A question about Zhang Xiaofeng’s "Novel Classroom"

Personal profile

Zhang Xiaofeng, whose pen names include Xiaofeng, Sangke and Keke, is a famous third-generation prose writer. He was born in Jinhua, Zhejiang in 1941 and is a native of Tongshan, Jiangsu. He went to Taiwan at the age of eight and graduated from Soochow University in Taiwan. He has taught at the school and Hong Kong Baptist College and is currently a professor at Taiwan Yang-Ming Medical College. She believes in religion and loves to create. There are thirty to forty works of novels, essays and dramas, which have been reprinted and translated into various languages. She became famous for her prose in the mid-1960s. In 1977, her works were included in the "Anthology of Taiwan's Top Ten Essayists". The editor Guan Guan said, "Her works are Chinese and nostalgic, not forgetting the classics but embracing the modern. She is also extremely humane." Yu Guangzhong once described her writing as "soft yet strong" and listed her as "a famous writer of the third generation of prose writers". Some people say that "the writing is as hot as the sun, as chaste as frost and snow, the chapters are as fragrant as plum blossoms, and the words are like pearls striking ice." They all spoke highly of it. She has won Wu Sanlian, the Sun Yat-sen National Literature and Art Award, and was selected as one of the Ten Outstanding Young Women.

Creative process

Zhang Xiaofeng's prose artistic creation process can be roughly divided into three consecutive paragraphs. The first paragraph is marked by her first collection of essays "That End of the Carpet" published in 1966. She sees the world through the eyes of a smart and innocent girl. The world is a clear, pure, gurgling stream. The second paragraph is like a stream running towards a lake filled with turmoil, love and hate, and emptied by turbid waves. It begins with the essay collections "Nostalgic Stone" (1977), "After Stepping Off the Red Carpet" (1979) to "You" "Never Loved Yet" (1981) is a symbol, which can be regarded as the transition and completion from the first paragraph to the second paragraph. The second paragraph has a longer time span. "Rebirth" (1982) can also be regarded as an extension of this paragraph, to "I Am" (1984), "From Your Beautiful Watershed" (1988), and "Jade Thoughts" (1990), the verandahs gradually become larger and larger, just like changing from a lake to a magnificent sea. Let us make an assumption here. If Zhang Xiaofeng's prose creation stops in the second paragraph, although she is still one of the outstanding female writers in the history of modern Chinese prose, she is a lady who has emerged from the narrow and cramped world of ladies among ordinary female writers. A breakthrough player, but after all, he is not yet a master of prose with great originality. The originality of Zhang Xiaofeng's prose art lies in the second paragraph, and even more so in the third paragraph starting from "I Am". Only this third paragraph announces the birth and completion of a prose master whose purpose is the generation of life and creativity and the poetic interpretation of survival ontology. The poetic interpretation of the ontology of life and existence is the greatest contribution this female writer has made to the history of modern Chinese prose. She embarked on this path of poetic interpretation of the ontology of life and existence. There was a process from not fully conscious to fully conscious, from incomplete to complete, but it had its inherent logical inevitability. Zhang Xiaofeng, Born in 1941 in Tongshan, Jiangsu, and in Jinhua, Zhejiang. She came to Taiwan after she was eight years old and graduated from Soochow University in Taiwan. She has taught there and elsewhere and is currently a professor at Taiwan Yang-Ming Medical College. She is a devout believer in religion and loves to create. She has written thirty to forty novels, essays and dramas. It has been reprinted and translated into various languages. She became famous for her prose in the mid-1960s. In 1977, her works were included in the "Anthology of Taiwan's Top Ten Essayists". The editor said, "Her works are Chinese, nostalgic, not forgetting the classics but embracing the modern. She It’s also extremely humane.” As early as 1977, the 36-year-old Zhang Xiaofeng was praised by critics in Taiwan as one of the "Top Ten Contemporary Chinese Essayists". Commentators praised her "writing as hot as the sun and as chaste as frost and snow." "The article has the fragrance of winter plums, and every word is like a tassel striking ice." It can be said to be the first perceptual sketch of her poetic prose. In 1981, when her fourth collection of essays "You Haven't Loved Yet" was published, Mr. Yu Guangzhong wrote a preface to the book, calling her a "driving and powerful pen" who was "both beautiful and powerful" and "caught the wind and thunder on her wrist". Zhang Xiaofeng's prose artistic creation process can be roughly divided into three consecutive paragraphs. The first paragraph is marked by her first collection of essays "That End of the Carpet" published in 1966. She sees the world through the eyes of a smart and innocent girl. The world is a clear, pure, gurgling stream.

