Xi Li's novel "Snow Robe" continues her poetic characteristics. The novel has a "poetic" texture and focuses on the focus of modern people-loneliness. The loneliness here has two dimensions, not limited to the loneliness of living in the city and leaving the country, the indifference between people and the variation of spirit. At the same time, Fengzhen, the hometown of Zhou Xin, a 13-year-old boy, is also placed in the geographical space of Guangzhou. In Zhou Xin's spiritual world, the loneliness of his hometown is more thorough, which is a natural expression of the inherent loneliness of the soul. In the novel, Guangzhou and Fengzhen are constantly replaced, memories and memories are interspersed from time to time, and the spiritual variation caused by the two living environments is a mutual reference. This kind of loneliness is scattered throughout the novel, requiring readers to observe and sort out the whole. At the same time, the novel also clearly gives the power that can penetrate this kind of loneliness-the warmth and love that permeates everywhere.
(1) Two dimensions
On the surface, the novel has a clear narrative line: Escape from Fengzhen¡ªTrain¡ªGuangzhou¡ªDongguan¡ªGuangzhou. This main line mainly uses realistic creative techniques, with complete storylines and real scene descriptions. This main line of narrative is mainly fixed in the urban geographical space of Guangzhou. Another implicit narrative line is constructed through the reminiscence and emotional description of the young Zhou Xin. This space can be regarded as Zhou Xin's soul belonging and spiritual home. The two spaces are juxtaposed and staggered to form a staggered narrative structure with almost the same narrative range, forming a unique narrative tension and aesthetic effect between the two.
Constructed realistically in the first dimension. The narrative begins with the scene of the train, "The sound of the train clanging clanging seems to be able to cover up everything", this narrative method is reminiscent of the beginning of the wandering story, which not only has a plain storytelling, but also adds unknown The mysterious and legendary color of the funeral. Although the realistic space in this chapter is on the train, the more scope in the text is that Zhou Xin reminisces about the days in Fengzhen, using synaesthesia, association, fantasy, etc. to connect the real scene of the train with the memory scene of Fengzhen . Every flow of Zhou Xin's mind is caused by the senses or thoughts in front of him. This is the starting point of the narrative, so that memories and dreams are unfolded, and the past and present are constantly replaced. For example, when I saw an old man coming to greet him with a mouthwash jar on the train, I saw my grandfather in smiling eyes, recalled the experience of being with my grandfather when I was a child, and then related some painful experiences about earthquakes . These sufferings will inevitably be imprinted on the hearts of teenagers, and novels are good at poetizing such sufferings, stagnating into yellow ribbons that can be seen everywhere. This kind of treatment can be seen everywhere. The author is good at sublimating and poetizing suffering, and trying to fix it in a way that is generally recognized by the society, and fix this form into content and pass it on.
In the first half, readers can strongly feel that Fengzhen in the memory is the main line, and reality is the sub-line. When the plot develops to a series of people and things encountered in the process of finding his father later, the reality becomes the main line, and the narrative of reminiscence Fewer and fewer, but also heralds the spiritual transformation of the young Zhou Xin - from indulging in the past and reminiscing to bravely facing the reality and taking on what he has done, real growth and transformation. "Re-edit the plot time according to the character's heart, highlight the writer's subjective feelings and artistic personality - respect for individuality, self, and the ability to accurately grasp the character's psychology" [1]. In fact, this is a kind of spiritual transformation of the characters in the author's works. Whether it is the protagonist of the novel Zhou Xin, various teenagers in other cities, or even Zhou Xin's father, they all completed their self-transformation and self-identity in this scene replacement. confirmation. This is important for all works with urban backgrounds, because it is most difficult for people wandering in the city, especially those far away from the city center, to confirm their own identity. Once they can clearly recognize their own identity, they will Greatly reduce inner emptiness and insecurity.
"Put any two lenses together, they will inevitably create a new nature due to juxtaposition" [2]. The author's intention is obvious. When dealing with the dimension of Guangzhou's geographical space, he always has a critical eye, which is both critical and acceptable. The phenomenon also expresses its position implicitly. As for the spiritual home dimension of Fengzhen, it shows tenderness, nostalgia and memories everywhere.
