Zhang Lijun's "Li's temperament and articles and the relationship between wine and hometown"

Before I met Li, I had read some original opinions about Li from many research articles, which was a long time ago. In about 2006, I graduated from the College of Literature of Northeast Normal University, and soon after I went to work in the College of Literature of Shandong Normal University, we met. The first time was around 2007. After attending the meeting in Beijing, Li and I were invited to eat at a restaurant near the North Fourth Ring Road. When I arrived, I found a lot of people, about ten people. That's when Zhu Dongli, Hao, Lu and others met. I can't remember anything else, except that everyone was very enthusiastic that night and drank a lot of wine, dizzy and warm. Due to the common concern and interest in Zhao Shuli and Li in local literature and seventeen-year literature, I have more contacts and exchanges with Li, Li, Li and others, and gradually have like-minded feelings and friendship.

Li Ge is the best brother among my friends, and he is also the brother who meets me sincerely without reservation. In 2008, I took part in the task of marking the national civil service papers in Beijing Education Examinations Institute. After living in Beijing for about a week, I found an opportunity to get together with Li and Xu He in a bar near the Peony Garden. That night, the four of us drank four bottles of Niulanshan. Xu drank the least, but I didn't drink much. Brothers Lei Yun and Fang Wei drank too much. This impressed me deeply. After returning home, Fang Wei and I supported each other and walked around the yard many times until the smell of wine dispersed. In 2009, at the invitation of Qiao Huanjiang and Xu Zhiwei of Harbin Normal University, Lei Yun and I both participated in their activities. Remember to lie by the lake at night, watch the stars and talk about literature together. Since then, we have met many times almost every year because of the conference on contemporary literature. In the winter of 20 16, I participated in the annual works promotion activities organized by China Federation of Literary and Art Circles, drank with Li and Liu, talked about the literature and literary criticism of our generation, and wanted to do something together. Therefore, Lei Yun and Daxian have nothing to do with drinking. Unconsciously drunk, I don't know how to go back to my room in Beijing Convention Center. At eight or nine o'clock the next morning, I almost missed the high-speed train back to Jinan.

Every time I get together with my brother Lei Yun, I feel happy physically and mentally, because I don't have to consider whether the words are appropriate or not, as long as they are inappropriate. Like a big brother, Lei Yun will smile generously, listen patiently and express his opinions calmly. Although I am several years older than Lei Yun, Lei Yun feels like a big brother in my heart in terms of depth, breadth and thickness of thinking, calmness, proficiency and steadiness in doing things. 20 13 Li organized the first national youth forum on literature and art in China Academy of Art ... At the opening ceremony of the conference, Mr. Bai Ye, president of China Contemporary Literature Research Association, looked around and jokingly said, "I have observed Li over the years and come to the conclusion that Li is reliable and can be trusted." Mr. Wang's words speak for many of us, and Li is a trustworthy and reliable young critic.

Everyone has his own origin and destination in life, and every literary critic has his own ideological basis, emotional position and spiritual resources for literary criticism. Both Li He was born in rural Shandong province, and they have similar life experiences and emotional positions. It is difficult for people who are not from the countryside to understand why we love Lu Yao so much, and we don't know how Lu Yao changed our lives in a certain period or life, even our spiritual resources and life support. In his blog, Li once told a question his father had asked during his study from university to master's degree and doctor's degree: "When will you graduate?" In Why Do We Learn? In the article, Li said that his mother once said, "You have been studying. When will you be a leader? " I know the deep feeling contained in it and the silent pain behind it. As Li said: "As a rural child, it is not easy to get a doctorate from primary school. Now think about it, the reason why I can study for a doctorate is not only because of my personal' efforts', but mainly because I was born in a suitable historical period. " In fact, it is extremely difficult for Li and us children born in rural areas of China to study, get a doctorate and find a job in their own fields. This difficulty is not an intellectual difficulty, but a great challenge in economy, family support, occupation and the emotional will brought about by it. It is from our growing experience that we feel the great historical changes in contemporary China since the 1990s, the difficulties and hardships of rural children in contemporary China, the fracture of social structure and the intensification of class solidification in contemporary China. Therefore, whenever someone around me talks about "you have changed and forgotten your roots", I am particularly annoyed. Change is the normal state of life. What can't be changed? But the origin of life cannot be forgotten. Therefore, I especially understand, appreciate and admire Li's literary criticism thoughts and the achievements of the underlying literature in recent years, as well as the deep humanistic feelings and unforgettable local complex behind these things. This is also something that I have been confused and insisting on for some time. What can literary criticism do? Can literature do something for the closest and most miserable relatives in the country?