The second paragraph is like a stream running towards a lake filled with turmoil, love and hate, and emptied by turbid waves. It begins with the essay collections "Nostalgic Stone" (1977), "After Stepping Off the Red Carpet" (1979) to "You" "Never Loved Yet" (1981) is a symbol, which can be regarded as the transition and completion from the first paragraph to the second paragraph. The second paragraph has a longer time span. "Rebirth" (1982) can also be regarded as an extension of this paragraph, to "I Am" (1984), "From Your Beautiful Watershed" (1988), and "Jade Thoughts" (1990), the verandahs gradually become larger and larger, just like changing from a lake to a magnificent sea. Let us make an assumption here. If Zhang Xiaofeng's prose creation stops in the second paragraph, although she is still one of the outstanding female writers in the history of modern Chinese prose, she is a lady who has emerged from the narrow and cramped world of ladies among ordinary female writers. A breakthrough player, but after all, he is not yet a master of prose with great originality. The originality of Zhang Xiaofeng's prose art lies in the second paragraph, and even more so in the third paragraph starting from "I Am". Only this third paragraph announces the birth and completion of a prose master whose purpose is the generation of life and creativity and the poetic interpretation of survival ontology. The poetic interpretation of the ontology of life and existence is the greatest contribution this female writer has made to the history of modern Chinese prose. She embarked on this path of poetic interpretation of the ontology of life and existence, from not fully conscious to fully conscious, and never finished

Main works

"A Woman" "View of Love", "A Kind Word", "Two Spring Days", "Thoughts in the Forest", "Just Because I'm Young", "Xingxing", "Jade Thoughts", "Mistake", "I Don't Know He Goes Back" None", "Legendary Gem", "The What and What of Life", "Life, Measured in What Units", "I Know Who You Are", "I Have a Dream", "The Bamboo in the East and the Bamboo in the West" "The Wall", "Six Bridges", "Sanyu", "Six Bridges", "I Have a Rain-Praying Stick", "A Pair of Small Shoes", "A Jade Sheep", "Ichiban", "A Praying Stick", "Mountain Epiphyllum", ""Your Silhouette is So Beautiful"", "Street Trees", "Some People" , "Life Between the Stones". "If You Have a Song", "Security", "Lover", "Love World", "Blood Flute", "Your Silhouette is So Beautiful", "You Haven't Loved Yet", "I'm Here", "I Know Who You Are", "After Stepping Down the Red Carpet", "Wuling Man", "Flower Notes", "Fei Fei Ji", "Humor No. 53", "The Stars Have Already Arrived", "Philosophy" "Thinking Sketch",. "Painting Love", "Give You Yingying", "Country Sound Thousand Miles", "Black Veil", "Love in Late Autumn", "Homesickness Stone", "Auntie Can Only Say One Word", "Shishi, Qingqing and Me" , "Walking with Love", "Mimi", "Xiaofeng's Novels", "Zhang Xiaofeng's Choice", "Zhang Xiaofeng's Classic Works", etc. In addition to his numerous publications, the 66-year-old Zhang Xiaofeng has taught at universities for more than 30 years. He retired last June and currently teaches two classes on "Concepts of Life and Death in Chinese and Western Literature" at Yang-Ming University. She told reporters that this was the realization of a long-held wish. Since she switched from a professor in the Chinese Department to a professor in the medical school in 1975, she has consciously felt responsible for the humanities direction of medical students. Zhang Xiaofeng said with emotion that many people have thought about illness and life. After experiencing this experience, she realized that the three most important words she said when facing death were to say to the people around her, "Thank you, I'm sorry, I love you." Zhang Xiaofeng is a native of Tongshan, Jiangsu. She writes dramas, essays, and essays. She was selected as one of the top ten outstanding young women in Taiwan. The famous writer Yu Guangzhong praised Zhang Xiaofeng as "a strong pen that is both elegant and heroic", "This pen can describe scenes and narratives, sing about things and convey people, it is heroic when it is promoted, and it is delicate when it is suppressed." In recent years, Zhang Xiaofeng has devoted himself to the environmental protection movement and spoken out for the public.

