Du Rong is two years older than Lin Chaoyang, but they started working at Yanda Library at the same time. When Lin Chaoyang came here in 1978, she had only worked for a year.

So they are both peers and good colleagues, and their relationship has been good for several years.

Even though Lin Chaoyang gradually became famous and gained huge influence, Du Rong still regarded him as the simple young man who had just entered the library.

Later, Lin Chaoyang's appearance in the library became less and less frequent, and then she did not appear for more than a year. Seeing her again today, she suddenly felt infinite emotion in her heart.

For more than a year, most of the news about Lin Chaoyang came from newspapers and magazines, and occasionally TV reports.

The original close impression has been washed away by time, and I don't know when it started to become strange.

The continuous spread of media news has pushed Lin Chaoyang's image further in the hearts of his colleagues. He won an award today, and the autograph signing will be hot tomorrow...

In this way, the image of Lin Chaoyang gradually became blurred and untouchable in the hearts of Du Rong and his colleagues.

The distance between Lin Chaoyang and everyone seems to have suddenly widened in this year.

When we met again, even though we were chatting enthusiastically, we still felt a little alienated and even melancholy.

Listening to Du Rong's words, Lin Chaoyang smiled softly and said, "It's hard to see you. I've only seen you once in more than a year."

Lin Chaoyang's words put himself in the same position as everyone else, full of intimacy and longing for his old colleagues, and made everyone feel happy.

He chatted with everyone for a while, and seeing that there was still some time, he went to sit in Xie Daoyuan's office.

Xie Daoyuan was very happy to see Lin Chaoyang and asked him about his experience this year with concern. Lin Chaoyang had a brief chat.

"That's good. You're young, so it's a good thing to walk more and see more."

After chatting with Xie Daoyuan, Lin Chaoyang came to the conference room of the library. At this time, there were still more than ten minutes before the symposium started, and many people were already sitting in their seats.

"Chaoyang, you're here!" Xie Mian was the host of today's symposium and the only person he knew present.

Lin Chaoyang said hello to him, sat next to him, and thanked Mian for introducing the people present to him.

There were all students inside, including those from YSU, who were the backbone of the May Fourth Literary Club, and those from several neighboring schools, who were all amateur authors who had published works in some journals.

There were more than a dozen people there, including men and women, all in their early twenties, with a youthful air.

In the early years, there were many junior high school graduates among college students, so there were always many "seniors" with vicissitudes of life among the students. However, this has changed in recent years. Almost all serious high school graduates entered the university.

When these people saw Lin Chaoyang, their faces were excited and their eyes were shining.

Lin Chaoyang has rarely appeared on the Yanda campus in the past two years. Even when he comes, he goes directly to Langrun Lake Apartment, and his interactions with students and teachers on campus have become less and less.

Among those present, the oldest ones were all students from the Class of 1982. They had just entered campus in the autumn of the year Tao Yushu graduated.

Many of the Grade 84 and Grade 85 students present today have never met Lin Chaoyang, but have only heard that this popular writer works in the Yanda Library.

There were also some of these people who wanted to see Lin Chaoyang's true face in Lushan after enrolling in school, but it was a pity that Lin Chaoyang rarely went to the library at that time.

Therefore, these students were very excited after meeting Lin Chaoyang. There are many well-known professors with high knowledge in Yan University, but there are not many writers, especially famous writers.

Lin Chaoyang is now famous all over the country and can be said to be popular in the literary world. All of these students today have read his works to some extent, and many of them are even his loyal readers.

After smiling and greeting the students, Lin Chaoyang chatted with Xie Mian.

While the two were chatting, many students' eyes were still on Lin Chaoyang.

The theme of today's symposium is the discussion of creative techniques of avant-garde novels. The meeting officially started at 9 a.m.

Xie Mian first gave an opening speech, and then another young teacher from the Chinese Department spoke.

In the past year, avant-garde novels have suddenly emerged in the domestic literary world and have become a new literary trend pursued by many literary young people.

The so-called "avant-garde" does not specifically refer to a specific literary genre, but a style.

Generally speaking, it is modernism, which can be symbolism, futurism, dadaism, abstraction, consciousness school, absurdism, etc.

It reflects the alienated relationship between people and society, people and people, and people and nature, as well as the resulting mental state.

The rise of this trend can be traced back to the beginning of last year, when "Shanghai Literature" published Ma Yuan's "The Temptation of Gangdise" in February.

In March, "People's Literature" published Liu Sola's "You Have No Choice". This novel was edited and reviewed by Tao Yushu.

These two novels were published at the same time, and their unique artistic appeal quickly aroused great repercussions among young readers.

And within a year in China, it has gained considerable influence.

Young people advocate freedom, pursue independence, and rebel against tradition. The emergence of avant-garde novels can be said to cater to some people's appetite for novelty.

The people who came to the symposium today are basically amateur authors, but most of them came from prestigious schools and have excellent knowledge reserves and literary qualities.

Many people spoke passionately about their understanding of avant-garde novels, speaking at length and eloquently, and the listeners did not realize how serious they were.

