The literary era since 1979

As the dispute in the literary and art circles over entertainment films began to cool down, the number of reporters lingering around the Humanities Press gradually decreased.

Fangyan took the opportunity to return to the editorial department of People's Literature, to which he was loyal, and distributed the manuscript to everyone.

Zhu Wei was overjoyed and said, "Teacher Fang, you are indeed a master in oil field exploration!"

"What do you mean?" Fangyan was surprised.

Chen Xiaoman explained that today, publishing houses affectionately refer to prolific writers as 'oil fields', because an excellent writer's inspiration "gushes" like a rich oil and gas field, and the editors who discover, dig out and cultivate writers are naturally the workers who explore the oil field.

At this moment, everyone in the editorial department, including Zhu Wei, had admiration in their eyes.

The oil field of "root-seeking literature" developed by Yan Yan a few years ago has already provided a large number of root-seeking writers to People's Literature.

After the new year, with the help of Liu Sola's "You Have No Choice", the long-neglected oil field of "youth literature" was unearthed. "People's Literature" has become more and more popular among young writers, with more and more manuscripts submitted, and most of them are youth literature.

Coincidentally, this time Fangyan brought both literature of youth pain and literature of searching for roots.

As Zhu Wei was flipping through "Theme Without Variations", Chen Xiaoman stared at "Tree King" in amazement:
"Acheng wrote another 'king'?"

"Yes, this is the second 'King' he wrote. He plans to write at least eight more 'Kings'."

Fangyan smiled and said that "The Tree King" was actually written earlier than "The Chess King", but was kept hidden by Zhong Acheng.

"Why do you want to hide it?"

Chen Xiaoman, Wang Fu and others looked at each other in confusion.

"He disliked the 'literary tone' in the manuscript, which was full of references to the universe, the world, and heaven and earth. It was too exaggerated and too hypocritical."

Fang Yan said: "I helped him revise it and incorporated the grand themes of life, nature, and destruction in the novel into the characters."

"This is indeed Ah Cheng's style. He is not like Wang Shuo, who likes to talk nonsense and brag."

Zhu Wei smiled and said, "Just two words, 'real'. The longer you live, the more real and sincere you become."

Chen Xiaoman couldn't help but sigh: "It would be great if those writers of avant-garde literature could have the qualities of Ah Cheng."

"What's going on with avant-garde literature?" Fangyan asked about the latest trends in avant-garde literature.

Chen Xiaoman said helplessly that when his "Farewell My Concubine" came out, Ma Yuan's "The Temptation of Gangdise" was published almost at the same time. Although its influence on contemporary Chinese literature was not as great as "Farewell My Concubine", his "narrative trap" also successfully attracted a group of modernist and avant-garde writers, and a creative trend and emerging force emerged in the literary world to explore the narrative form of novels.

This group of writers followed Ma Yuan's approach and made major reforms to narrative methods, language, structure, etc., making their writing increasingly obscure and difficult to understand.

Especially after the publication of "LS River Goddess", this wave of avant-garde literature was ready to move. At a time when "root-seeking literature" and "modernist" novels were still popular in the literary world, this radical narrative practice, which was unconventional and quite controversial.

"Although I have some opinions about avant-garde literature, it is a good thing in the overall situation."

Fangyan shrugged.

"Yes, didn't Editor-in-Chief Wang mention it at the beginning of the year? The purpose of People's Literature is to encourage and support young writers to explore the diversity of literature. Whether it is avant-garde writers like Ma Yuan or modernists like Liu Sola, we try to treat them equally."

Chen Xiaoman shook her head and laughed.

Fangyan echoed, "We can't dampen their enthusiasm. As long as it's within the scope of principles, let them do what they want." "I'm afraid they will go too far and lead some talented writers astray."

Chen Xiaoman is not without worry: "In the end, the ideas and atmosphere in the literary world will be ruined."

"Sister-in-law, your worry is not without reason."

"Yanzi, have you ever thought about writing an avant-garde or modernist novel?"

"Not yet."

Fangyan couldn't help but be curious, why did Chen Xiaoman suddenly ask this?

Chen Xiaoman explained that literary works have a demonstrative effect. If a dialect writer can write a pioneering novel and set an example, he can at least limit or even control the power of this pioneering literature to prevent it from rushing around and running into a dead end.

"I'll think about it, but I have too many things on my hands right now..."

Fangyan spread his hands.

"really!"

Chen Xiaoman reminded: "What about Lu Xun Academy of Literature? It will start in a few days, you must be there."

Fangyan assured him solemnly that, after all, he was a student of the first literary editor training class after the Literature Institute was renamed "Lu Xun Academy of Literature", and as long as he completed four semesters, he could get a bachelor's degree.

In addition to myself, Shi Tiesheng, Wang Shuo, Yu Hua, Zhong Acheng and others are all students in the same creative class.

As everyone came together, the address of Lu Xun Academy of Literature was no longer Balizhuang where the Literature Institute was located, but it moved to Shaoyaoju and built a fixed school building, which completely ended the wandering situation of living under the care of others and officially became the "Cradle of Contemporary Chinese Literature and Anti-Japanese University."

The gate of Lu Xun Academy of Literature is not big, with five golden copper characters "Lu Xun Academy of Literature" written horizontally on top.

On the outer right wall of the gate, there is a very familiar relief portrait of Mr. Lu Xun. On the inner left side of the entrance are two guard duty rooms, one inside and one outside. Sitting inside is a security guard who looks more serious than smiling.

With still more than ten minutes before the opening ceremony, Fang Yan and others walked into the campus, strolled around and familiarized themselves with the environment.

On both sides of the road are two gardens with small lawns and trees. There are pavilions and corridors in the gardens, which are exquisite and tasteful, and show the spirit of exquisiteness.

There is a moon gate in the east with "Wenyuan" inscribed on it. Standing in the corridor or sitting on a bench, you can clearly see the relief portraits of some of the most famous Chinese literary masters of the 20th century inlaid on the walls. The one on the left is Guo Moruo, Ba Jin, Cao Yu and Ding Ling in order.

The one in the middle features Mao Dun, Lao She, Ai Qing, and Zhao Shuli, respectively, and the one on the right is a relief portrait of Mr. Lu Xun.

To the west is the "Juya Pavilion". In the grass garden stands a stone with "Feng Ya Song" engraved on it. Many famous and unknown trees are dotted around. The layout is simple, elegant and interesting.

Suddenly, a hearty and familiar voice came from the pavilion: "Xiao Fang!"

"Mr. Feng?"

Fang Yan was startled at first, then helped Shi Tiesheng push the wheelchair to the Juya Pavilion.

Standing next to Feng Mu were not only former directors and cadres of the Literature Institute, such as Ding Ling and Li Qingquan, but also new leaders of the Lu Xun Academy of Literature, such as Dean Tang Yin, Vice Dean Xu Gang, and Dean of Academic Affairs Zhou Airuo. All of them were staring at him meaningfully. (End of this chapter)