Hometown of the Soul

Yesterday at 17:00, the famous Taiwanese writer and poet Zhang Xiaofeng set foot on Gulangyu Island. She said that she and two other female poets came to represent Xi Murong and other Taiwanese female poets. 2007 Gulangyu Poetry Festival. About Women and Poetry Reporter: The theme of this poetry festival is "Women and Poetry". As a female poet with decades of poetry experience, what impact does your female identity have on writing poetry? Zhang Xiaofeng: Women have a natural advantage in language. Women are more willing to use language. For example, they like to chat with people and are good at expressing feelings in language, which is very helpful for writing poems.

But today's young women don't like to use words. They can't even say words like "Yeah" lazily. They prefer to use visuals, such as staring at computers or TVs for a long time, and the language of TVs is very poor. . In fact, frequent use of language is very helpful for writing poetry. Reporter: Poetry writing is often restricted by age, but you are still writing poetry. How do you maintain your creativity? Zhang Xiaofeng: I think poetry can be written for a lifetime, and I keep writing. To maintain the ability to write poetry, there are two things to do. One is to have something to say and observe things with concentration. The other is to have the ability to express yourself in language. You must string together experiences in an instant and draw conclusions quickly. . About Lin Yutang Research Reporter: Lin Yutang once lived on the island at your feet, and the Liao family villa is not far from you. As a member of the management committee of Lin Yutang’s former residence in Taipei, tell me how you commemorate this literary master. ? Zhang Xiaofeng: In addition to the discussion of Lin Yutang's literary works, we also focus on the details to let everyone truly experience Lin Yutang. For example, in order to experience Lin Yutang's peaceful life in Zhangzhou when he was a child, we organized a cake-making party during the Qingming Festival (moistening cakes are Spring rolls, reporter's note), everyone started to make the spring rolls together. Later, we specially sent people to Zhangzhou to learn about several ways to make moist cakes, and introduced them to everyone when we returned to Taiwan. Reporter: From your perspective, what is the most precious spiritual wealth left to us by this literary master? Zhang Xiaofeng: Humor! His humor was lonely in that environment and seemed inappropriate at the time. In fact, in my opinion, the more difficult the situation, the more humor should be used. During World War II, when Churchill was the leader of the Allied Forces, he said: "Until the hotel is closed, I just left." It means to withdraw only after failure. You see, his humor keeps you from getting discouraged when you fail. People should not always be in a state of tension, as this is very detrimental to both creation and life.

About hometown

Reporter: Looking at your life experience, there is always a sense of wandering. I heard that you were born during the migration during the Anti-Japanese War. Tell me about the time before you came to Taiwan. Was the experience good? Zhang Xiaofeng: My ancestral home is Xuzhou, Jiangsu, and my birthplace is Jinhua, Zhejiang. Indeed, I was born on a migration journey during the Anti-Japanese War. I had no impression of Jinhua since I was just born. But later I learned that Jinhua was where Li Qingzhao lived, so I felt very honored that Li Qingzhao and I were in the same city. I like Li Qingzhao's poetry very much, and this is probably a kind of fate. After the outbreak of the Anti-Japanese War, our family moved to Chongqing. I actually have no impression of Chongqing because I was too young at the time. The first city that really impressed me was Nanjing. I can't forget this city for many years, until now. Xiamen still feels like home in Taiwan. There are no differences in food, accommodation, and transportation. It’s very friendly. Reporter: But what your words make me feel is not the vicissitudes of life but calmness. Is it the existence of your hometown and words that give you a sense of belonging? Zhang Xiaofeng: I have a fate of wandering, but unexpectedly I survived on a small island for a long time. My body grew up in Taiwan, but my heart seems to be connected with historical China, whether it is to Nanjing Or Xi'an, I think they are both a hometown in my soul. It seems that literary ancestors such as Li Bai, Du Fu, and Li Shangyin will run out to meet you at any time, so they can connect with the tradition not geographically but spiritually.

