Wei Wei, a native of Jiangsu, is a young writer of Guangdong Writers Association. His works are novel in conception, unique in perspective and exquisite and profound in writing. He won the Lu Xun Literature Award and some of his works have been translated and introduced overseas.

Chinese name: Wei Wei.

Alias: Wei Lili

Nationality: China.

Place of birth: Jiangsu

Date of birth: 1970

Occupation: writer

Representative works: makeup, etc.

outline

Wei Wei, formerly known as Wei Lili, is a poetess and writer, a member of Guangdong Writers Association, and a young writer of Guangdong Writers Association. Born in 1970, Jiangsu. /kloc-started writing in 0/994, and 1997 published his works in novels. Up to now, nearly one million words of novels and essays have been published in Flower City, People's Literature, Harvest and Writer. Prose works were selected as the most valuable prose collection in 2002 (Shanghai Social Sciences), 2 1 century prose collection of China Literature Department, a generation of literary idols (China Federation of Literary and Art Circles, 2002 edition), writers' abstracts, readers' fairs, contemporary writers' comments, and overseas versions of prose. This novel was listed in China's novel charts in 1998, 200 1, 2003 and 2004. Won the People's Literature Award in 2003. In 2004, he won the China writer Dahongying Literature Award. In 2004, he won the Lu Xun Literature Prize. Some works have been translated and introduced overseas.

Characters' words

I love writing, but even many years ago, when I was a young man of literature and art, a poet told me passionately that he regarded writing as his life, or he would die. I laughed at the wrong time. I don't think I will die for anything empty, including ideals, love and writing. I want to have both, and some things can be both; When I can't have both, I choose to live. I cherish life. Like all people who cherish life, I am addicted to all kinds of details in daily life. I know it and I know how to enjoy it.

Living is really a fascinating thing, even trivial and ordinary, but life is brilliant. I think, if I don't write, I am now a simple everyday woman, maybe an office worker or a white-collar worker; I am married and have children, and I am busy with all kinds of related and unrelated things. However, at a certain moment, there will be joy in life, which suddenly attacks me and makes my body and mind burst into joy.

Now, I'm writing, and I feel good. I never think that writing is special and bigger than daily life; I don't think it is ideal. For me, this is a profession. I rely on it to support myself and get the manuscript fee and royalties. I was introduced as a writer, so I corrected myself. I am a professional woman. I am glad that I have such a calm and fair attitude towards writing. I don't want to dial. I think, the only thing I am grateful for is that my career is what I am good at and like; I'm doing somersaults here, and I'm unconstrained. Although I am tired and monotonous, I feel very happy. Not everyone will have such good luck. -Wei Wei

Main work

novel

George and a book: 1998, Novel World No.5, Selected Novels after 1970s (Shanghai Literature and Art, 2000 edition), ranking of a person (Feng Chun Literature and Art, 2003 edition).

Cool in the Ming Tombs: 1998, Beijing Literature, 10, twenty avant-garde novels by women writers (Kunlun Publishing House, 2000).

Chu: People's Literature, 1 issue, 20065438, selected in Xinhua Digest.

Summer in the corner: 2002 Cloth Tiger novella (spring, summer and autumn volume), 2003 novel selection and long supplement.

My Times: Essay column of Youth Literature in 2002, and some articles were selected into Essays with Most Reading Value (Shanghai Social Sciences), Essays of China Literature Department in 2 1 century, A Generation of Literary Idols (China Federation of Literary and Art Circles, 2002 edition), Writer's Digest and Essays in 2002.

Da Lao Zheng's Woman: In 2003, People's Literature (4 issues) and Selected Novels (5 issues) were selected as the best novels in China in 2003 (Liaoning People's Edition, Lijiang Literature Edition and Changjiang Literature Edition).

Stone in Summer Vacation: Harvest, No.3 in 2003, was selected as the best novel in China in 2003 (People's Literature Edition) and the classic short story in China in 2003 (Shandong Literature Edition).

Make-up: In 2003, the fifth issue of Flower City was selected as the best novel in 2003 (Flower City Literature Edition and Dunhuang Literature Edition).

