A summary of Roger Lee's articles on the collective criticism of Beijing literati.

The "Crazy Poet" was born in the Imperial Capital. Is there no vanguard in Beijing literature?

At the beginning of this paper, the author pointed the finger at the "Today" poetry school in the 1980s, which is of great significance to most people. He thinks that those avant-garde poets "exaggerate their poems, their success and effectiveness, they will immediately have the illusion that the imperial power is in their hands, and thus subconsciously feel that they have become emperors", and the root of this problem is Roger Lee's deep-rooted tradition of imperial city. "In history, there have been scenes of scrambling to eat Yuan Chonghuan's flesh and blood, and there have also been criminal records of the Boxers. The former emperor has been sitting in the imperial city for many years. If there is no problem, the city will be in trouble. " Based on this, Roger Lee thinks that Beijing is absolutely a crazy city, attracting and gestating generation after generation with imperial mentality. On the other hand, "Beijing's poets, like Beijing's revolutionaries, are troubled by the city's imperial consciousness." So it's not surprising that in Roger Lee's description, almost every poet of the "Today" poetry school in those days, except Shu Ting, who was far away in Fujian, became an exaggerated madman.

Munk became a "poetic emperor" who likes to mix rivers and lakes and is good at taking part in accidental amusement; Haizi became a "prince of poetry" who needed to commit suicide to prove his identity, and was finally put on the track by "the big and unreasonable fantasy of imperial power as a cultural expression"; Gu Cheng is a typical Beijing man, cold-hearted, and spoiled as an emperor by women. North Island has become a "golden bird of poetry" full of imperial power consciousness, hoping that the West will crown itself with a Nobel Prize. Finally, the author emphasizes that "I hope North Island can repent of this imperial power complex". "If North Island needs any good medicine to treat diseases, then I suggest that he go to Acheng for advice on how to be an ordinary person and how to establish a normal heart."

Through the above analysis of the most representative figures in China's poetry circles, Roger Lee further denied the vanguard nature of today's poetry school and the whole city in 1980s. "Today's poetry school is not so much a avant-garde poetry school as a group of opponents or challengers of the earliest totalitarian discourse and discourse power." This psychological crux of Beijing avant-garde poets shows that the city does not have the vanguard nature of literature at all. Roger Lee believes that Beijing was in the throes of cultural evolution in 1980s, and it was not enough to form a pioneer consciousness.

Courtyard culture is a new type of Eight Banners culture. Is Wang Shuo the product of imperial people's consciousness?

The article then moves to the complex cultural background of Wang Shuo, Liu Suola and others. Roger Lee first affirmed Wang Shuo. "Compared with the madness and absurdity of today's poets, Beijing writer Wang Shuo is normal and lovely. Although Wang Shuo has Wang Shuo's shortcomings, he is still quite healthy in thought. " In addition, Wang Shuo's civilian consciousness and wisdom are also the key to impress Roger Lee. Roger Lee wrote, "He never exaggerates himself in his bones. He knows where he is and he knows that he doesn't have to fight any big shots. "

Mo Yan, who also shines with folk wisdom in his works, does not seem to be recognized by Roger Lee. "Although Mo Yan's novels look more avant-garde in novel aesthetics, Mo Yan's novels are usually indistinguishable in cultural connotation." This backcountry boy can't make his novel feel based on a stable cultural psychology.

In Roger Lee's view, Wang Shuo was able to surpass Mo Yan mainly because he was sober enough and never fooled himself, unlike Wang Meng, another Beijing writer. "Wang Meng's refusal to be sublime is not Wang Shuo's folk wisdom, but a kind of intelligence unique to China intellectuals, which is a very accurate evasive action in the face of totalitarianism." Roger Lee wrote mercilessly: "Wang Meng is a funny character in his bones. Although he also expressed his conscience and conscience at the critical moment, he never missed the opportunity to be funny. "

After praising Wang Shuo's valuable civilian consciousness and wisdom as an intellectual in the imperial city, Li Jie turned to uncover the shortcomings and limitations in the cultural background of Wang Shuo's courtyard. He compared the quadrangle culture to the new Eight Banners culture in Beijing. This kind of culture is a form of power discourse, and it is usually a discourse hidden behind power, not power itself. It's a kind of culture. Therefore, it is difficult for writers influenced by quadrangle culture to establish a free civilian mentality. According to Roger Lee's analysis, although Wang Shuo has a sense of common people, it is not a product of freedom, but a sense of the imperial people in the imperial city.