Warm as spring

Taiwan critics praised his "writing as hot as the sun, as chaste as frost and snow, every article has the fragrance of cold plums, and each word is like knocking a necklace on ice." Yes, Zhang Xiaofeng's articles should be clear and clever, ethereal and warm, with strong feelings that cannot be resolved, a love that is too thick to be moved, life that is far away and endless, and death that is close and cannot be touched. . This is a woman's world. Delicacy, elegance and elegance are mixed with a touch of regret for the short life and the persistence of seeing through the world without losing confidence and enthusiasm. The woman who is about to become a bride standing at the other end of the carpet is full of happiness and infinite sweetness; the woman who is wearing her mother's feather coat and carefully reading the story of the Cowherd and the Weaver Girl to her children is so willing to be a fairy who "cannot bear to fly away" , I would rather let the pure white and soft Yuyi turn into an eternal legend at the bottom of the box; a woman's view of love is "full of satisfaction and want to 'live' with him", until the black hair turns into silver hair, the delicate face turns into vicissitudes, and the one who loves each other is In the bubble, we still never give up, forever and ever. Infinitely delicate emotions flow out from the tip of Zhang Xiaofeng's pen, silently forming a gurgling river, swaying with warm blue waves.

Occasionally, when I go boating on the river, I am immersed in the beautiful water, and I can't get through it no matter what. It wasn't until those ancient words became alive and dancing, until those tiny emotions touched the string deep in your soul, creating another style of mountain and flowing water, that I walked back to the shore dripping wet from the river, still holding back. Don't stop looking back three times. It seems that what Zhang Xiaofeng talks about are all trivial matters, and they are all about the world from a "female perspective", but there is indeed a natural poetic style, a female poetic style, floating and wandering between the lines. This is not to say that Zhang Xiaofeng's writing is "little women's literature". She is extremely feminine and yet somewhat bold. Mainly feminine, mixed with strength, Zhang Xiaofeng really knows and can freely use the combination of strength and softness. "When I go to the mountain, what I cross is space, flat space, and straight space", passing through history very indifferently; "The trees are there, the mountain is there, the earth is there, the years are there, and I am" very casually ignoring the time "But in the vast wilderness, the desert past and present, and the ordinary faces of all living beings, who am I, and who am I?" I looked at myself very easily. In this way, it is not an exaggeration to say that there is a kind of philosophy in Zhang Xiaofeng's prose. They are like an undercurrent, silently nourishing the earth of Zhang Xiaofeng's words. As long as there is a small crack in the ground, this clear spring will surge out. This spring carries not only modern musings, but also distant thoughts. In increasingly modern texts, traces of five thousand years can rarely be seen. Has the grotesque modernity annihilated the classical romance, or has the steady stream of ancient books exiled the modern directness? Maybe no one knows. However, Zhang Xiaofeng's writings naturally sway with the classical feelings that are almost extinct in the writings of this era. She has a considerable foundation in Chinese classical art and aesthetics, coupled with her understanding and exploration of national etiquette, cultural customs, and the beauty of the earth's mountains and rivers, combined with the meticulous craftsmanship of her words, making her articles full of aesthetic fragrance. "I am willing to be like that maple leaf, spreading my pure light green in the morning breeze, and burning my earnest bright red in the sunset"; "When the red leaves on the mountain are hanging poetically, how much beautiful sadness is this!"; "Imagine a small white flower blooming on your grave, transparent and pale, sobbing quietly in the rain."; "She carried two baskets of flowers on a pole"; "The wind also turned over your green forehead today. Hair, and you are wearing a windbreaker, walking in the wind of the ages." How many landscapes have you seen? How many words in these artistic conceptions exude their original brilliance but have been diluted by time? This modern woman who spends her whole life brewing her concentration, and what she is waiting for is just that moment of devotion, tells a long and endless story in her own life. There are heroes and beauties in the story. , there is a good wine knight, it is more of a natural love and sincere perception of life. When it comes to this, I can't help but think of Sanmao, a woman who is equally passionate and unrestrained, who also loves life and understands life, but it is two completely different lives. Perhaps women are born with the need to have a free mind and perfect love, and talented women need these to infiltrate their souls, so that one day they will not be left with silver hair and wrinkles when their appearance has aged and their beauty has not been precipitated by time. Fortunately, Zhang Xiaofeng had everything. Therefore, time will only make her more graceful and outstanding, and more radiate the simple depth and brilliance of her words. Perhaps in an era that calls for passion, Zhang Xiaofeng's words will not burn. Her things may not be able to warm everyone who desires warmth, but they can definitely warm herself and everything she loves, and they can also warm me in the cold night of life. If you are tired one day and stand in the cold night of life with the biting cold wind blowing, you might as well read her words to keep warm. Perhaps Liu Yong has already thought of another feeling besides the dawn wind and the waning moon on the bank of willows. On the bank of willows, the morning breeze blows into my arms, as warm as the Indian summer.