Prose essay

In 2002, I opened the column "My Times" in Youth Literature, with a total of 12 articles, some of which were selected: the most valuable prose in 2002 (Shanghai Social Science), the prose of China Literature Department in 2 1 century, and a generation of literary idols (China Federation of Literary and Art Circles, 2002 edition).

bibliogony

An Emotion (Fiction Collection): Foreign Language Translation Publishing House, 2000.

Won't you be with me (essays): Tianjin People's Publishing House, 2000.

Going to Far Away (Collection of Novels): Huashan Literature and Art Society 200 1.

Ambiguity and warmth (essays): Anhui Literature and Art Publishing House 200 1.

Time flies (Dragon): Huashan Literature and Art Publishing House, 2002.

Farther and farther (novel collection): New World Press, 2003.

Summer on the Corner (Dragon): Literature and Art Publishing House, 2003 (Note: Therefore, this book was nominated as China Media Novelist of the Year in 2003).

Winning record

1998: The Ming Tombs are listed in the list of Contemporary China Literature (sponsored by Beijing Literature).

200 1: The Country, Poor Relatives, Love appeared in the list of contemporary China novels (sponsored by the Chinese Fiction Society).

In 2003, Make-up was selected into the list of contemporary novels in China (sponsored by the Chinese Fiction Society), and The Woman of Da Lao Zheng won the People's Literature Award.

In 2004, "Make-up" won the Red Eagle Literature Award from China, and Da Lao Zheng's "Woman" won the Lu Xun Literature Award.

20 1 1: Won the 9th Chinese Literature and Media Award "Novelist of the Year 20 10".

works appreciation

Da Lao Zheng's woman

The Woman of Da Lao Zheng describes the evolution of a small town's customs since the 1980s, and describes in detail the worldly wisdom and the warmth and coldness of people's hearts in this process. You can say that the protagonist of the novel is Zheng He and his wife, or "we", or even this small town. In writing, the author is extremely sensitive to the subtle changes of customs and people's feelings and the grasp of social fashion and moral order, and shows readers a series of active, continuous and gradual genre paintings.

Summer is coming

Summer on the Corner is Wei Wei's second novel, which tells the love between a boy of 16 and a woman of 32. The story itself is very ordinary, but after the author's unusual narration, the true feelings and thoughts on human nature reflected in the story can't help but make people move and think deeply.

In the novel, the author tells the story of "sister-in-law's love" from a male perspective, changing the previous female tone. The author's narrative is still so smooth and delicate, but the plot is tortuous, ups and downs, and waves are repeated, but it is by no means a deliberate story. Besides, the author's grasp of male psychology is also in place, which proves Wei Wei's extraordinary novel skill and narrative talent.

In Summer on the Corner, Wei Wei tells a story of growing up, a story of love, a story about an accident and a story of a middle-aged man's memory. After reading this novel, I can't help but think of the Italian film The Beautiful Legend of Sicily, which is also a story about the love between brother and sister, sad and touching.

Wei Wei's narrative in the last paragraph of the novel is very intriguing. 16 years later, the hero got off the bus, hoping to meet a woman who moved him like that, but things changed, like water passing by, accompanied by only sad or happy memories. It is this memory that attracts readers and shows us the beautiful legend of a summer.

Writing style

Wei Wei can easily be accused of being a 70-year-old writer, but she doesn't have the same writing signs as most 70-year-old writers. Her style is quite different from other 70-year-old writers. Wei Wei touched the feelings of the city with the countryside, enlightened the present mind with the past, and gave a long-term nostalgia to modern life with an ancient and classic narrative sentiment.

Wei Wei does not pursue subversion or destruction. The style of her works is nostalgic and classical. Some modern and classical narrative scenes have evolved in her works, with fine description, concise language, fluent and easy reading, some British modern novels are concise and calm, and some French contemporary novels are lyrical, forming a restrained, concise, euphemistic, fluent and sad style.

