people attach importance to and prefer the aftermath.

First of all, death is luck.

There is almost no reason to say that the lucky ones are lucky, because we are not sure to win the first prize in the next sports lottery, but the so-called lucky ones have at least one real unfortunate reference. Lu Xun said that the first person who ate crabs was a warrior, so the second person who ate crabs had less risk of losing his life, so he should naturally be considered lucky. Of course, this lucky man may not be brave, but he just walked behind. Although he has lost the pleasure of being a hero in public, he can eat crabs with peace of mind-in Wang Xiaobo's literary field, he is lucky to be the second person to eat crabs, so he can write his own novels with peace of mind: say what Wang Er wants to say and do what Wang Er wants to do.

Wang Xiaobo's fellow countryman, Wang Shuo, was undoubtedly the first warrior to eat crabs. As the first wise man in contemporary literary world, Wang Shuo lost no time in creating many cultural "brands" in the blank of 1980s: rogue literature, TV soap operas, warm dramas, "poor" culture, Beijing vernacular literature and so on. But these "brands" are not so easy to manage, because corresponding to China people's enthusiasm for the aftermath, they are very rude to the living, especially when they find Wang Shuo, a maverick genius, they dare not praise him at all, for fear of encouraging his femininity to follow in Fang Zhongyong's footsteps. After the climax of "Wang Shuonian" in August 7th, the top hats of "literary hooligans" and "hooligans" followed one after another, and the criticism of newspapers and magazines was endless. In the reflection of 1989, mainstream newspapers even listed Wang Shuo as one of the manifestations of "liberalization"-this is a great crime. Wang Shuo was very depressed, so he quickly showed his good citizen card and moved to the film and television circle. Therefore, whether it is the tender and affectionate desire, the story of the editorial department or the anti-fascist red cherry, the old Pique has disappeared. It was not until the end of the century, as mentioned later, that Wang Shuo went into battle again, pointing out that Jin Yong was full of enthusiasm for Lu Xun and made another scene.

As a rising star in the literary world, Wang Xiaobo's works are naturally much more profound than Wang Shuo's, but he inherited Wang Shuo's unruly and rebellious spirit without reservation. I think even Xiao Bo can't get rid of the stereotype that scholars despise each other. He is very respectful and grateful to Wang Shuo from the bottom of his heart: in the mid-1990s, when Wang Er described by Xiao Bo once again boldly and sharply mocked and rebelled against the old social morality, cultural standards and mainstream ideology as a marginal person, people no longer labeled him as a rogue, but almost seemed to like him-the "warm-up activities" of Wang Shuo's early figures such as Shiqiao and Dialect. Xiaobo once commented on Wang Shuo's article, saying that Wang Shuo "has artistic achievements and is not small", and "this kind of art can only be appreciated by mature and profound audiences". Therefore, although Wang Shuo was not lucky enough to meet such an audience in his early years, he used his crusade to grind out such an audience for future generations. No wonder he later heard that Wang Shuo wanted to change his style and move closer to the mainstream, and Xiaobo was also "worried" about the old-timers.

The second thing is the luck of the successor of the former servant.

Having said so much nonsense, I just want to express my infinite respect to the living who are still struggling and the pioneers with unlimited creativity, and also say a few words of comfort to Wang Shuo. But this does not mean that I have the slightest contempt for the dead and their successors, because now, if we fall asleep or lose our creativity, we can only be the heirs and the dead. Unfortunately, most people choose the latter, and I have never spoken ill of most people.