Liu Suola, a female writer, grew up under the influence of courtyard culture, and her promotion was not smooth. Roger Lee cut to the chase, criticizing Liu Suola for his "low IQ" and making a fool of himself in new york with the mentality of "being the best in the world".

Liu Heng, a writer, is even more "terrible". Roger Lee unambiguously pointed out, "When it comes to villains, I think of a Beijing scholar named Liu Heng". He thinks that although Wang Shuo's novels have traces of quadrangle culture, the most typical accent of Beijing writers is not Wang Shuo, but Liu Heng. "With the hunger of farmers and the semen of farmers, the source of his rascal tone happens to be the Beijing compound. Every time, he will appear as the spokesperson of the peasants or the spokesperson of the working people. "

In response to the criticism of Wang Shuo and the culture of Beijing Academy, Roger Lee revealed in an interview with Phoenix Culture that Wang Shuo was not angry, but very happy. His statement is "Roger Lee is a friend, and his criticisms are straightforward."

Is Li Tuo the most ridiculous and pitiful figure in China's literary world and contemporary culture?

Compared with other Beijing scholars, Roger Lee seems to have a special "hate" for Li Tuo. He used a chapter to expose and criticize Li Tuo. From the mystery of life experience to anecdotes about love and marriage, he resorted to the pen, like peeling bamboo shoots with bare hands, and finally summed it up as "A Q of contemporary culture".

Li Tuo first pointedly pointed out that "in the Beijing literary world in the 1980s, and even in the whole China literary world, no one was more active, ridiculous and pitiful than Li Tuo." Then, the life story of Li Tuo's son, a nanny of a Beijing revolutionary family, was exposed, and then the entanglement of his life was attributed to the logical confusion brought by this life story. In Roger Lee's description, Li Tuo's identity logic is quite confusing and tortuous. "He is not only a servant's son, or a slave's child. In theory, he is also the master's son, that is, the master who turns over to be his own master. On the contrary, the owners who adopted them are theoretically public servants of the people. Li Tuo is the child of a servant, and this servant is the family as the master of the servant. "

Based on this kind of identity confusion, Roger Lee believes that Li Tuo was actually a marginal person from the beginning, but he was "unable to be centered in a city and in a life circle". Roger Lee analyzed that "Li Tuo did not choose to be down-to-earth, but devoted himself to shaping himself into a nondescript dude, regardless of his embarrassment as a marginal person, and tirelessly advanced to the discourse center and played the role of being in charge of the right to speak. In Roger Lee's view, Li Tuo's speculation created the illusion of a "literary leader" for him. He plays with tickets. "It can be said that it is smooth sailing. When he doesn't need to write any works, he can teach this and enlighten that in the literary world."

In 1990s, Li Tuo completely lost his direction and self in Roger Lee's works. "The logical role that was chaotic enough in the 1980s has become even more chaotic, with the United States in China and China in the 1990s in the United States." At this point, Li Tuo's identity is completely vague and his role is completely disordered.

Roger Lee compared Li Tuo to Ah Q at this time. "After the baptism of historical events again and again, Ah Q has been sly enough to eat Grandpa Zhao's meal and sleep in the Ning-style bed of the scholar's wife, while criticizing Grandpa Zhao's hegemonism and criticizing the slutty and shameless of the scholar's wife's Ning-style bed." This evolution was considered by Roger Lee as the degeneration of culture and the distortion of human nature.

Finally, Roger Lee wrote with emotion, "As a contemporary culture, Ah Q, a marginal person with an inseparable central discourse complex, a logical riddle that he can't figure out whether he is a master or a servant, an American who lives permanently in the United States, and a China who marries an American professor, are already quite meaningful to China literature and China culture."

Shi Tiesheng is the most representative pillar writer among Beijing writers?

