I think my family may have a female Rabelais in the 1970s.
It was like thinking to the hand holding the pen.
Again, it’s like running.
Its front end, such as language, and the latter part, such as daily experience, social structure, power relations and other literary relations, could be carried out on an extended line.
Li Jingze was also asked.
At the beginning of the millennium or even earlier, when he sat by the Weiming lake, he began to run.
He mentioned several times his vigilance to “purity” and his love for “miscellaneous”, which were luxuriant interests or derived from the initial setting of his literary interest.
It has a more complete name: the Yearbook of a literary runner.
In the solitude and wandering of self and self, the pen was in his hand, the hand was on the paper, and the words on the paper were swimming in the wilderness of thought.
Perhaps what he never forgets is not the chapter, but that 20 years ago, he had to run around the literary journals of that month in 30 days, so two years and may.
His literary perception is rich, mixed, happy, full of possibilities and even miracles at the starting point.
He was hit by the luminous moment of literature and “received the passion and happiness of writing”.
She has a keen and happy sense of the world and human feelings.
When we know that from the late 1980s to the early 1990s, when he was “idle in a daze”, he handwritten and translated the historical records and Hanshu in vernacular, we will not be surprised.
The running collection is like an index book.
In a remote place of “running collection”, Li Jingze said that the mountains are the context of cliff stone carvings.
It is similar to the “wild fox Zen” preferred by Li Jingze.
They are work and even mundane affairs.
When these are written, they mean that the running collection is also a record book of the author’s work style, which contains the stalemate with time and the offset of this.
They seem to be the superposition of changing moments on the way, just like the solid color stippling in George Shura’s pen.
In this way, “running collection” is an abbreviation.
It is engraved in time and space.” This is the thinking and expression of literature, and a literary insight into art and history.
We see it on the desk as rubbings, but if you look at it in the mountains, you will feel that it is not for you to read when it is written.
” “Female Rabelais” became the silhouette of his mother and shaped the initial appearance of Li Jingze’s literary world.
“Well, I always like the image of ‘garbage collector’.
She is a lover of literature.
You will see how a person who “likes to make proposition composition” can live his literary life, complete his literary work and fulfill his literary mission in the prescriptive, on the track and at the moment.
It is a free word in the specific title, but it brings a “small context” about literature.
The twenty-eight texts compiled in this book have their own reasons.
In the collection of running, most of them are “proposition composition” and “must answer questions”.
From the specific text to the diffuse literary concept, when commenting on the other, it brings out his own literary judgment and the generation of aesthetic way.
Looking at his choice of words and sentences, his language cleanliness implies vigilance against rhetorical hallucinations, because those words and sentences are for reaching the problem.
I remember when I was eight or nine years old, she talked to me about a dream of red mansions with relish How did Sister Li Feng and Daiyu curse people for “farting”.
Mountains and fields may be suitable for running, but this newly published “running collection” has few fragments of runners or overcoming or pleasure.
He walked alone, ran through the conference room and the hills, and returned home.
It can’t be changed or changed.
In the process of speaking and writing, it is caught by voice and pen, words follow words, words catch words, and sentences chase sentences, The expected text combination suddenly obtains its shape in a school of emptiness, which is accurate, arbitrary, sharp and elegant.
Different from those articles in the collection of green bird stories, singing and returning or a dream of Red Mansions, the writer Li Jingze starts and accelerates freely on his own topics.
She reads novels every day.
Each article in the book has a signature, “impromptu”, “hasty drafting”, “draft”, “first draft” and “change” are the writing process, and “morning”, “night” and “early morning” are the time specific work schedule.
In this “Yearbook”, you will see how a “knowledge hedonist” takes literature as the starting point, stretches in the established, and sorts out the moving line of thought like a cocoon between “irrelevant”.
In the dialogue of Marathon dialogue, he will tell you how to prefer witness one thousand and one nights.
Then one day, this man wrote the “xiaochunqiu” series.
Those words often start from literature, but when they are said, they are about equal to and greater than literature.
The running anthology also suggests the existence of “big context”, that is, what is the position and function of literature in contemporary and contemporary times? Is literature still committed to who? How can we talk about her effectively? Try to answer these questions.
He was lively, silent, lonely and strong.
Li Jingze’s insight and interest turned into a quiet flow.
Later, when he faced the text as a “result”, literature was not only an aesthetic object, but also a medium with intermediate attributes.
Benjamin saw the “garbage collector” in Baudelaire’s prose.
If I am a scholar, I hope I am also a scholar in the sense of Benjamin.” One night twenty years ago, in order to better understand the novel, Li Jingze set foot in the snow late at night to find a small shop, “eat mutton kebabs, four noodles and a bowl, and adjust himself to the shape..
If he could hold a handful, there would be gurgling water waiting ahead.
A single stroke goes to their position and forms a whole outside the distance.
They are the coexistence of a literary worker, literary critic and literary aesthete with literature in different time and space.
The title of the book is translated into English on the cover: a literary runner’s Almanac.
He picked up and collected “the things thrown away, lost, despised and crushed by the big city”.
“Literary runner”, yes, running will bring an intermediate state of resisting the wind.
People like her everywhere.
His thoughts and judgments, interests and preferences, and his insights into why and what literature is fall on his way through.
These propositioned moments constitute one aspect of Li Jingze’s various ways of getting along with literature, that is, on the specified runway, he can also walk against the wind.
Those brave and powerful short sentences met with lyrical and graceful long sounds and turned into articles like wind and Ji.
When running, he unconsciously objectifies and metaphorizes running with the training and acquisition of his career and ambition.
Like the obsession with running, it is not only a prescribed action, but also a self-demand.
In that intense dozens of minutes, he got along with himself and experienced constant overcoming.
It doesn’t treat you as an audience and reader at all.
He talked so much and often fell into one place, that is, “Chinese literature itself is an important link and even an important driving force in the process of Chinese modernity.” Like a ruler, many works are compared here, that is, they are short and long.
He also arrived through it, as if he were writing.
There was a “literati” hidden in this image.
In these specified actions, he still takes “free lines” as the real problem of literature.
This is a book that marks the time scale of Li Jingze’s literary work and literary life.
It is also appropriate to say “Yearbook”, because the book contains several speeches, dialogues and preface and postscript of Li Jingze on literature in recent years, many of which are not Li Jingze’s articles in the accurate sense, but he is talking to you and talking to the questioner.
“My mother is a Pisces.
“For example, there is a monument and a cliff.
“Running” appears in the book.
Diligence is like an old farmer turning over the land, and encountered the sudden arrival of “poetry” in the accumulation of fatigue and boredom.
The “impromptu” in the signature means that those insights and accurate expressions are “completed at one time” without speech and rehearsal.
Yes, he ran, but he was not in the body.