A few people wondered if they saw that Lin Chaoyang was also present today. During his speech, he specifically mentioned several of his novels and summarized them as avant-garde novels.

The most mentioned ones are "The Summer of Raiko", "The Death of Van Gogh" and "The Truman Show".

"...The pioneering nature of "The Truman Show" lies in the huge absurdity it creates.

The falseness of life, the lack of free will, the invasion of personal privacy, the strong contrast between utopia and reality, and the development and exploration of human nature in it, these factors are all the most typical characteristics that avant-garde literature should have.

After reading this novel, what came to my mind the most was the novel "1984" translated by Mr. Dong Leshan.

I have read a lot of novels, but I was extremely shocked by the fact that these two are equally comparable.

As a reader, this is undoubtedly a great happiness..."

Several people were discussing Lin Chaoyang's novels, and they were all mainly praising them, which made the symposium go a little abnormal.

The styles of the novels mentioned by everyone are indeed modern among Lin Chaoyang's works, and their praises are all justified, but they always sound a bit stiff.

After all, when Lin Chaoyang wrote it, the word "pioneer" had not yet become popular.

Finally it was Lin Chaoyang's turn to speak. He came up and said a few polite words of humility, which made everyone chuckle. "I don't have much research on avant-garde novels. I can only talk about my opinions based on my personal creative experience."

"

"Avant-garde novels, or literature, and culture are considered very unique by many people, especially compared to the noisy popular culture.

Everyone regards him as a kind of rebellion against the secular and the dissolution of tradition. In fact, I think it doesn't need to be this way.

Bourdieu believes that avant-garde art that rejects the market actually accumulates a large amount of symbolic capital in the process of creation. Although it is not recognized at first, it will eventually be accepted and transformed into economic capital.

Although his words are discussing the "avant-garde" in Western society and do not completely represent avant-garde literature or avant-garde novels, they are generally compatible and useful for our thinking.

A few people mentioned my works just now and thought that they all have the typical characteristics of avant-garde literature and are worthy of being written into the history of literature. This is a great compliment to me..."

Lin Chaoyang stayed in the Yanda Library for six or seven years and took many classes from old professors. Among the people present today, in terms of literary theory skills, almost no one except Xie Mian could rival him.

His speech was modest and low-key, and he did not pursue novelty. He did not place avant-garde literature and modernism in a very high position like the speeches of previous students.

Instead, it explores the commonalities between avant-garde culture and popular culture, which makes everyone feel refreshed.

In his remarks, avant-garde literature does not seem to conflict with popular literature and culture, but rather has a mutually identifying and complementary relationship.

When everyone thinks about it carefully, it seems to make sense.

"The above is my personal rough understanding of avant-garde literature. If there are any shortcomings, I hope you will criticize and correct me."

After Lin Chaoyang finished his speech, he did not forget to say a few words of humility.

It is impossible to "criticize and correct". In the eyes of everyone present, the content of Lin Chaoyang's speech just now is still quite high, and his views are also different from everyone's understanding of avant-garde literature.

The arguments are also quite sufficient and cannot be easily dismissed by college students like them.

After everyone's speeches are over, it's the discussion session. As long as you raise your hands, everyone can speak in turn to express their opinions.

"Just now Comrade Chaoyang talked about the commensurability between avant-garde literature and popular literature. Can you talk more about it for us?" Xie Mian was very interested in Lin Chaoyang's views and wanted him to say more.

Others in the conference room also cast curious glances at him.

"Let's put it simply. Literature is art, but literary readings are cultural consumer goods and commodities. The spread of avant-garde literature depends on this kind of commodity.

Therefore, when avant-garde literature develops to a certain stage, it must make certain changes in attitude.

Bid farewell to formalism, and try to create textual connections with more readers and communicate with popular culture.

Only in this way will avant-garde literature form a relatively stable group of writers, a library of works, and an audience in the future development of literature.

This transformation to popular culture may be cruel to many comrades who adhere to avant-garde culture, but it is actually the only way for the development of art forms."

Lin Chaoyang's words made everyone present fall into deep thought.

The people present are all students from China's top prestigious universities. They admire modernism or avant-garde literature, and to a large extent they have some elitist thinking.

They thought they had the capital to rebel, dissolve, and subvert, but Lin Chaoyang's words hit their hearts like a heavy hammer.

Avant-garde literature is not any more advanced than popular literature or culture. On the contrary, in its development process, it may need to constantly make self-adjustments in order to maintain its own vitality.

Just when everyone was still immersed in what they just said, Lin Chaoyang said again:

"However, I think you don't need to be overly pessimistic. Avant-garde literature does not appear out of thin air. It also sprouts from popular literature and culture."

His words were like a wake-up call, awakening everyone present.

yes!

After all, avant-garde culture is not a tree without roots or water without a source. The birth of this cultural phenomenon must also follow the laws of artistic development.

Thinking along this line of thought, it more and more verified the true insight of Lin Chaoyang's words just now. Everyone looked at Lin Chaoyang with a lot of admiration and admiration in their eyes.

As time passed, the morning's symposium came to an end.
To be continued...