In the extension of space, every line is carefully depicted from the dark and dullness of the soil to the colorful and vibrant color.

2025/04/2304:38:40 hotcomm 1931

"Fat Field Powder" seems to have too many stories to tell. Like a slowly unfolding picture, in the extension of space, the rural world under Luliangshan gradually changes from the dirt-dollar and dullness like soil to the colorful and energetic color, and every line is carefully depicted.

Rural folklore magazine filled with the taste of old people

——Comment on Bai Zhan’s full-length novel "Fat Field Fen"

Wang Chunlin Zhao Shan

Read Bi Bai Zhan’s novel "Fat Field Fen", which covers the volume and makes people think a lot. It seems that there is a long river of life that flows through the depth of time, traveling through half a century, from the end of the Cultural Revolution, although it is bumpy, it has also sang all the way. Every wave caused by it and the layers of ripples that it has appeared, there seems to be too many stories to tell. "Fat Field Powder" is like a slowly unfolding picture. In the extension of space, the rural world under the Luliang Mountains gradually changes from the dirt-dirty as the soil to the colorful and energetic color, and every line is carefully depicted. Indeed, "Fat Field Flour" is a text picked up from the soil and grew from the yellow soil. Therefore, it has an innate "earthy flavor" or even "vulgar flavor". However, it is this rich "earthy flavor" and "vulgar taste" that is passed on to readers after the author's artistic creation is the vivid "true flavor" and the authentic taste of Lao Xier.

Not to mention the tortuous plot of the story, just the beginning of "Fat Field Fan" can make readers feel full of emotions. This is the strong rural style. And this is the source of the novel text Lao Xier's taste. The book of folk paintings written by the author is so vivid and lively, and it is realistic, as if it is like a person wandering in a painting, but the author is more like a commentator or even a performer. Because of his pious love for the countryside, he shows it to readers with a passionate attitude. The thousands of ravines and ravines on the Loess Plateau have nurtured the tension of the children of the Yellow River. The author is undoubtedly proud because he is the enjoyer of rich folk culture. But I think the author is more likely to be happy because the cultural connotation nurtured by the loess can be stretched freely in the dimensions possible. Because he chose the well-known Luliang countryside as the story area, the words are full of the taste of Luliang. The characters in the novel speak in dialect, and when they open their mouths and keep their mouths closed, they have already indicated their own geographical ownership. If you reminisce about the language content, there is no need to make a detailed outline of the appearance, the image of the farmers will become vivid and three-dimensional, along with their voice, appearance and smile. During the specific writing process, the author rarely describes his appearance. What he portrays the spirit of the rural people, and this transmission of spirit is personalized. Therefore, what readers can perceive during the reading process is not the common generalization of group images, but the unique charm of the individual. The darlings written by authors such as Gao Guoqing, Zhang Xiaoying, He Gouzi, etc., and the smallest like Li Motuan and Zhang Erniu do not often appear as color matching embellishments, which is the case. The little people in the big village seem to be able to increase or decrease in just a few strokes, but if you read it carefully, no one will make the overall vitality of Yuantou Village. What is indispensable for the author's vivid description is the long-lasting fusion. Bai Zhanquan came from the scene of literature or came from among them. He was familiar with the details of their daily lives, and he knew it like a lesson. He used expressive words to express the joys, anger, sorrows, and happiness of the characters in daily life, and then constructed his own country novel world. Compared with other novels on the local theme, although it is also a manifestation of regional style, it is more or less a scholarly. The language is mostly organized and mixed by intellectuals, and it is a retelling of distant villages. But Bai Zhanquan is not. He completely brought you to the scene. If it is true, then beauty will lie in it. Not to mention the dialogue language of the characters, even the narrative discourse is full of Luliang colors. The author at this time is like a storyteller. The authentic language extracted from daily life and authentic pronunciation makes it more interesting to read, like an exhibition that can make people feel happy. As I read and thought about it, I suddenly realized, oh, so that's it.Here, only the word "其小小" can reflect people's "squat" movements in a realistic and dynamic way; only "其小小小小", "其小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小小If Lao She's novel language has a "Beijing flavor", then Bai Zhanquan's novel language is a "Luliang flavor" that is too strong to be melted. This "Luliang flavor" is a symbol of its uniqueness. If it is read by Shanxi people or people familiar with Shanxi culture, it is indeed a fun appreciation reading. I don’t know if the author is familiar with the " Fanhua " by Shanghai writer Jin Yucheng who just won the Mao Dun Literature Award not long ago. But reading "Fatty Fan" reminds me of this famous novel. At least, in the proficient application of dialects, the two have the same effect. It should be pointed out that in order to truly restore the life scene, Bai Zhanquan once used some uncommon and even very rare words, such as "王", "后", "后", "后" and so on. This is indeed an authentic description, but it also effectively distances the reader from the description object.