In 2004, the bottom literature began to become an important literary trend of thought in China literary world in the new century, with Li as its important advocate, which contained extremely important personal life experience and spiritual background of cultural choice of the times. Li said: "I pay attention to the bottom or bottom literature, not only the bottom, but also myself, my parents, my brothers and the countryside." Their fate is a part of my fate, and their joys and sorrows are also a part of mine. I care about them, that is, I care about myself. Today, the situation of the' bottom' is particularly worthy of consideration. " Undoubtedly, China's deep spiritual problems such as the path of social transformation and the direction of reform have been puzzling contemporary China intellectuals, prompting Li and our generation to think about China literature and literary criticism from a new angle.

What is commendable is that Li not only vigorously advocated the literary idea of "bottom literature", but also paid continuous attention to and explored this new literary trend of thought, and made rational thinking and conscious theoretical construction of "bottom literature". The "bottom literature" advocated by Li should not only break the obsession with "pure literature" in 1980s, but also consciously construct new literary aesthetic principles and concepts, even subvert the unjust and unfair old order with the construction of new literary order and the writing of new literary works, and construct a higher goal and cultural vision of new literature, new culture and new civilized order based on China cultural tradition and China aesthetic spirit. As for what Li and some critics are arguing about, whether they can speak for the bottom and how to speak for the bottom, I think as a critical concept, the fuzziness and flexibility of the "bottom" boundary is precisely the embodiment of its vitality and artistic tension. In Li's view, intellectuals can't speak for the bottom completely, but "the attention and performance of writers and intellectuals to the suffering of the bottom is still worthy of respect". "The' endorsement' of writers and intellectuals and the speech of the bottom should complement each other, forming an atmosphere of paying attention to the bottom." To see the richness and paradox of the underlying problems, we should not moralize and solidify the underlying problems, but make an absolute analysis of the opposition and division between the underlying problems and intellectuals. The thoughts and emotions at the bottom are not necessarily at the bottom. Ah Q initially rejected the revolutionary party, and the imaginary future life was the life of the "master". However, some writers and intellectuals' creations, such as Lao She's Camel Xiangzi and Zhao Shuli's novels, only reflect a kind of life, emotion and life world at the bottom, and establish a "bitter juice" life experience with flesh and blood and emotional connection. Lao She said, I can know the words and deeds of rickshaw pullers, singers and craftsmen when I close my eyes, because they are my brothers and sisters and my relatives. In fact, some writers and intellectuals are integrated with the bottom from the emotional depths. It is not a question of endorsement, but the same speech and self-talk, the same breath, emotion and soul. So far, most "bottom literature" has been written by writers and intellectuals. What we should question is not whether we should or not, but whether the endorsement is really realized, that is, whether the endorsement is accurate, artistic and aesthetic. In a higher sense, the bottom literature and pure literature are interlinked, and the final evaluation standard is to reach the literary classics of China and human beings. It should be pointed out that the theoretical thinking of "bottom literature" advocated by Li may need further argumentation, thinking and improvement, but the value and significance advocated by this theory are extremely important, groundbreaking, instructive and irreplaceable. For example, an extremely sharp sword pierced the illusory fog of literature, which made our real suffering and truth return to one great realistic China literary tradition and awakened another.