First of all, it is manifested in the use of language. When describing the scenery of Fengzhen, the novel describes it like this:
"In the morning, the air is very clean, the mountains are very close, and the ravines on the mountains can be clearly seen.
At noon, when the sun was at its top, they were pushed away, and the smoke was thick and indistinct.
In the evening, when the sun was setting, the west slopes were beautifully colored, and covered in the most gorgeous blanket¡ªyou've never really seen one, a big rose-red blanket!
That blanket takes away all the light of day and all the light of night??Grandfather and father gave him the love when he was a child. "I believe that these two good people have planted something in my bones. Whenever I think about their words seriously, I will calm down." When traveling to the geographical space dimension of Guangzhou , as long as it encounters difficulties, this seed exerts its power in the heart, and the narrative expressed in the novel is reminiscence, that is, the true reproduction of the feeling of Fengzhen, and spread this kind of love to every corner of the city: Jacques , A Huang, A Xing, Ding Ding, Beichuan, these lonely children abandoned by society, and their emotional infiltration when they meet strangers, make them rekindle their enthusiasm and hope for life. It reflects the penetrating power of this love.
? When the narrative is at the latitude of Guangzhou, Zhou Xin has suffered more hardships and painful experiences. Drifting at the bottom of the city, he, who is inherently lonely and sensitive, completely experienced the destruction of loneliness. When it developed to the most extreme, he was so lonely that he had to talk to the stones of the city, and he was so lonely that he could only get used to loneliness from the stones. The long length of the book, the flow of consciousness like a boy's sleepwalking can reflect his long psychological suffering, and how this suffering overcomes loneliness and surpasses himself. We seem to see the young image of Santiago in the modern city, a young man who cannot be defeated even if he can be destroyed. In essence, the spiritual characteristics of the city are not deeply touched here, such as the alienation, depression and absurdity between people, human spiritual variation, desire and way of life, or the author intentionally did so. The novel is more inclined to promote the emotional penetration between strangers, the sympathy and mutual understanding of people on the edge of the city, and the transmission of love. For example, Zhou Xin met Han Chuanjiang on the train, experienced the chivalrous friendship with Ah Huang, Jacques and other teenagers in the darkest days in Guangzhou, and the same road as a college student pursuing his dream. For a 13-year-old homeless child For him, it was the most memorable day in his life.
The novel ends with "Love" because "Love, like death, is as readily adopted by the novelist. The novelist can write about love as eternal, and the reader accepts it, because one of the illusions attached to love is that it will never change¡± [12]. All the people who suffer, all the people who pursue their dreams understand life because of love. Although it may be an illusion, it can eventually bring hope to human beings in the dark. As Zhou Xin said at the end, "I suddenly understood the relationship between love and life, and the whole world. If there is no love, the world will be desolate, and the earth will be a hard but empty existence." The image of the title of the article "Snow Robe" Perhaps it can also be interpreted in this way. The author tries to sublimate the ice disaster in 2007 and fix it into a pure, gentle and even warm robe, bringing it to all human beings who have experienced suffering on the road. Whether it is as big as the ice disaster in 2007 or the earthquake in 2008, or as small as a disaster for a certain group or individual, we all need a kind of care and love. Love can poetize disasters into beautiful legends. Zhou Xin is not a signifier, but a signifier. He is not a person, but a group, even a society. When a society experiences a disaster, it needs love, responsibility, and commitment. Only in this way can it mature and develop civilization.
references:
[1][2] Chen Pingyuan. The transformation of the narrative mode of Chinese novels [m]. Shanghai: Shanghai People's Publishing House, 1988.27.64
[3] Liu Xiaofeng. Poetic Philosophy [m]. Shanghai: East China Normal University Press, 2007.83, 7
[4] Liu Xiaofeng. Fear and love of our generation [m]. Beijing: Huaxia Publishing House, 2007.360
[5] Written by Maslow, translated by Cheng Ming. Maslow's humanistic philosophy [m]. Beijing: Kyushu Publishing House, 2008: 36
[6] Huang Longbao, Wang Xiaolin. Sublimation of Human Nature¡ª¡ªRereading Freud. Pujiang: Sichuan People's Publishing House, 1996: 91