But this sense of distance will soon be dissolved by another intoxicating feeling. Intoxicated, intoxicated by the long folk songs in the rural areas of Shanxi. The author has interspersed many folk songs in the novel, which can be regarded as a bright spot in art. Even in the darkest and monotonous days, the people of Lotte Shanxi can always sing their lives into songs. Sing whatever you have in life, and its randomness is like a ravine ditch of loess. Labor has songs of labor, festivals have festival dances, and love has songs of conveying emotions. On that ancient land, life is a song that can never be finished. Collective labor is the most common thing in the rural world during the rural cooperative period. Even the physical labor that seemed not easy and happy at that time, the villagers did not complain much, but were just full of enthusiasm. For example, when Gao Guoqing and others were yelling when they repaired the broken wall, "Comrades, hi yeah, hi yeah, pull it up, hi yeah, use one force, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah, hi yeah..." The enthusiasm of the workers included in this is obvious. One thing to emphasize is that the repair of the broken wall was originally the result of Gao Guoqing and Li being punished for using a loudspeaker to violate the regulations of superiors when they got married. In this case, they still responded with singing, which reflected their optimistic attitude towards life. Most of these folk songs are improvised and sang them when they rap. The folk songs of the villagers of Luliang are all free to write, and the theme and content can be determined based on the things in front of you. For example, in the era of "Agriculture Learns from Dazhai", there will be lyrics such as "Don't bid farewell to the old year with the sound of firecrackers, and the grand event of red couplets is unprecedented. Beat gongs and gongs and hypes of Yangge literary and artistic publicity, and learn from Dazhai people in the country to achieve victory in nature." Of course, the most vivid and energetic among them must be those love songs that convey feelings. The special terrain of the Loess Plateau allows the affectionate men and women on the Loess Plateau to see from afar, but what cannot be crossed is the deep ditch and steep cliff. At this time, the singing becomes a medium connecting the two hearts. The singing at this time is mostly a hot and straightforward expression of emotions. For example, "The weeping willows on the east mountain and the poplars on the west mountain are so frustrating that I want to kiss. The canals and ditches are one after another, and I want to kiss them in my heart. The green mountains, green waters and roads are all the time. It is really uncomfortable to kiss them." The love between the children of the Yellow River does not need to be under the moon, nor does it need to be implicit and tactful. The straight expression of the heart brings a kind of true feelings. The words do not need to be delicate, but the feelings conveyed are as long as layers. It should be noted that the creation of this kind of love song is quite similar to the "Xing" in the Book of Songs, which first talks about other things to cause the lyrics. This point can be clearly seen in the above example that all expressions express the meaning are even sentences, while odd sentences are words that are interesting.Moreover, the lyrics format also has a certain repetition. Coupled with the beautiful singing style and the rhythmic beauty of the music, it naturally echoes long on the loess high slope .

