贾平凹散文《从“我”走向“我们”》,读读吧

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一个人的生存经验来自他的生存方式。

读你的作品,我尽量地去理解,但我不得不说,3月20日寄来的那篇小说,我读了一半就放下了。

“一个女人最大的悲衰在于穿了一件不合体的裙子”,这样的句子像我这样的人无法接受。

国家的发展是因地域差距着,又有各种不同的阶层,可毕竞都是中国,再大的生活差距我应该是大致知道的,不至于有那样的女人吧。

即使有,写那样的生活,读者又会有多少呢?

国家正处于大变革时期,现实生活为作家提供了丰富的写作题材。

任何人都可以自由地选择自己有兴趣的题材。

可是,你要明白,真正的大题材往往是在选择着作家的,如果大题材选择着你,你也就是有使命的,受命于天的作家了。

我遗憾的是你总那么不热衷现实生活的题材,多是坐在书斋里空想,刻意你以为的新奇。

从“我”出发,无可厚非,但从“我”出发要走向“我们”呀。

你从“我”出发又回到“我”处。

文学价值诚然是写人的,要写到人本身的问题,而中国的国情是正处于社会转型期,大变革着,人的问题是和社会问题搅在一起的。

而且,不管什么主张,用什么写法,目的都是让我们更接近生活的本真,现实生活本身就具备了技巧,刻意求新,反而很难写出真来。

关注现实,在现实生活中我们才可能更本真,更灵敏,也更对现实发展有着前瞻性,也才能写出我们内心的欢乐,悲伤,自在或恐惧。

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The tension of the work often lies in the tension with the society. It can also be said that it is easy for the writer to have some friction with the society. This is not the other, it is determined by the professional nature of writing.

However, there is some misunderstanding in the manuscript you are pushing. It is too conceptual.

Once I don't put down the concept in my work, I don't let go of myself, I have a prejudice. I read some prejudice.

It can be said that this historical event has been restored, but it has not been restored to literature.

For real life, there are various ways of writing. I don't like the deliberately exaggerated writing. Such works may be enjoyable to read, but they can't be read for a long time.

I advocate walking on the ground and writing the living state of life.

This kind of fresh work is not a matter of fact, and the relationship between the virtual and the real is well handled. If there is a poetic thing that allows life to be revealed from the people and things written, the more practical the writing, the more virtual the realm of the work can be called The vast majority.

I often ask, why do I write? For whom to write?

This is a big problem. I also said that it is clear that it seems to be born for writing.

In fact, this is terrible. I feel that some friends around me, including me, of course, are often famous for their royalties, for royalties, for writing, and writing becomes a kind of grievance.

I have seen some painters, only two paintings, one is a commercial painting, and the other is a painting that participates in the art exhibition.

Commodity paintings are sloppy and repeat, and the art exhibitions are extraordinarily large, and they all cater to politics and trends.

When I think of these painters, I will inevitably worry about myself.

I have a friend who has written very well, but never propaganda and hype. He writes with no credit. When he writes it, he puts it on his blog at most. I read her work and I am self-defeating.

xxI have experience. When I wrote《废都》and《秦腔》, I didn't want to publish it when I wrote it. It was completely safe to write me. After I wrote it, some friends read the instigation and boarded it before they came out.

Such a work may be controversial, causing a lot of trouble for his life, more readable people, and can read for a long time.

On the contrary, once I want to write something that makes others happy, the work is badly written.

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