Creation in the 80's Title of Work Year of Publication Periodicals Issued The Eighth Bronze Statue 1983 Youth, Issue 7 Sunshine on the Empty Field 1984 Young Writers, Issue 4 Baiyangdian Red Moon 1986 Zhongshan, Issue 1 Grandmother's Season 1986 October, Issue 4 Mulberry Garden Reminiscence 1987 Beijing Literature, Issue 2 Flying Over My Maple and Poplar Tree Hometown 1987 Shanghai Literature, Issue 2 Escape in 1934 1987 Counting a Few People Under the Roof 1987 Blue and White Dyeing House Shanghai Literature, No. 2, The Escape of 1934 1987 Harvest, No. 5, Counting How Many People Are Under the Roof 1987 Zhongshan, No. 5, Blue and White Dyeing 1987 Flower City, No. 5, Stories: Father and Son of a Foreigner 1987 Beijing Literature, No. 8, Lost Songs of Hanging Peanuts 1987 Writers, No. 8, Zhou Meisen's Present Tense 1988 Chinese Writers Far Away on a Rollerblade, Issue 2 1988 Shanghai Literature, Issue 3 Birth of the Water God 1988 Chinese and Foreign Literature, Issue 3 Dead and Unburied 1988 Chinese and Foreign Literature, Issue 3 Hello, Beekeeper 1988 Beijing Literature, Issue 4 Boys in the Well 1988 Flower City, Issue 5 Oddballs 1988 The Writer 1988 The Writer 1988 Sacrifice to the Red Horse 1988 Chinese and Foreign Literature, Issue 5 House of Poppies 1988 Harvest, Issue 6 Calm as Water 1989 Shanghai Literature, Issue 1 The Woman in the Grocery Store 1989 Times Literature, Issue 2 The Completion of the Ceremony 1989 People's Literature, Issue 3 Shununong or Life in the South 1989 Zhongshan, Issue 3 Fleeing 1989 Youth Literature, Issue 3 The Fall of the South 1989 Times Literature, Issue 5 Wives and Concubines Chengqun 1989 Harvest, No. 6 (
Reference:
The 90's Creation Works Titles Year of Publication Periodicals Married Man Yang Po 1990 Writers, Issue 4 Cotton Field, Scarecrow 1990 Youth, Issue 4 Women's Life 1990 Flower City, Issue 5 Why Girls Cry 1990 Times Literature, Issue 5 Running Wild 1991 Zhongshan, Issue 1 My Cotton, My Home 1991 Writers, Issue 1 Blowers to the West 1991 Shanghai Literature, Issue 2 West 1991 Shanghai Literature, Issue 2 Another Kind of Women's Life 1991 Novel World, Issue 4 Guide to Divorce 1991 Harvest, Issue 5 As Beautiful as an Angel 1991 Novel Forest, Issue 6 Wooden Shell Radio 1991 People's Literature, Issues 7 and 8 West Window 1992 Lijiang, Spring Issue, Issue 1 The Nineteen Rooms 1992 Zhongshan, Issue 3 HuiLi Brand Sneakers 1992 The Writer, Issue 4 Walking a Kilometer Along the Railroad 1992 Times Literature, Issue 5 From the Grassland 1992 Fangcaos, Issue 5 Gardening 1992 Harvest, Issue 6 The Tattoo Era 1993 The Writer, Issue 1 Burns 1993 Flower City, Issue 1 A Friend on the Road 1993 Shanghai Literature, Issue 1 Fox 1993 Novelist, Issue 2 Oblique tweed duck-tongued hat 1993 Novelist, Issue 2, The Fifth Road 1993 Freshman World, Issue 4, Paper 1993 Harvest, Issue 6, Marrying a Mute 1994 Flower City, Issue 2, What is Love 1994 Jiangnan, Issue 3, Beauty Disappearance 1994 Writers, Issue 3, Xiaomo 1994 大家 1994 Minfengli, Issue 3, Woodpecker 1994 Woodpecker, Issue 4 Spring in the Meat Factory 1994 Harvest, Issue 5, Bridgeside Teahouse 1994 Youth Literature, Issue 7, A Place Called Ban Hui 1994 Youth Literature, Issue 7, A Cloud 1994 Mountain Flowers, Issue 10, The Man Who Breeds Roosters 1995 Zhongshan, Issue 1, That Kind of Man (Two Articles) 1995 Flower City, Issue 3, Planted Pots of Cactus 1995 SAR Literature The Third Issue of Eighteen Xiangsai 1995 Hibiscus 1995 The Fourth Issue of Binding Your Feet 1995 Shanghai Literature The Fifth Issue of Butterflies and Chess 1995 Everyone The Fifth Issue of Three Lights 1995 Harvest 1995 The Fifth Issue of Things Relatives Talk About 1995 Everyone The Sixth Issue of Corn Explosion 1995 Changjiang Literature The Seventh and Eighth Issues of Peanut Nougat 1995 Hunan Literature The Seventh and