When the controversy over entertainment films in the literary and art circles began to cool down, the number of reporters hanging around the Humanities Society gradually decreased.
Fang Yan took the opportunity to return to his loyal editorial office of "People's Literature" and distributed the manuscript to everyone.
Zhu Wei said happily: "Teacher Fang, you are indeed a master of oil field exploration!"
"What do you mean?" Fang Yan was surprised.
Chen Xiaoman explained that today the publishing house affectionately refers to highly productive writers as 'oil fields', because the inspiration of an excellent writer "blows out" like an oil and gas field with rich reserves, and the discovery, excavation and Editors who cultivate writers are naturally workers in oil fields.
At this moment, everyone in the editorial department, including Zhu Wei, had admiration in their eyes.
This oil field of "root-seeking literature" developed by Yanyan a few years ago has supplied a large number of root-seeking writers to "People's Literature".
A few years later, with the help of Liu Sola's "You Have No Choice", the "youth literature", a long-neglected oil field, was dug out. "People's Literature" became more and more popular among young writers. Favored, more and more manuscripts were submitted, and most of them were youth literature.
Coincidentally, this time Dialect brought both youth pain literature and roots-seeking literature.
While Zhu Wei was flipping through "Theme without Variations", Chen Xiaoman stared at the "Tree King" in surprise:
"Acheng wrote another 'king'?"
"Yes, this is the second 'king' he has written. He plans to write at least 8 'kings'."
Fang Yan said with a smile that "The King of Trees" was actually written earlier than "The King of Chess", but it was hidden by Zhong Acheng.
“Why hide it?”
Chen Xiaoman, Wang Fu and others looked at each other in confusion.
"He disliked the 'literary accent' in this manuscript, which was full of talk about the universe, the world, and heaven and earth. It was too exaggerated and too hypocritical."
Fang Yan said: "I helped him change it, and based the novel on life. Grand propositions such as nature and destruction are integrated into the characters.”
“This is indeed like Acheng’s style. People are not as talkative as Wang Shuo, who likes to talk big and brag."
Zhu Wei smiled and said, "Just two words, 'reality', the more you live, the more simple and sincere you will be."
Chen Xiaoman couldn't help but sigh: "It would be great if those writers of avant-garde literature could have the quality of Acheng."
"What happened to avant-garde literature?" Fang Yan asked about the latest trends in avant-garde literature.
Chen Xiaoman said helplessly that when his "Farewell My Concubine" was published, Ma Yuan's "The Temptation of Gangdise" was also published almost at the same time. Although it is very important to Chinese contemporary literature The influence of "Farewell My Concubine" is not as great as "Farewell My Concubine", but his "narrative trap" has also successfully attracted a group of modern and avant-garde writers. There is a new creative trend in the literary world that explores the narrative form of novels. power.
This group of writers followed Ma Yuan's path and made major reforms in 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 take off. At a time when "root-seeking literature" and "modernist" novels were still popular in the literary world, a radical narrative practice , the sword is eccentric, unconventional, and quite controversial.
“Although I have a lot of opinions about avant-garde literature, from the overall perspective, it is a good thing.”
Fang Yan shrugged.
"Yes, editor Wang didn't 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 Ma Yuan or others. Both the avant-garde and modernists like Liu Sola should be treated equally."
Chen Xiaoman shook his head and laughed.
Fang Yan echoed: "We cannot extinguish their enthusiasm. As long as it is within the scope allowed by the principles, let them do whatever they want." Bring talented writers into the ditch.”
Chen Xiaoman is worried: “In the end, the ideas and atmosphere of the literary world will be ruined.”
"Sister-in-law, your worries are not unreasonable."
"Yanzi, have you ever thought about writing an avant-garde literature or modern novel?"
"Not yet."
Fang Yan couldn't help but be curious, why did Chen Xiaoman suddenly ask this?
Chen Xiaoman explained that literary works have a role of demonstration. If dialect can write a avant-garde novel and lead by example, it can at least limit or even control the power of this avant-garde literature to prevent it from running rampant and hitting a dead end.
"I will consider it, but I have too many things on my hands right now..."
Fang Yan spread his hands.
"Indeed!"
Chen Xiaoman reminded: "What about Lu Xun College of Literature? The semester will start in a few days, so you must be there."
< br>Fang Yan swore that after all, he was a student in the first literary editing training class after the literary institute was renamed "Lu Xun Literary Institute". As long as he completed four semesters, he could get an undergraduate diploma.
In addition to himself, Shi Tiesheng, Wang Shuo, Yu Hua, Zhong Acheng and others are all students in the same creative class.
Everyone came together. The address of Lu Xun Literary Academy was no longer Balizhuang, where the literature lecture hall was located. Instead, it moved to Shaoyaoju and built a fixed school building, completely ending the wandering situation of being dependent on others. It officially became “the cradle and anti-Japanese university of contemporary Chinese literature”.
The gate of Lu Xun Literary College is not big, with five shining copper characters "Lu Xun Literary College" written horizontally above it.
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 door are two guard duty rooms divided into inner and outer rooms. There is a security guard who is more serious than smiling.
With ten minutes left before the opening ceremony, Fang Yan and others walked into the campus and walked around to familiarize themselves with the environment.
On both sides of the road are two gardens with small lawns and miscellaneous trees. There are pavilions and corridors in the garden, which are exquisite, tasteful and exquisite.
There is a moon gate in the east with the inscription "Literary Garden". Standing in the corridor or sitting on a bench, you can clearly see some of the most famous Chinese literary masters of the 20th century inlaid on the walls. The relief heads of the left one are Guo Moruo, Ba Jin, Cao Yu and Ding Ling.
The middle one shows Mao Dun, Lao She, Ai Qing, and Zhao Shuli in order, and the right one shows the relief portrait of Mr. Lu Xun.
There is "Juya Pavilion" in the west. There is a sudden stone in the grass garden with "Ode to Fengya" engraved on it. Many well-known and unknown trees are dotted among it. Its layout is simple and elegant, with a unique taste.
Suddenly, a hearty and familiar voice came from the pavilion: "Xiao Fang!"
"Mr. Feng?"
Fang Yan was startled at first, and then helped Shi Tiesheng push the wheelchair to the Juya Pavilion.
Beside Feng Mu, stood not only Ding Ling, Li Qingquan and other former directors and cadres of the Literature Institute, but also the new leaders of Lu Xun Literature Academy, such as Dean Tang Yin, Vice Dean The eyes of President Xu Gang and Provost Zhou Airuo were staring at him meaningfully at this moment. (End of this chapter)