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Introduction of the original author of the catalogue

Editor of this paragraph: Han Shaogong My "home" in Saint Nasser for one month is an elegant villa. Two floors, six rooms, four beds and three toilets are all mine and can't be used. In front of the house is a blue ocean, and next to it is a green park. I seldom meet people-except park tourists who babble to me through the glass window occasionally. After the first few days of dating and interview, anyone outside will suddenly fall into unbearable cold and listlessness, even the exiled president or king. This city doesn't belong to you. Except for all services, there is a charge. All the voices here have abandoned you and gone to their intended purpose, which has nothing to do with you. I don't know where to call when I pick up the phone, and I don't know where to go when I go out with the door key. Television broadcasts and pedestrian dialogues are all in French, French and French. You are imprisoned in a French prison, and there is nowhere to escape. Reading Chinese newspapers and English books brought from Paris has become the most serious situation, because in the next hour, the next quarter and the next minute, you don't know what to do. You have reached the edge of the cliff, and there is a silent deep valley in front of you, no, not even a deep valley. Deep canyons can also smash you to pieces, break your head and make you feel real. It is not a deep valley, there is nothing there, and there will be no sound and light when jumping, only emptiness. When you study the chandelier for the sixth or sixtieth time, you will know that you are going crazy. The days of emigration can drive people crazy. I don't want to emigrate, as if I lack courage and interest. C once asked me if I wanted to stay in France. His mayor friend can, and his father and the French Prime Minister are also good friends. I said, what can I do here? Keep the warehouse or make furniture? When cultural vagrants change their begging methods? Even if I live well, do I care so much about French bread and Renault cars? I'm very homesick-it seems a little hopeless. I am not particularly afraid of loneliness, but I miss the people I love. I know how important I am to them. I am their happiness and dependence. I sat in the soft fog, listening to the waves and seagulls outside the window, imagining that my mother, wife and daughter are sleeping now, waiting for them to sleep through the Wan Li at dawn. No matter where people go, they can't help feeling the distant land behind them, because there are his relatives and friends, at least his past. Time will always wash away the past days and make people look back. Only then did I understand why all kinds of tourist attractions abroad can't make me feel the kindness and excitement of my hometown. In my hometown, there is no bustling metropolis, no quiet lake, no solemn and stirring castle, and no big forest green enough to melt all your thoughts. My hometown is even deserted and messy. However, if you hear a Schubert solo in the sunset of your journey, the imagination that makes you burst into tears is often the hometown road, the moonlight in your hometown, the grass slope shining with silver luster in the moonlight, a lamb hasn't come home yet, or a plow is still stuck in the ground waiting for tomorrow. What's wrong with that? Perhaps Schubert is praising the court or love, but I believe that all energetic male solos should be dedicated to their hometown. Just as I believe that erhu in China can only play pathos, even horse racing songs and fair tunes are smiles with tears. Hometown has preserved our childhood, or youth and prime of life, and it has become a part of our life and ourselves. It is not a commodity, a tourist destination, a round-trip ticket, a weekend pastime, and can be sold to any customer at a certain price. Hometown has more things than any tourist attraction: your blood, tears and sweat. The beauty of hometown contains sadness. And beauty is always sad China's "sadness" contains the meaning of care. Beauty makes people sad, miserable and pitiful, which has revealed the truth of aesthetics. In this sense, the beauty of any scenic spot is somewhat unqualified, just an excuse for blood loss. I have been to France three times. This elegant and rich country, no matter how many times I come, I am just a spectator to pay the bill. I clinked glasses, sang songs, joked, took photos and patted my shoulders with the host here, but my heart secretly returned again and again. Of course, I know that I will be disappointed with the flooded market in my hometown, the crowded carriages in my hometown and the gloomy rainy season in my hometown, but that kind of disappointment is different from my disappointment with the places I have been. That disappointment can drop blood. The land of blood will really grow golden ears of wheat and touching songs. Hometown is what we pay-it's different from the place of birth. Only those who have worked hard and contributed can truly own their hometown and truly understand the feelings of the ancients, that is, wandering around and mourning for their hometown-whether it is branded in one place or many places, in the motherland or in a foreign country. People who have no hometown have nothing behind them. However, no matter how poor and down-and-out, wandering wanderers in Pingping suddenly burst into tears when they heard a solo, which is the boundless happiness to which their hearts belong. The author of this paragraph introduces Han Shaogong, male, Han nationality, pen name Shaogong, Gong Li, etc. , born in Changsha, Hunan Province,1June 1953, joined the work in February 1968, and Han Shaogong joined China in August 1984. He is currently the chairman of the 3rd Hainan Federation of Literary and Art Circles (director level), a member of the leading group of the Federation, a member of the presidium of the Chinese Writers Association, a member of the National Committee, and a member of the Standing Committee of the 1st and 2nd Hainan Provincial Political Consultative Conference (concurrently). 