The Straw House is a novel for teenagers by Cao Wenxuan. The work is based on Cao Wenxuan's own childhood life of Simi < P >, and a boy named Sang Sang is written. The novel tells all kinds of stories and experiences of Sang Sang during her six-year life in Yau Ma Tei Primary School. He witnessed or directly participated in a series of seemingly ordinary but tear-jerking and touching stories: the flawless pure feelings between boys and girls, the sadness and elegance of unfortunate teenagers struggling with bad luck, the persistence of disabled boys in dignity, the personality brilliance of the elderly shining at the last moment, the deep and beautiful understanding of life in the experience of death, and the complicated and poetic emotional entanglements between adults ... When we approached the Grass House built by Cao Wenxuan for us, we were really filled with such a breath. With beautiful writing, the author wrote about the primary school life that has gone far away from us. This seemingly ordinary life is not simple, but we may not have experienced it in our time, but there is no doubt that we can all understand the innocent story that happened between boys and girls who have not yet grown up but want to grow up. There are many moves, but it is also inevitable. The unforgettable experience of boy Sang Sang, the sadness of unfortunate teenagers fighting against bad luck, the persistence of disabled teenagers in dignity, and so on, are performed in this actually small straw house, which gives people a touching feeling and sometimes even makes people cry.
"Bronze Sunflower" Sunflower, a city girl, followed her father to live in a village called Damaidi. Lonely and lonely, she met Bronze, a country boy who could not speak. The accidental death of her father made Sunflower a helpless orphan. The poor and kind bronze family claimed her, and Sunflower and Bronze became brothers and sisters' friends. They lived and grew up together. In the simple life, the family tried their best to raise sunflower, and bronze cared for sunflower in silence, giving almost everything to her: bronze gave up his dream of going to school for sunflower; In order to take a photo of sunflower, Bronze even sold the reed shoes on his feet in the cold winter. In order to do homework at night for sunflower, the clever bronze caught fireflies and made ten pumpkin lanterns; In order to let Sunflower watch the circus, bronze stood silently with Sunflower for one night. In order to avoid sunflower being scolded, bronze bravely took the blame for his sister; For the beauty of the sunflower curtain, bronze skillfully made a string of shiny ice necklaces ... In the years full of natural disasters and man-made disasters, the bronze family, old and young, made concerted efforts, lived a hard but happy life, and calmly and tenaciously responded to all the sufferings such as floods and locusts. At the age of 12, fate recalled the girl Sunflower to her city. The pain of losing her sister made Bronze cry to the sky. He shouted a name from the bottom of his heart-"Sunflower"! The shouts shook everyone's hearts. This book is the latest masterpiece written by Cao Wenxuan in 25. The characters in the works are unique and vivid, the narrative is concise and smooth, the words are pure and beautiful, the artistic conception is elegant and clear, the feelings are sincere and deep, and the lines are filled with touching and shocking human feelings, all of which shine with the brilliance of humanitarianism. The works describe suffering-great suffering, and write suffering to a profound place; Writing beauty in works-great beauty, writing beauty to the extreme; Works about love-love, love is full of vitality and affection. This kind of exquisite description and chanting of suffering, true feelings and beautiful human nature is like a warm and clear spring water, which will moisten and purify every reader's eyes and soul and lead us to pursue the truth, goodness and beauty in life forever.