By deepening such narrative content, narrative theme and character quality, the characters in Wei Wei's works break through the cover of hedonism from time to time in the era of marketization, show the true nature of life, and confront desire and self-interest with simplicity and innocence.

Despite a warm and mournful attitude, Wei Wei's works still seek a lost idealism spirit and another life in sadness, and another life will lead to another life. Wei Wei tried to use this narrative style to create a life beyond self and life. In Wei Wei's works, it is often not superficial daily life or things between men and women, but two different quality of life and their relationship. A person living in a market-oriented era, two different lives are contradictory and eager to merge in her same life, which is a deep sadness and disappointment in Wei Wei's works.

There is a theme lurking in all the sadness in Wei Wei's works: human dignity, which is a deeper theme than simplicity. The work is sad for the dignity of life. Sadness comes from the desire to find dignity and also from the disappointment of losing dignity. In fact, the characters in Wei Wei's works have no spiritual support in the market-oriented era and urban life, so they got up and went to the countryside, towns and the past, trying to purify themselves in their memories and give themselves a spiritual rest. This spiritual dependence is no longer a spiritual belief, but a spiritual core: dignity.

In Wei Wei's narrative, dignity is connected with simplicity, and simplicity is related to human poverty and the past, representing simplicity and dignity. In the reality of marketization, it is quite difficult to maintain simplicity and dignity. She wants to change her identity and become a poor person or a person of the past, so that she can approach the simplicity and dignity of people.

Another theme related to dignity in Wei Wei's works is disappointment. The work is sad for the loss and maintenance of the dignity of the characters, but also disappointed for the loss and maintenance of dignity. These characters often have an idealistic desire, but more importantly, they hide their disappointment with reality and self. Such sadness and disappointment come from simple old feelings and simple human nature, and also from imaginative creation of life. This disappointment with reality and life is obviously a doubt about the desire for life, the desire to enjoy life and egoism in the market-oriented era. However, the characters in Wei Wei's works lack rational meditation and rational belief, and their disappointment is mainly emotional and imaginative realistic attitude. After disappointment, they are still vague and depressed, unable to find a clear spiritual direction and life consciousness.

Further thinking, this sadness and disappointment with dignity may also contain criticism of reality. When a literary narrative appears as an elegy, even if the degree of realistic criticism is very slight, it is impossible not to attract attention. Farming-style natural life or old-style street life is irretrievably declining in the market, but this decline expresses an elegy of nobility, dignity, loyalty and simplicity of imagination. In Wei Wei's works, these qualities of life are integrated with those declining lives.

In this narrative, we can feel the simplicity, innocence, loyalty and dignity of the characters, as well as their stubbornness, numbness, sluggishness and conservatism, from which we can realize the contradictory attitude of the works towards two kinds of characters and two kinds of lives. The author can't give up one end and choose the other. In this dual attitude, in the gap where there is no choice, the work expresses an elegiac sadness. However, all kinds of brilliance flashed in the narrative are accompanied by sadness, which is highlighted in the author's memory and emotion.

This sad memory is a mixture of innocence and maturity, ideal and reality, past and present, which is both the theme and the content. This narrative style is a bit like the local narrative in the 1920s and 1930s, and it is also a bit like the meditation on the humanity of the old family in Zhang Ailing's novels. Su Tong once rewrote this reminiscence and attachment into the image of escape and return, while Wei Wei's works transformed and continued the local narrative and the style of Zhang Ailing's novels, making them have similar language and style, as well as similar feelings and artistic conception.

Sadness is an aesthetic quality. It refuses to be simple, relaxed and happy in the market-oriented era, and is willing to let the soul bear some responsibilities and make life heavier. When Wei Wei can't face history and has a great sense of sadness, she has a weak sense of sadness in her own life, and she cares about life and literature with this sense of sadness. Daily life in literary narration is another kind of life. The uniqueness of Wei Wei's description of daily life lies in his appreciation of daily life from a sad position which is contrary to people's accustomed happy position, and at the same time, he compares and describes the daily life of the past and the present, rural and urban areas, transforms the real daily life into a life of memories, customs or contemplation, and discovers the more potential connotation of daily life, thus producing a sad thought.