Roger Lee didn't bombard the Beijing literary figures in an all-round way. He praised Shi Tiesheng, Zheng Yi and Li Rui, especially Shi Tiesheng. "Shi Tiesheng and Li Tuo are just the opposite. He has never played any role that has nothing to do with identity. "

Shi Tiesheng is described as the most representative writer in Beijing and a pillar of society. He not only inherited Lao She's simplicity and kindness, but also had a natural heart to help the world and a strong sense of responsibility and mission. "They want to do something for the society, for the world they live in and for the sentient beings they care about. Moreover, it is purely voluntary labor and does not require any return, as long as you satisfy your conscience and conscience. " Roger Lee went on to discuss the most precious thing about Shi Tiesheng, that is, no matter how eager he is, he doesn't feel like a savior.

He also focused on Shi Tiesheng's work "Life is Like a String", calling it "the most representative work of trendy novels and a unique masterpiece in contemporary China literature."

In addition, the author lists some examples of his contacts with Qian Liqun, Xie Mian, Chen Pingyuan, Wang Hui and Huang Ziping, who are also literary critics of Beijing School, and expresses his appreciation for them in general, but what puzzles Roger Lee is that these people "never comment on trendy novels and avant-garde poems. They would rather get into the pile of old newspapers than talk to contemporary literature. "

It is worth mentioning that, at the end of the article, the author emphatically praised Tang Xiaodu. Although his popularity is relatively low, "when it comes to Tang Xiaodu, I always think of George. Orville, or Javier of the Czech Republic. " "In Beijing's cultural circle, it is hard to find another person who can match Tang Xiaodu's education and personality." Finally, Roger Lee expressed his expectation for Tang Xiaodu. "I always thought that Xiaodi had the strength to write amazing works. Although he has written a lot, I am still looking forward to it. "

Roger Lee replied: I am not afraid of offending people. The cultural landscape of Beijing imperial power has not changed for ten years.

Once this article was published on the Internet, it attracted strong response, solidarity and constant questioning. Some people think that Roger Lee is uncompromising, sharp and outspoken, and made a hearty diagnosis for China literati; Some people think it's just a family statement, and gossip is not too serious; Some people think that the whole story is full of subjective prejudice and insufficient arguments, and the act of revealing private affairs can be described as the "paparazzi" in the literary world.

Chen Cun, a famous writer, said in his personal Weibo that Roger Lee is a cultural alien. "Don't be vulgar and snobbish. If you are small, you are stubborn. If you are big, you are naive." "The criticism of vertical and horizontal cooperation offended many people. But I think he has no right, no power and no lethality. He is nothing more than a family statement, regardless of class. "

Yan Feng, a professor of Chinese Department at Fudan University, said that Roger Lee only took psychoanalysis to the extreme, although it was extremely sharp, but it was also an imagination in itself, and "it should not be taken too seriously".

Xie Xizhang, a Beijing-based writer, said after reading it, "The evaluations of Li Tuo, Wang Shuo and Shi Tiesheng are quite accurate, especially when it comes to Chen Ran, and it feels good. Now people seem to have forgotten Chen Ran's contribution and value. "

Netizen @domanda said, "It's a pity that it doesn't make sense, it doesn't matter, shooting flies in the air. China's literary tradition never started from literature, but from the expression of individuality. But why can't we admit that our personality is actually nothing noble? "

In response to these statements, Roger Lee made an exclusive response to Phoenix culture. He admits that this article is not a textual research on history, but a scan of China's literary world and its cultural landscape in the 1980s and even today. "Although there is no lack of ridicule, it is still very serious in my bones." Roger Lee said that he only recorded that history from a personal perspective.

When asked if he offended many people in the industry, Roger Lee replied: "If you don't offend others, I don't care. That's the commentator's reaction. " He said that what he likes most is to speak his mind directly.

Regarding the discovery and sensation of the old work 200 1, Roger Lee expounded his own views: "The cultural landscape of Beijing School was like this in Roger Lee's eyes more than ten years ago, and it is still like this in Roger Lee's eyes more than ten years later. This is not to say that Roger Lee has not developed, but that the landscape has not changed. " "It may also be some feelings blurted out in the past, but it's a pity that it's right. It's not that I'm too prescient, but that the characters I see are too disappointing. "