Eighth Issues of Popular Songs 1995 The eighth issue of Guangzhou Literature and Art in 1995 Shed Car in 1995 Kitten in the ninth issue of Donghai in 1995 Crime Scene in the ninth issue of Donghai in 1996 Cholera in the first issue of Huacheng in 1996 Park in the first issue of Tianya in 1996 Writer in the first issue of Cousin Comes to the Town of Maqiao in 1996 Sound Research in the first issue of Sprout in 1996 The Harvest in 1996 The Second Issue of Red Peach Q1996 Harvest, Issue 3New Heavenly Fairy Match1996 Harvest, Issue 3Scorching Sky1996 Everyone, Issue 5The World's Most Deserted Zoo1996 Mountain Flowers, Issue 6Two Cooks1996 Harvest, Issue 6Angel's Grain1996 Beijing Literature - Splendid Readings, Issue 11Tell Them I'm Going by White Crane1997 Harvest A Flock of Sheep on the Beach, Issue 1 1997 Shanghai Literature, Issue 3 1997 Goddess Peak 1997 Novelist, Issue 4 1997 August Diary 1997 Rain Flower, Issue 9 1997 His Mother's Son 1997 Rain Flower, Issue 9 Thief 1998 Harvest, Issue 2 Transition 1998 People's Literature, Issue 3 Artificial Landscapes 1998 October, Issue 5 The Shuttle Bus to the Porcelain Factory The Sixth Issue of Letters from the Masses, Huacheng, 1998 The Fifth Issue of Harvest, Sunflower, 1999 The First Issue of Everyone, Arching Pigs, 1999 The First Issue of Shanghai Literature, Cuban Knives, 1999 The First Issue of Writers, Water Ghosts, 1999 The First Issue of Harvest, Giant Babies, 1999 The Second Issue of Everyone, What Does Your Husband Do, 1999 The Third Issue of Everyone, The New Era's Snow White, 1999 The World of Flesh and Flesh 1999, Issue 4 of Everyone 1999, Issue 5 of East China Sea, Issue 5 of Independence Column 1999, Issue 5 of Everyone, Issue 5 of Spy 1999, Issue 6 of Everyone, Issue 6 of Heavenly Relatives 1999, Issue 8 of Youth Literature, Issue 8 of Atmospheric Pressure 1999, Issue 10 of People's Literature, Issue 10 of Taming of the Son 1999, Issue 4 of Zhongshan (
Reference:
Written after 2000 Works Titles Year of Publication Periodicals Issued A Crooked and Skewed Tree In 2000, the first issue of Short Stories, an open-air movie, in 2000, the first issue of Science and Technology Wizard of Wealth, Mr. Sima, in 2000, the fifth issue of Zhongshan, Poplar and Poplar, in 2000, the seventh issue of Writers, an evening in the winter of 1973, in 2000, the seventh issue of Tianya, a chain of osmanthus flowers, in 2000, the second issue of Harvest, an umbrella, in 2001, the first issue of Harvest, the second or third incident of the female classmates. In 2001, the fourth issue of Huacheng, brother-in-law Risheng in 2002, the seventh issue of Shanhua, Dim Sum in 2002, the tenth issue of Shucheng, Baixue Piggot in 2002, the first issue of Zhongshan, People's Fish in 2002, Beijing Literature, the ninth issue of Izumi in 2007, Zhongshan, the fourth issue of Vanilla Camp in 2010, Novel Monthly in 2010, eighth issue of (
) Reference:
Precisely because the child is a bystander, the so-called ideology is clean, and the memory of the details of the era is clearer than the participants. Particularly primitive beings, burdened with little ideology, will have intuitions about the nature of things, the kind of things worth preserving, worth pursuing, that are hard to train.
"Childhood perspective is something that I have always utilized in my novels, it is my most primitive opportunity to create fiction, something fragmentary, something that is for me the way or angle to perceive life. Not through sociological awareness, not through an adult's worldview, not to mention deliberately imitating a child's eyes, I am more convinced that childhood memories preserved to this day and still shining brightly in my head are something valuable and closer to the true meaning of the way I understand the production of fiction. I think intuition is important."