1968.12 ——1974.12 educated youth of Tianjing commune in Miluo county, Hunan province1974.12 ——1978. Chinese Language and Literature Department of College1981.12—1984.08 Editor-in-Chief of Master Magazine of Hunan Federation of Trade Unions1984.08—1985.04 Hunan Federation of Trade Unions. -65448 Deputy Head of the Preparatory Group of Writers Association (during which: 1989.08 was promoted to the first-class post of literary creation) 5438+0990.11-1995.438+02 Vice Chairman of Hainan Writers Association (director level). Province From 65438 to 0974, he was transferred to the county cultural center and began to publish his works. Ren is a biography with rich historical materials (cooperating with Gan). 1978 was admitted to the Chinese Department of Hunan Normal University. 1979 joined the Chinese Writers Association and published the short story "Moon Orchid" (People's Literature 1979 in April), which made a name for itself in the literary world. 1982 After graduation, I worked as an editor in Master magazine of Hunan Provincial Federation of Trade Unions. 1984 Hunan Branch of Mediation Association is engaged in professional creation. After arriving in Hainan from 65438 to 0988, he began to edit Hainan Documentary magazine. 1990 Vice Chairman and Chairman of Hainan Writers Association. From 65438 to 0996, he planned the literati magazine Tianya with his colleagues and served as the magazine president. He has published a collection of short stories, such as Moon Orchid, Flying over the Blue Sky, Temptation and Literary Theory, which are geared to the mysterious and open world. 1996 published the novel Maqiao Dictionary (Writers Publishing House), which caused controversy among all parties. Reflection and criticism of traditional cultural psychology is a basic theme of his creation. His "Looking at the West Grass" and "Flying over the Blue Sky" won 1980 and 198 1 National Excellent Short Story Awards respectively. He is the main advocate of 1985 "root-seeking literature", published "the root of literature" (writer, No.4, 1985) and put forward the slogan of "root-seeking", and practiced this idea with his own creation. Well-known are father, father, daughter, daughter and so on. It shows the trend of drawing strength from the national history and culture, which is full of profound philosophical implications and has a great influence in the literary world. In the view of a group of "root-seeking literature" advocates represented by Han Shaogong, China's traditional culture can be divided into "normative" and "non-normative". They think that what needs to be affirmed and carried forward in traditional culture is more "non-standardization", which exists in unofficial history, legends, border customs, Taoist thoughts and Zen philosophy, just as Acheng described in the series of Three Kings. However, the institutionalized "normative" culture with Confucianism as the core holds the attitude of rejection, negation and criticism. Compared with the Three Kings series' obsession with the essence of traditional culture, Daddy Daddy and Daughter Country, with a strong sense of "seeking roots", explored the restriction of cultural norms on free life, tortured the degenerate form of human life and human civilization from the origin to the end in the "normative" state, discovered the inertia and stubborn national inferiority in human nature, and also completed a criticism of traditional culture. Han Shaogong's novella "Daddy Daddy" describes the historical changes of a primitive tribe-Jitouzhai by means of symbols and fables, showing a closed, stagnant, ignorant and backward national cultural form. The work takes the idiot Bingzai as the protagonist. Through his description, he outlined some abnormal and morbid ways of thinking about traditional culture, and expressed the writer's profound reflection and criticism on traditional culture. Bingzai is a little old man who "grows up before he gets old". He looks weird and wretched, and he can only say two words repeatedly: "dad" and "mother x" However, such a figure who is irrational, unclear in language and confused in thinking is worshipped by all the villagers in Jitouzhai, and is regarded as a divination of Yin and Yang, and is regarded as "xianggong", "xianggong" and "immortal". Therefore, soldiers who lack normal thinking show the morbid mental symptoms of villagers' ignorance and irrationality. After the war between Jitouzhai and Jiweizhai, most men died, but the soldiers survived stubbornly. This image, which will never grow up, symbolizes the stubbornness, ugliness and irrationality of life. His two prophetic phrases not only contain the most primitive and basic forms of the creation and continuation of human life, but also have the mysterious significance that individual life is closely related to traditional culture. At the same time, it implies the eternal "binary opposition" way of thinking that has long influenced and restricted the progress of human civilization in traditional culture. Han Shaogong dissected the ancient, closed and almost primitive cultural inertia through Daddy Daddy, which obviously showed a negative and critical attitude towards traditional culture. Han Shaogong is basically a realistic writer. However, due to his admiration for the witch culture of Chu and the romantic tradition of Lisao, while examining the national inferiority with a strong sense of hardship, he revived the mysterious mythological meaning in Chu culture with artistic means such as fables and symbols, painted the text with a romantic and mysterious color, leaving people with endless aftertaste and thinking. As we said, "root-seeking novels" mostly adopt a seemingly traditional and realistic narrative style, but "Daddy Daddy" adopts an absurd "fable style", which may be an exception.