Poetic heart is not old

Zhang Xiaofeng, an essayist and poet with a wide readership, is 66 years old this year. She suffered a serious illness two years ago, but as soon as she set foot on the beautiful Gulangyu Island, she She couldn't help but feel inspired by poetry, "I want to take a good look at it and write one or two poems for her seriously." Regardless of the fatigue of the journey, she took a break in the hotel and visited the Gulangyu Piano Museum. During the visit, she repeatedly praised: "A clavichord is a beautiful poem." In a Ming and Qing furniture museum, Zhang Xiaofeng had a special liking for traditional red floor tiles. "This kind of two-foot tiles are exactly the same as those in Taiwan." Unfortunately, modern people tend to use modern floor tiles in their pursuit of neatness and beauty, and they look down upon this kind of floor tiles. In fact, laying this kind of traditional floor tiles in the courtyard of a rural house is both eye-catching and comfortable.

"She lamented that only those of us who are influenced by poetry have such outdated and romantic ideas. She is one of the members of the management committee of Lin Yutang's former residence in Taipei. She heard that there is Lin Yutang's "bridal room" on the island, and she can't wait to visit it right away. I had to go to look for him. At this time, the reception was about to start, and time did not allow it. Zhang Xiaofeng said with regret: "I really want to see the circumstances in which the marriage of a great master was made. " Seeing the reporter holding the book he just bought from "Xiaofeng Bookstore" on the island, Zhang Xiaofeng said as if he was remembering something: "Two or three years ago, I visited Xiaofeng Bookstore in Fuzhou, and someone gave me a chair. , extremely beautiful. I forgot to take it with me when I left, and I have never forgotten it. This time I made an appointment with Professor Xu Xue from Xiamen University and asked him to ask someone to bring me the chair. This time I will take it back to Taiwan. "

Editor's Postscript

Zhang Xiaofeng: A modern woman with traditional education is speaking - "From Your Beautiful River Basin" Editor's Postscript Zhang Xiaofeng is an important writer in Taiwanese literature in the 20th century. Zhang Xiaofeng has made outstanding achievements in the field of prose and script creation. As far as prose creation is concerned, her prose is not only large in quantity but also of high quality. Since the publication of her first collection of essays "The End of the Carpet" in 1966, Zhang Xiaofeng has published nearly 20 collections of essays. , these works are sincere in emotion, broad in vision, profound in thought, and refreshing in writing. With these works, Zhang Xiaofeng has established himself among many Taiwanese prose writers. Yu Guangzhong, who is also a prose writer, admires Zhang Xiaofeng's prose very much and thinks that she is a famous prose writer. His prose is bold, broad-minded, both elegant and heroic, and he praises Zhang Xiaofeng for having “a pen that holds the wind and thunder in its wrist. This pen can describe scenes and narratives, sing about things and convey people, and it is heroic when it is promoted, and it is suppressed when it is suppressed.” It is delicate, and even when it is soft and graceful, it also has a little strength." This judgment of Yu Guangzhong should be regarded as the ultimate comment. Love and family affection are the themes that Zhang Xiaofeng continues to pay attention to in his prose creation. In the compilation of "First Blossoming Poems" The article, from the love between parents, to love, to the love between children, to friendship and the love for things, all kinds of emotions run through "my" life from childhood to adulthood and become the source of happiness for "me" as a person. Zhang Xiaofeng, a Chinese writer in Taiwan, has deep feelings for her motherland. Most of the articles in the second volume "Homesickness Stone" are her emotional expressions after repeatedly recalling, imagining, and getting close to the great mountains and rivers of her motherland and its long culture. Zhang Xiaofeng has both metaphysical philosophical contemplation and metaphysical experience in his prose about various phenomena in the world. The articles in the two series "Give Me an Explanation" and "Ode to Life" roughly reflect this aspect of Zhang Xiaofeng's prose. Two major characteristics. Because he loves nature, cares about humanity, and can derive inspiration from nature and humanity to think about the world and reflect on life, there are many works in Zhang Xiaofeng’s prose that write about nature and lament about humanity. "The Ode to Things" is a centralized classification of Zhang Xiaofeng's prose, from which it should be easy to see Zhang Xiaofeng's "view of nature" and "view of humanity"