It was what he saw and heard in his childhood that made Su Tong "young and old." When he started writing, he realized what an important asset it was. As a result, Su Tong believes that "childhood life has actually continued and even grown on us" and regards it as the biggest secret of his writing. He said, "I think that whether it is love or hate, the heaviest bag in the bag of a writer's life may be filled with the memory of his childhood. Whether this memory is gray or bright, we must carry it and cherish it, except for this, we do not have a second way to deal with it." Su Tong is good at portraying women's image, the old adage of "the red face is thinly disguised" is particularly flavorful in Su Tong's hands. In his view, perhaps "women are cohesive with more novel factors", Su Tong's women's despair, misery, loneliness, heavy readers feel y depressed and suffocated. The novel Concubines describes Songlian's transformation from a schoolgirl into the fourth aunt of the Chen family, gradually dissolving into the jealousy of the Chen family compound, witnessing the tragic fates of the women of the Chen family, and ultimately turning herself into a madwoman. Qiu Yi and Xiao Calyx in "Red Pink", who are sisters in a "vast world that is hard to change", become enemies because of a man. In "Women's Lives", Hsien wrongly places her mission of liberation on a dominant man, so that she walks through her heartbreaking and bumpy life in the short-lived warmth of a man's love. The girl who was asked by her family to "swap marriages" in "Izumo" had no choice but to go back to the countryside and marry the epileptic husband she was supposed to marry in the first place after experiencing life in the city.......
These characters have a similar mindset and the same fate. . Su Tong has long been known as "the male writer who understands women best and writes about them best".
In fact, Su Tong's understanding of women basically comes from his memories and reflections on his childhood observations and feelings. More than half of the book is devoted to his recollections of his childhood, with a variety of women looming in the background. There are commentators, teachers, tailors, hawkers and other lower-class characters. These characters became important assets of Su Tong's writing. New Historicism believes that history is the "writing" of history by human beings, something composed of archives or texts. Because of such a "writing", history is heavily colored by individuals, and its objectivity is bound to be questioned, or even history is a discourse that expresses the interests of different groups. Therefore, history is not only not a true record of historical events, but also a fiction in general, just like literature. Because of this understanding, the history depicted in the new historicist novels is the virtual or imaginary history of the novelists, or they put the life of the pen in a "historical" coat, even if the real historical events in the works are often only some insignificant embellishments.
Su Tong's long novel "My Imperial Career" is written in the court of Xieguo, which is his "randomly constructed court", and the story written by him is also his "historical story blended according to his favorite recipe". Here, history is just a coat, a set for the characters' performances. His aim is to use history as a prop to depict and explore the complex aspects of human nature.
Chen Sihe, now associate dean of the School of Humanities at Fudan University, considers Su Tong's "Concubines and Wives" to be one of the most sophisticated works of the "new historical novel". He commented on the novel's artistic features: "The life scene of mutual rivalry within a feudal family generated by 'polygamy' and the corresponding principle of survival is the core idea of the novel. As the entire novel is basically narrated from Songlian's single point of view, Su Tong is able to exercise his very delicate and subtle charm of writing, and he is very good at capturing the subtle feelings of women's body and mind, incorporating the profound power of human nature into the perspective of the scene of survival." Thematic Imagery of the Novels
While most of Su Tong's novels choose ancient Chineseized materials, getting rid of the narrative purpose of talking book novels of punishing the evil and promoting the good, and abandoning the narrative ethics of karma reincarnation and rewarding the good and the evil are the new connotations Su Tong gives to the old stories.
The most significant manifestation of Su Tong's pioneering novels is the novel's thematic imagery. The theme of Su Tong's novels has the characteristics of diversity and richness, and he replaces the theme of traditional novels with personalized theme discourse. The thematic imagery of his novels can be summarized in the following forms: 1, the spirit of returning home and the reality of escaping. From The Story of Toon Tree Street to Flying Over My Maple Tree Hometown to the secular men and women in real life, the image of the fugitive can be seen everywhere. Whether it is the city or the countryside, reality or history, these are just different backgrounds for Su Tong's novels. He has been writing his life with two different pen and ink, the hideousness of the city and the gentleness of the countryside overlapping and alternating, and he is always wandering between the city and the countryside, and trying to find something in his life.2. Violence and Warmth of Human Nature. In many of Su Tong's novels, human nature is no longer sacred and glorious, but a kind of sin and numbness; the process of human life is no longer harmonious and perfect, but a kind of stagnation and mutilation. Mrs. Huangpu and Ruibai in "My Imperial Career", the Queen Wu in "Wu Zetian", and many citizens in "The North Zone of the City" and "Toon Tree Street" can all see the evil and inferiority of human nature. 3. Death Care and Life Consciousness. In his novels, Su Tong writes about the shrinking, distortion and agitation of life to stimulate the desire to reshape the soul of the nation.
The extreme use of imagery
The use of imagery is one of the characteristics of "vanguard" novels. In Su Tong's novels, it is used as a special carrier to express his unique understanding of life and living and aesthetic concepts. His imagery creation is very expressive and creative, which makes his novels always carry a lot of mysterious and fantastic colors and meanings for readers to think. In the "Toon Tree Street" series, the two images of river and street appear in almost all the novels. The creation of imagery further expands Su Tong's space of expression, and produces a deep and mysterious nature like dreams, legends and myths. These meanings in the novels always involve the fate of the characters and imply the author's understanding of life and living.