In addition to the echo of the long folk songs, the author also used a lot of brush and ink to express the folk customs of the Luliang Mountains. Just like a colorful folk painting, the author carefully outlines various folk etiquettes in the countryside of Luliang. The novel begins with Gao Guoqing and Zhang Xiaoying's wedding, which already shows a writing intention of starting the scene, setting up the stage, and making colorful folk descriptions. In the rural world, a wedding in a certain farmhouse can be said to be a grand event for the entire village. At the wedding, not only all the characters in the novel appeared, but the social relationship between the characters also roughly unfolded. At the same time, it also points out the social and contemporary background of the story, so as to facilitate the subsequent evolution of the story. Through the description of this wedding, the author intends to show the wedding ceremony process in Luliang Mountains. The author seems calm and tells it without traces, but it strongly presents the regional color of etiquette. Starting with the wedding at the beginning, the author begins a decades-long story narration, which naturally requires the timely interspersion of custom descriptions. For example, farmers should pay homage to the landlords, and after completion, there should be a grand "Honglongkou" ceremony; yangko competitions and plate meetings during festivals; a ritual for newborns; a rain prayer ceremony that spares no effort in the dry seasons of heaven and earth; a perfect banquet for funerals for national day, etc. Once the writing involves folk customs, the author always expresses himself very enthusiastically and vividly. The reason for this is that the author Bai Zhanquan is also a folk custom expert dedicated to folk customs research, and has many achievements in folk customs research. Only in this way can he spread his writing and writing at the folk level in the process of novel writing. In this regard, there is another phenomenon worth noting, that is, although the novel story has continued from the end of the "Cultural Revolution" to the current era, the author's folk expression focus has obviously remained in the first half of the time period. The subtext of this artistic treatment method is obviously that in the process of increasingly modernization of Chinese society, the inheritance and retention of folk customs has become a task that urgently needs to attract the attention of the government and all sectors of society. There is no doubt that Bai Zhanquan created such a novel with a prominent folk custom at this time, which was intended to awaken people's folk memory. In the final analysis, he wanted to use the charm of the folk culture in the novel to infect and awaken the folk cultural genes hidden in people's memory. This is the consciousness of folklorists and the responsibility of local literature.

While fully affirming the outstanding folk customs value of the novel, we must also note that when the author presents folk customs, his viewpoint is not limited to folk customs, but instead puts his perspective to the height of the times, depicting a historical picture of rural development. From the mid-1970s to today in the 21st century, Chinese society has undergone earth-shaking changes. Guided by the theme of emancipating the mind, there are vigorous changes in all aspects of society. Relying on the countryside that he is familiar with, the author cleverly condenses the history of the great era into the development history of small villages. Conversely, the history of small villages can also be seen as a projection of the great era. The history of lowercase guarantees the consistency of the overall artistic style of the novel. It can be said that the overall development of Yuantou Village shows a major upward trend. From agricultural cooperation to household contract responsibility system, from planned economy to market economy, from single agricultural farming to diversified commercial economic development, villagers have gradually become richer, and the author's description of the development of the times has sufficient historical facts. More importantly, the author also grasped the psychological state of farmers in this process quite accurately. The negative psychology of collective labor during the cooperative period, the positive attitude during family contracting, and the courageous decision of the younger generation of farmers such as Gao Guoqing and Zhang Xiaoying during ideological liberation, and the determination to use their hands to open up a new world. In contrast, the conservative attitude of the older generation of farmers such as Gao Jiufu. All of these are vividly described in the author's writing.Among them, the author's value attitude is very clear, and he supports the new generation of farmers represented by Zhang Xiaoying.