The description of natural scenery is a major feature of Cao Wenxuan's works. For this, Cao Wenxuan unequivocally affirmed, and even had the impulse to brand his own works. "The reason why my work is my work is that one of the most important elements is the landscape element. From the writing point of view, it is very painful and almost impossible to leave the scenery to describe me. " When talking about the serious loss of natural scenery description in some children's literature works, including other literary works, Cao Wenxuan talked about his own views on why there are not too many scenery descriptions in many works today: "Landscape description can best reflect the writing skills. It is very difficult to describe natural scenery unconventional and integrate it with the mood, atmosphere and characters' situations of the works. When I was a child, I copied a lot of fragments describing natural scenery, which benefited my writing today, and the benefits I got from it could not be expressed in words. Without these implants, my work today would never be so distinctive. The natural world is so vast that it constitutes an Upanishads book. Natural scenery is the natural world and an important part of my works. I think it is very bad for children to read works without scenery. " At present, the disadvantages of the profound dimension of literature extend from the topic of the loss of landscape description in literary works to the evaluation criteria of literature. Cao Wenxuan thinks that the evaluation standard of contemporary literary works is single, and the standard of classicality in China is seriously lacking, so there is a phenomenon that literary creation does not pay enough attention to literariness and artistry. "What we emphasize today is more about the profound content and thought of a work. Profound has almost become or has become the only dimension of Cao Wenxuan's works as literary works. And this dimension is given by western culture, not developed in our culture since ancient times. For example, our value system is elegance, artistic conception, etc. Our ancients always paid great attention to artistic forms, and profound thinking is not our standard. " "At the same time, there is an illogical logical relationship hidden deeply, which is not based on beauty, but on ugliness and evil. Today's works like to write evil because they take profundity as the standard. Such a logical inference is formed between ugliness and profundity. " Cao Wenxuan deeply regrets the lack of single, classical and traditional literary evaluation criteria. He hopes that contemporary literature can inherit the classical things and make the literary evaluation criteria more literary care and humanistic consciousness. Cao Wenxuan's famous saying [1] Most of the books children read today are not helpful to their growth and writing. Humor is a realm. Reading is a religion. The power of beauty is greater than the power of thought; No matter how profound the thought is, it will become obsolete or common sense, but beauty is eternal. Beauty is the foundation of literature, the reason for our survival and the driving force for our sublimation. Give three sentences to Peking University students: gratitude, sentiment and carefulness. The first sentence is to face suffering, and we should be grateful. The second thing I want to say is that a life without emotional appeal is a life of low quality. The third sentence for everyone is that the world belongs only to those who are careful. Woman, your name is literature! Helping each other in bad luck, helping each other in trouble, understanding in loneliness, warmth in indifference and loving each other in earnest ..... What moves us is the power of morality, emotion and wisdom, and all these are with the sun and the moon. -Excerpted from "Red Tiles and Black Tiles" Su Shao's version of beauty is no less powerful than the power of thought. No matter how profound an idea is, it may become common sense. There is only one thing that will never age, and that is beauty. -Excerpted from "The Straw House" Su Shao Edition When I was a teenager, I had an attitude towards pain. When I grew up, I was likely to be a strong man. Excerpt from Bronze Sunflower Su Shao Edition I like water-water-based. The most powerful substance in the world is not lightness and rigidity, but lightness of Cao Wenxuan and charm
and softness. -Excerpt from "Dog Tooth Rain" Su Shao Edition Many people ask, why is there no Andersen and no Green in China? When Andersen lived, no one thought he was grand. On the contrary, he was very reluctant to be called a children's literature writer. I think this topic will be tested by time. A real writer doesn't care about the object of writing, but about the content of writing. I prefer people to say that I have written books that children can read. Anyone who knows me well knows what kind of things I write, either I write first or others write much better. I think I must write my own understanding. I wrote a humorous book "My Son Pickup" based on my son. My understanding of humor is not loquacious, but humor that can stand the translation, and the meaning must be ridiculous.
Social evaluation
(1) As a representative of the fourth generation of children's literature writers, Cao Wenxuan has "melancholy and compassionate humanistic care ... The works transcend the theme of children's life and enter the field of human nature. He repeatedly asked, "How to move today's children?" ..... When putting forward this proposition, we have a sense of historical solemnity and heaviness. ..... What can move them is nothing more than those things ── parting from life and death, wandering in dispersion, feeling of compassion, helping each other in bad luck, helping each other in trouble, understanding in loneliness, tenderness and love in indifference ... What should move them is the power of morality, emotion, wisdom and beauty, and all these are eternal. " Cao Wenxuan expresses his concern for children's living conditions and spiritual world in his bildungsroman, and writes for children with the spirit of promoting humanistic care. Cao Wenxuan's works, Cao Wenxuan, a professor at Peking University with childhood memories of a water town, has the dual identity of a writer and a scholar. In his words, "Academics have given me a quiet and sacred reason that I need for both being a man and writing. And creation is my academic research, but I still maintain a necessary feeling of turning the stone into gold and the interest necessary for being a man. " His literary creation and theoretical discourse have formed a positive and effective interaction. His humanistic care and strong academic background have made his children's literature creation have a deeper foundation, and he has become a dazzling star among contemporary children's literature writers. (2) Looking at Cao Wenxuan's works, from the literary collections Ancestral Temple under the Twilight, Red Gourd and Rose Valley to the novels Goats Don't Eat Paradise Grass, Straw House, Red Tile and Root Bird, they are all "drinking to the past". Some critics call it children's literature, but it doesn't seem to be appropriate. When a children's literature contains eternal literary emotion and aesthetic value, it may touch not only children, but all of us. His works, with solemn and melancholy style, poetic artistic conception and intelligent narrative style, present us with an artistic world of truth, goodness and beauty-there are mutual help in bad luck, help in trouble, understanding in loneliness, tenderness and affectionate feelings in indifference ... These contents show spiritual light under the care of childhood feelings, touching all people living in this world and shaking our hearts.