As a critic who grew up in the countryside, Li has a natural emotional connection with local literature. Rural areas, agriculture and farmers are the starting points for me and Li to think about problems, and they are also the foundation of our lives. Therefore, the local literature thought in Li's literary criticism is a kind of thought that goes deep into literary theory, has a strong sense of problems and often hits the nail on the head. What is more commendable is that Li gained a broader and stronger global vision and critical vision during his graduate studies at Peking University. In the article "How to Develop a New Space for Rural Narration in China", Li examines and thinks about the rural narrative problems in contemporary China from the perspectives of history and timeliness, rural China and the global world, and rural and urban areas, and presents a unique thinking that is broad, grand, solid and affectionate, which gives me a lot of inspiration. Li believes that contemporary rural areas in China are facing unprecedented changes. First, the traditional family culture in rural areas of China has collapsed. Second, the fierce urbanization process in China has greatly changed the rural areas in terms of economy, culture, politics and morality. Thirdly, under the background of global capitalism, the rural problems in China have surpassed rural areas and cities and become global problems. "In this vision, the' village' is not far from the city, but is closely related to everyone. It is not a conservative place that lags behind the city for decades, but a space in the same world as the city." Li believes that the drastic changes in rural areas of China are "unprecedented in the history of China", and the narrative center of China literature has always been centered on the countryside for a hundred years. Therefore, "We tell the story of China Village just to tell the story of China, and only the story of China Village is the deepest and richest' China Story'." It is in this sense that "for us, telling the story of rural areas in China and its changes is not only concerned with' rural areas', but also the experience of China people in today's world. We need to tell the story of modern China people. " Li's thinking is extremely profound. He thinks and defines the great significance, value and rich spiritual connotation of China's contemporary rural narrative from the spiritual dimension of China's great historical changes and China's literary history in the past century. This view has great spiritual enlightenment to writers and critics, which makes us rethink and understand the irreplaceable, profound and rich value of rural narrative in contemporary China. In addition, Li believes that the drastic changes in rural areas in contemporary China are "unprecedented in the history of China and unique in the world". "In the early days of capitalism in Europe and America, there appeared some literary masters who criticized realism, such as Dickens in Britain, Balzac in France, Stendhal in Russia, Tolstoy and Dostoevsky, and Dreiser in the United States. But in China, there is no great writer and great works that can sum up this era. This lies not only in the artistic ability of China writers, but also in our lack of theory and historical vision to grasp history. We need to tell the story of' China Village' in world literature.

Li's critical vision is broad, and his literary criticism objects are extremely rich and multifaceted, covering almost all aspects and hot issues of literary criticism in our time. Behind his diligence and prolificacy is a soul full of enthusiasm, humanistic feelings and sense of hardship, which can be burned at any time. "Can we understand the world", "How to express the inner pain", "How to avoid a homogeneous world", "Can we imagine our future", "How to rebuild the credibility of criticism" and "How to create a new epic of the Chinese nation", Li presented us with the spirit of the times and literary propositions he experienced in his heart. His concern and reflection on urban literature, working literature, post-70s and post-80s literature, non-fiction writing, novels, and our time life all show the vitality of literary criticism in our time and his multiple spiritual dimensions of criticizing the world.

The problem that Li's inner world is thinking about is the problem I have encountered, and it is the problem of our fast-changing world and the accelerated development world. The writer Alai created a Tibetan poet in the trilogy "Empty Mountain". He said, "this is such a fierce and rapid era." This means that we are facing an unprecedented historical upheaval in the new era, and literature, our spiritual life and spiritual world are facing unprecedented challenges. "Such a challenge can be said to be the superposition of multiple crises, the crisis of printing civilization, the crisis of literature and the crisis of' new literature'. Only by clearly recognizing the position of literature in the contemporary cultural and social structure and the node in the overall evolution of history can we more clearly undertake its mission-to rebuild the flesh-and-blood relationship between literature and people and the world, to tell China's new story, and to imagine and create a new world picture. " This is the thought of Li, a critic of our time.

Looking back, I have known Lei Yun for more than ten years. On the road of literary criticism, Li gradually gained new scenery and gains. In recent years, Li began to explore the literature belonging to his inner world and real life, and created many novels with unique language style, story structure and rich spiritual space, which provided a new aesthetic experience for his literary criticism. I have read some novels by Lei Yun. They are very interesting.

Li is an excellent idealist critic and our good brother. "Quiet and tenacious after romance, practical and unconventional daily life" is Cao Wenxuan's expectation and blessing for Lei Yun, and it is also my wish. Life is beautiful and can be expected. I'm looking forward to meeting the Lei Yun brothers next time, having a drink and having a good talk about the "ideal new literature" of our time.

2017165438+1at noon on Thursday, October 9.

2065438+ revised on Thursday, April 19, 2008.

Shandong Normal University Hu Changqing Campus