Looking at the life in the market-oriented era from the perspective of elegy, the feelings of elegy condense the fragmentary daily life, and everything in the past comes back to the simple origin of life. Therefore, although the past has passed, a spirit of survival has revived in the reality of the characters.

Creative experience

Our life is a terrible reality.

This is a famous saying of Van Gogh, and I will quote it here to briefly talk about my creative experience over the years.

When I was in Wuhan one year, I chatted with some friends and heard such a thing-it is said that it was on the social news page of Southern Metropolis Daily-that villagers in a small mountain village in Guangxi raised funds to buy a truck and sell fruits and vegetables to Guangzhou. Because there are many checkpoints on the road, I earn less; I also heard that the checkpoints along the way are only open to military vehicles. In desperation, they painted the truck green, and the villagers put on military uniforms and caps. I wonder if they are equipped with guns and ammunition. In the past two years, they gradually realized the change of their identity. The whole village was militarized and the village head became the leader. The revelation of the incident originated from a small matter. A villager committed a crime, and the village chief was very angry and ordered his men to pull him out and shoot him!

I believe this story will attract many people. I told it to my parents and sister, and they liked it very much. I told my writers and friends about it, and their reaction was excitement. Yes, life is more exciting than novels, and villagers are far more imaginative than writers. Whenever we talk about literature, we always involve the following concepts: reality, imagination, absurdity and spirit of the times, which are all big and insignificant words. Over the years, our literature has become small and overwhelmed in front of these words; The villagers in Guangxi just had a brainwave and have taken a big step on behalf of "literature".

I am sure that the times I live in are crazy. Even if I live in a humble room, I can see the gray sky in Guangzhou from the study window where I sit every day, and a group of pigeons fly low. In the high-rise building in the opposite community, all kinds of clothes are flying on the clothesline on the balcony. Even in my daily life, I can feel a strange power around me, like a flower in bud or a bamboo shoot that breaks through the ground. One day, the legend it breeds will surprise us!

Legends happen every day in our lives, and those earth-shattering events, or some small joys and sorrows, can be regarded as footnotes of our times. I like the word "time". I like being in it, just like an audience or a walk-on actor. Just watching is also thrilling. To some extent, the life I am experiencing-what I see or hear-is really like a novel. Among them, the joys and sorrows, twists and turns, and unexpected turning points are simply beyond the imagination of ordinary people. Our novels are more like "life", dull as ditch water, just like daily life.

I can't explain why. I think it is inappropriate to accuse our literature of lacking imagination and expressiveness, or to accuse novelists of not going deep into life. The relationship between literature and life is like a mass of hemp that keeps cutting and confusing. When the villagers in Guangxi painted the transport trucks green, even the most ordinary farmers in China began to fantasize about whether our literature needs to calm down and meditate, that is, what happened to our life and our literature?

Correlation evaluation

Evaluation 1

Xie Youshun (literary critic): It is hard for you to imagine that a young female writer born in 1970s can skillfully grasp the subtle and meticulous emotional ups and downs between a city girl and a country man. It is not the story that wins, but the rich and tender feelings behind the simple story and the relationship between the characters, which pervades the whole novel and my heart like ink.

Evaluation 2

Wei Wei, born in the 1970s, was already an excellent and mature novelist when "beauty writers" were rampant. In the face of impetuous and vulgar literary world, she still maintains a calm and persistent attitude. I don't know who said, "Wei Wei is a beauty, and Wei Wei is a writer, but not a beauty writer." This sentence is absolutely correct. Different from those exaggerated, fashionable and sexy fashionable female novels, Wei Wei's novels are true, delicate, touching and fascinating.

Evaluation 3

Wei Wei is a person with a high mind, at the same time, he can maintain self-discipline and never refuses to be sloppy in his writing. Not only is Wei Wei unique among his peers, but even among other writers, Wei Wei always shines brilliantly. Her short stories have always been excellent, and she was selected as one of the excellent short stories by the Chinese Fiction Society this year. Xu Kun