Evaluation

She firmly believes in it. Religious and fond of creation, he has written thirty to forty novels, essays and dramas, which have been republished and translated into various languages. He became famous for his prose in the mid-1960s. In 1977, his works were included in the "Top Ten Prose in Taiwan". The editor Guan Guan said that "her works are Chinese, nostalgic, not forgetting the classics but embracing the modern times, and she is extremely humane." Yu Guangzhong once said that her writing is "gentle yet strong." He is listed as a "famous writer of the third generation of prose writers" and some people say that his writing is "as hot as the sun, as chaste as the frost and snow, and every word has the fragrance of cold plum blossoms, and every word is like a pearl striking ice." ” were all highly praised. As early as 1977, the 36-year-old Zhang Xiaofeng was praised by critics in Taiwan as one of the “Top Ten Contemporary Chinese Essayists”. Reviewers praised her “writing as hot as the sun. The purity of frost and snow. "Every article has the fragrance of winter plums, every word is like a tassel knocking on the ice", which can be said to be the first perceptual sketch of her poetic prose. In 1981, when her fourth collection of essays "You Haven't Loved Yet" was published , Mr. Yu Guangzhong wrote a preface to the book, calling her a "distinctive and vigorous pen" who is "both beautiful and heroic" and "holds the wind and thunder in her arms"

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Basic information

Penname: Xiaofeng Gender: Female

Born in: 1939 Ethnicity: Han (1939.1-), female, worked as a worker at Beijing Aluminum Pilot Plant , an agricultural worker at a fine seed farm in Beijing, the secretary of Hu Feng in the advisory office of the Chinese Academy of Arts, and a research librarian in the Contemporary Literature and Art Theory Research Office.

Joined the Chinese Writers Association in 1998. Research librarian at the Institute of Marxist Literary Theory. A native of Qichun, Hubei, with a high school education. Member of the China Democratic Alliance and member of the Chinese Writers Association. His father is Hu Feng, a famous literary theorist. After graduating from high school in 1957, he was unable to enter university due to his father's unjust case. He then worked in agricultural labor on a farm in the suburbs of Beijing for twenty years. After Hu Feng's case was vindicated, he was transferred to the Consulting Office of the China Academy of Arts in February 1981 to serve as Comrade Hu Feng's secretary, assisting him in his work and organizing his works, manuscripts and materials. After Hu Feng's death, he was transferred to the Research Laboratory of Contemporary Literary and Art Theory of our college. His main tasks were to organize Hu Feng's manuscripts and related materials, edit and publish Hu Feng's works and research materials, study Hu Feng's literary activities and literary thoughts, and write relevant biographies and Research articles etc.

Main achievements

Published and published biographies of Hu Feng, papers, research materials and essays on Hu Feng’s literary activities and literary thoughts, etc., totaling approximately 400,000 words . Among them, the monograph "Nine Deaths Without Regrets - Hu Feng Biography" (200,000 words) was published by Taiwan Yeqiang Publishing House; a large number of Hu Feng's works, manuscripts, letters, diaries, Abandoned texts, lost translations, etc., about 20 kinds (pieces) were compiled. Finally, it was compiled into "The Complete Works of Hu Feng" in 10 volumes with a total of 5.5 million words. It has been published by Hubei People's Publishing House; he edited and published "I The book "With Hu Feng - Memories of 37 People on the Hu Feng Incident" has a total of 660,000 words. Collected and sorted out various materials about Hu Feng, including manuscripts, diaries, letters, photos, relevant research articles, reports and commentaries at home and abroad, etc., established a complete archive, and maintained contact with scholars at home and abroad to carry out academic exchanges; Participated in the preparation and assistance in all work of the "First National Symposium on Hu Feng's Literary Thoughts" held in Wuhan in May 1989 (our institute was one of the organizers); participated in the preparation and assistance in Beijing in June 1993, and In September in Shanghai, all the work of the "Picture Exhibition of Hu Feng's Life and Literary Path" was organized by the Museum of Modern Literature, Beijing Library, Shanghai Literature Foundation and other units. Edited and annotated "Literary Letters of Hu Feng Luling", wrote "Compendium of Hu Feng's Chronology", and essays "Fifty Years of Divine Friendship, Meeting in Jiuquan", "Old Friendships in Wind and Rain", "Hu Feng and Lu Ling", etc. "Collected Letters of Hu Feng" won the Outstanding Book Award from 1985 to 1990. The edited and annotated "The Complete Works of Hu Feng" won the Honorary Award at the 5th National Book Award.