It is also worthy of recognition that Bai Zhanquan has a strong forward-looking sense of crisis. This is concentrated in his rational thinking, while affirming the rapid development of society, he is extremely sensitive to the various problems existing in the development process. Among them, the most eye-catching performance of environmental pollution issues is particularly eye-catching. Since the development of the coal industry was mostly chaotic and disorderly at the beginning, people at that time only noticed economic benefits without considering the existence of environmental pollution risks. For a moment, small coal mines bloomed everywhere, and black smoke from coke plants rolled. Finally, Gao Guoqing's father Gao Jiufu suffered from lung cancer due to long-term smoke and fire. At this moment, no matter how much wealth Gao Guoqing has, no matter how sincerely he begged the doctor, it will be useless and will not be able to save his father's life. With the clever help of Gao Jiufu's death, the author sounded the alarm bell for environmental protection. If Gao Jiufu's death was the first price Gao Guoqing paid, then the second price was that he was helplessly infected by the social dyeing vat in the face of huge wealth, resulting in a car accident and disability. But he did not sink into trouble, and did not betray his wife Zhang Xiaoying, who shared the worries with him. Instead, he sold the coal mine, returned to agriculture, returned to the countryside, carefully managed the farm, established cooperatives, developed rural tourism, and led the villagers to get rich together. This also fully reflects the author's hope for a better human nature in the transformation and development of the times.

is valuable because the author does not just stay on the exposure of social problems. By successfully shaping the image of Gao Guoqing and Zhang Xiaoying, which are both opposites of He Gouzi and opposites of various rural development issues, Bai Zhanquan also pointed out the direction for the healthy and sustainable development of the countryside. The title of the novel, "Fei Tian Fan", only refers to fertilizer at first glance, which is light but unremarkable. In fact, it refers to another protagonist of the novel, Zhang Xiaoying. Because of a handful of fat field powder, Zhang Xiaoying and He Gouzi are separated by an insurmountable wall; because of a handful of fat field powder, Zhang Xiaoying is difficult to raise his head in front of the villagers. However, it is such an embarrassing situation that the author gives Zhang Xiaoying enough personal charm, making her the most respected woman in the village. He Gouzi spent nearly half his life to win Zhang Xiaoying's understanding, but he lost his way because of his huge wealth and the inability to obtain Xiaoying, which led to his impoverishedness due to lending. In any case, we have to admit that Zhang Xiaoying’s image creation does contain an idealistic utopian color. The author asked a woman's name to have the word "eagle", which means that she would be as brave and decisive as an eagle and make a grand plan. Zhang Xiaoying has a compassionate feeling that concerns all living beings. From the inferiority complex in life to the confident in life, to the leader of a happy life, Gu Xiaojia takes care of everyone, because he dares to give up wealth, he gets wealth in a higher sense. It is not difficult to find that what the author devotes to Gao Guoqing and Zhang Xiaoying is the constant maintenance and growth of beautiful human nature. By leading everyone to make a fuss on the land, the role of fattening fields is shown, and the land brings greater gifts. In sharp contrast to the development of Yuantou Village where Gao Guoqing and Zhang Xiaoying are located is the Tashang Village led by Zhao Gaolai. Tashang Village owns a coal mine. People made money because of the coal mine, but they were unable to finally get rich, and as a result, they lost their money due to lending. This is a real portrayal of life in some resource-based mountainous areas in Luliang, Shanxi and even the whole country. However, the Yuantou Village of Gao Guoqing and Zhang Xiaoying vigorously develops green agricultural economy and ancient house tourism. This development model can be said to be a good prescription for the Luliang Mountain Village in the post-industrial era. With the help of this description, the author has pointed out the direction for the future development of the rural world.

Overall view of Mr. Bai Zhanquan's "Fat Field Fan" has both a portrayal of folk customs, a microcosm of the times, and a glory of human nature. On the one hand, there are critical revelations of social problems, but on the other hand, it also shows hope for future life. After possessing the above ideological and cultural factors, "Fat Field Fan" is naturally an important work that cannot be ignored in Luliang and even Shanxi in recent times.As this article is about to end, what we hope to do is to continue to analyze and grasp the real life of changing in depth, in order to write better novels.

"Fei Tian Powder"