After returning to China for many years after studying and performing overseas, Li Xiaoluo published the song collection "Yulanting Street" and "The Pot of Richness", and also published the novel "The Ending Narrative". Recently, Li Xiaoluo's latest works - a collection of novels composed of twelve stories including "Mr. Hyde", "Huang Qiuying's Murder", "What Is It Really", and "Jade Hairpin" have been published.
The whole book uses stage thinking to narrate, connecting the past, present and characters and things into images. This narrative enriches the levels of literature and drama, and also restores the narrative itself from the opposition of narrative. As a creator, Li Xiaoluo's "ambitions" seem to be outside the story, and she writes stories for a play and a murder case.
One of the chapters of "Paper Stage", "The Jade Hairpin", was originally a traditional opera. Li Xiaoluo used it as the basis and used the daughter of an Siamese timber dealer to enter the Central Plains as a clue to reconstruct a new story. In "Broken Bridge", Li Xiaoluo wrote a group portrait of women. They lived from girls to women one by one, and it was difficult for them to grasp their hopes and destiny:
is so jealous, and the woman who chose a man was desperate, she suspected her husband; the girl Doudou in a white dress was sad, there was a crack on her chest, she was in love with the boss but could not be made public, she walked with the boss along West Lake , kicking each other's toes until the boss's toes began to bleed; Xiaotao, the most beautiful girl in the store, was desperate, she let herself Before I could experience any suffering, I died by the beautiful West Lake...
In an interview with Li Xiaoluo, she bluntly said: "The characters and characters are for narratives. If the narrative is lost, the characters and characters are fragments... I mastered the secrets of narrative from music and drama, and then I moved towards literary writing." Li Xiaoluo believes that in a sense, the language and music of narrative are not different, "all with rhythm as the core."
Li Xiaoluo, writer, songwriter. He has written the novel "The Ending Narrative" and the novel collection "Paper Stage", and has published the song collection "Yulanting Street" and "The Pot of Richness".
I have mastered the secret of narrative from music and drama
from music and drama
Yan Yan: Can you talk about your growth experience?
Li Xiaoluo: Every time I come to an interview, someone asks me about my growth experience or something. Actually, I hate answering these kinds of questions. My experience is simple and clear. I am a simple person, reading, studying, traveling, and working. Of course, there is something else under this clue, that is, the clues of emotions and soul. This should not be a big experience, it is a more important unspeakable trajectory of life.
My father is an intellectual and he is serious in his studies and work, but I think he has no artistic corpus at all. So, he found my mother and focused on singing and dancing. Moreover, he also misunderstood that I also sing and dance.
When I was a child, I suffered a lot of injuries because of this. I also studied artistic gymnastics, pipa , and learned to be a host. In fact, I hate these things very much in my personality. He mistakenly thought me, I am actually a girl who likes quietness. When I was a child, I studied very well and didn’t need adults to take care of them at all. I completed both class and extracurricular homework very well.
I thought that if I kept reading quietly, I should do physics research. However, when I reached junior high school, my father's fantasy swelled again, and he sent me to art school to learn dance; it was not that I was not in good condition, but that I was very disgusted with jumping up and down, that is, I don't like dancing.
I have loved writing since I was a child, and I am very passionate about receiving royalties for submissions. I always thought that I should live on this matter in the future.
Li Xiaoluo.
Of course, you all heard that I went to Japan to learn singing and dancing, and that was just a chance. At that time, I was seventeen years old and I was at the age of going to see the outside world, and my main purpose was to go shopping and eat all kinds of strange things. So, I mainly mix in Japan, but I still learned some Japanese.
Yan Yan: How did he turn to literary creation later?
Li Xiaoluo: My turn was that year when I went from Tokyo to Beijing, and I was about to turn the plane to the next stop. I overslept and missed the plane. Then my classmate took me to meet Teacher Zhang Guangtian. He is a very special teacher. In a word, his teaching is to let soldiers read " Dream of Red Mansions " and let scholars practice the earth.
I don’t like dancing, and I don’t like parents’ fantasies, but this doesn’t mean I don’t like art. I followed Teacher Zhang into the door of art. During those days, I studied drama, music and literature with him. Drama is actually not a plot that the public understands; music is not a simple minor used for entertainment on the market. From a professional stage, I learned the narrative nature of drama and music and the core of poetry. I performed in Copenhagen , worked in the Odin Theatre, went to Berlin, Paris, Stockholm , Rome, Innsbruck, Munich , and rehearsed all the way. Travel is the rehearsal of our troupe.
I finally broke free from my parents’ fantasy about art and returned to the art in my original wish.
Yan Yan: What kind of art is this?
Li Xiaoluo: art is not a dream, but an ideal, that is, do you have it in your heart? If you have it, you have it; if you don’t, it’s useless to experience it. Many people think that acting is to act as a character, but in fact, the characters and characters are for narrative purposes. If the narrative is lost, the characters and characters are fragments. So, I mastered the secrets of narrative from music and drama, and then I moved towards literary writing.
My previous generation writers
are all obsessed with shaping characters
Yan Yan: Can you talk about literature?
Li Xiaoluo: literature has a threshold.
When everyone hears the threshold, they may be disgusted. In fact, the threshold of social class is not terrible. It may be transformed through struggle, while the threshold of art is non-social, destiny and irreversible. What this means is that I can engage in literary creation because I am a genius. I mean genius, not to boast, but to belittle myself and to the lowest point. Because the talent comes from heaven, but I can't help it.
You are a genius, what else do you have to do?
Li Xiaoluo.
Everyone who wants to enter the art gate by relying on their own actions is delusional. According to the people, you are not this material. So, I write with talent, not by experience or experience.
Many people who have read my book will have this impression, saying why a young female writer has such deep experience? I said that I write on my talent, that is, Apocalypse leads me and my heart leads me. A person's heart is bottomless, much further and deeper than the experience of stretching out the outside world. I often hear people say that I have gone to the countryside, fought wars, wandered, and bumpy, and I have experienced so much that I can’t finish it. If I write a book like this, what will be amazing. Is this literature or a personal file? Literature is literature, the study and practice of narrative, not content. Content only destroys narrative skills and does not help the narrative.
Yan Yan: For writers, how should they view the relationship between content and language?
Li Xiaoluo: narration with sound and text is a reality that Chinese language cannot get rid of. I mean, what is the difference between writing in spoken language and music? They are all centered on rhythm.
Literature In the reality of Chinese language, writing words is challenging, that is, to balance the relationship between writing and sound. Nowadays, not many people are concerned about language and literature. Everyone uses Chinese characters to record pronunciations, and Chinese characters are actually meaning symbols, so it doesn’t matter which pronunciation it is pronounced. However, the reality of the so-called Chinese language is to pay attention to both form and meaning and pronunciation. Learning Beijing dialect, or based on Beijing dialect, is just a specific thing in pronunciation writing. If you understand the principles of music, you can truly see through the essence of language, and music is the highest level of sound expression.
Yan Yan: Let’s talk about the recently published collection of novels "Paper Stage". Which story do you want to recommend to readers the most?
Li Xiaoluo: There are twelve chapters in "Paper Stage", and I can't tell you it once. Besides, after writing it, what's the point of speaking by yourself? If the content is placed there, you can just go and watch it; if there is any name, the audience will have their own interests and their own gains.
"Paper Stage", written by Li Xiaoluo, Zhejiang University Press , September 2022 edition.
I will just talk about my intentions. "Mr. Hyde" I want to write about the soul, but I must write about the character. The personality I am talking about is not the character of the character you understand, but the character of the story, the character of the scene and the character of the narrative. The human mind is unified, but it is witnessed by different personalities. The meaning of literature is to grasp this character well.
Let’s talk about "Jade Hairpin". This is not to rewrite the blueprint of a traditional opera, nor to look at the Central Plains from the perspective of a foreign timber dealer’s daughter. This is actually a comparison of lifestyles. I focus on difference to achieve a kind of recognition. I especially dislike the fusion of multiple elements, the collision of Chinese and Western elements, special perspectives, personal historical narratives, these dazzling, oblique, and unsimple concepts. When conceptual art first came out, it was aggressive. It never expected that it was a cliché now.
Actually, what I like most is "The True Legacy". But I can be sure that most readers are unspeakable. Many good works in the world never feel the feeling, so I don’t care. I think it's good because I get a calm rhythm to lay out all the unexpected results. Because of my peace, reading may not be disturbed. Rice is always the same taste, and the dishes can be ever-changing. But can people not eat for a day? The more dull it is, the more indispensable it is. I am glad that I am determined to be conservative and plain, and I have great pleasure in writing.
"Broken Bridge" is also something I want to recommend to everyone. The characters and things that appear in it are all the ones that people are most familiar with at the moment, or you themselves, but they are just the background of the broken bridge. The protagonist is not a human, the protagonist is the Broken Bridge. I don't like writing about people. People are not that important, and broken bridges are very important to me. My previous generation of writers were all obsessed with shaping characters, but I was obsessed with shaping a bridge, something, or something. I'm very bored, right? I didn't surprise you, right? You can't get online with me, right? That's right, because I pursue normalcy.
Yan Yan: You published the novel "The Ending Narrative" two years ago, which tells the twists and turns of a Nanyang student named Wang Yifan. What is the biggest difference between this work and the new work?
"The Ending Narrative", written by Li Xiaoluo, Jiangsu Phoenix Literature and Art Publishing House October 2020 edition.
Li Xiaoluo: Before "Paper Stage", I wrote a long article called "The Ending Narrative". I wrote the magnificent narratives of my previous generation, those vicious narratives, and unfortunately, those narratives of desire, wealth, scars, narratives of the world, urbanization and anti-urbanization, ended overnight, and the world seemed to be extremely quiet. Instead, they blame our new generation for being a low-desire group. Mountains have heights, moons have phases, people have low desires and high desires. If you are overly superstitious about the effect of desire, you will think it is a low desire when you look at it. We are the normal generation, without distortion, without mutation, normal is the best and the most urgent thing in this era.
editing/Yan Yan
editing/Shang Chongming
proofreading/Zhang Yanjun
