Li Jingze

Li Jingze

Li Jingze was born in January 1964 in Shanxi Province. Graduated from Chinese Department of Peking University, writer.

Main experience

When he was young, he moved to Baoding and Shijiazhuang with his parents. In 1980, he was admitted to the Chinese Department of Peking University. After graduation in 1984, he worked in selected novel magazine. In 1990, he was transferred to people's literature magazine. He successively served as deputy director and director of the first room of people's literature magazine and deputy editor in chief of people's literature magazine. He began to write critically in the mid-1990s and won the young critic award of Feng Mu literature award of the Chinese literature foundation. He joined the Chinese Writers Association in 1998.

He once served as the Secretary of the eighth Chinese Writers Association. In February 2014, he served as vice chairman of China Writers Association.

In December 2016, he served as vice chairman of the Ninth National Committee of the Chinese Writers Association.

In December 2016, he was elected member of the 10th Committee of the Chinese Federation of literary and art circles.

On September 2, 2018, the second guest, Li Jingze, vice chairman of China Writers Association, was invited to the forum of famous masters in Lijiang ancient city. He brought a lecture entitled "birds and trees: the significance of travel in the Internet Age".

His works include the name of color, paper scene, days by the river, seemingly seeing and secret communication, cool enjoyment, reading endless years, witnessing a thousand and one nights, etc.

In October 2020, he served as the director of the final judge of the sixth Yu Dafu Novel Award.

In February 2021, he served as the judge of the first "Phoenix literature award".

Main works

·Rebuilding the hometown of ethics

·Losers and their cities

·The old house of yuanqingfang

·About translation

·From book bar to West Lake

·Because love sunshine, so love shadow

·Tearful letter: an elegant reminder

·How to speak, how to be silent

·Critics in the media

·Imagine a book called plain

·The absolute reason of shangtangshu

·Essential "reality" Narration

·Ten questions on Prose

·Dialogue: the possibility of fiction

·Journey of discovery

·Hanging on the tongue of Duliang

·A new city, a group of new writers

·The lesson of citation -- on the book review of Novels

·Dripping, shining

·On "post-80s" -- a logic of destroying culture

·The joy and secret of poetry

·The lesson of citation -- on the book review of Novels

·The novel of the farer and the runaway

·How difficult is it to write a novel in 2003?

·No words and endless words in December 2002

·In October 2002, your eyes are bright, but are you blind?

·Preface to the excerpts of witness the Arabian Nights

Award winning record

His works have won many awards. He won the young critic award of Feng Mu literature award in 2000.

His work "witnessing the Arabian Nights: literary life at the beginning of the 21st century" won the fourth Lu Xun Literature Award (2004-2006) national excellent literary theory review award.

In 2004, he won the "Chinese literature Media Award · literary critic of the year award".

Character evaluation

Evaluation I

Li Jingze said that the basic experience of commodity society is "shock", which Benjamin has analyzed for a long time. This "shock" is "make a fuss" in colloquial terms, that is, our hearts are filled and dominated by a flood of superficial experience. For the Chinese of this era, "shock" is more acute and comprehensive, so-called dazzling and dazzling. Beijing, for example, is the center of politics, economy and culture, which has great attraction. Many ambitious young people, including young writers, come here to pursue success, which is a good thing. It shows the great vitality of our times, our culture and our city. However, there is also a danger, that is, as Benjamin said, it seems to rush into a luxury shopping mall, and suddenly faint and "impetuous". Some young writers are good at writing, but when they come to Beijing, they can't write well. What's the problem? It's "shock". They are strongly stimulated by a lot of information. Today they hear that this person's book has sold 200000 yuan. Tomorrow they hear that that person's book has been adapted into a TV play. The day after tomorrow they hear that someone has been asked to write a biography by a rich man. Other people's "success" forces them to panic all the time. I once joked to a friend: what you live in Beijing is a "fake life" - you eat every day, go to bars, meet celebrities of all sizes, and are lured by all kinds of "opportunities" that seem real and illusory. As a result, you have never been so eager to be famous as you are now, and you have never been so unable to sit down or write down as you are now.

Evaluation 2

The reporter thinks that many impetuous writing is not only reflected in the inability to sit down and write, but also in abandoning the original literary ideal and starting to pursue the fashionable things. Li Jingze said that it is undoubtedly important to broaden our horizons, but we should not lose ourselves by just looking at the flowers. Whether it's fashion or fashion, it's the change of light and shadow in the city, and it's a false "meaning". Literature should penetrate these and see what happens in people's hearts under fashion and fashion. This is the "literary ideal". Literature does not slide on the ice of phenomena, but asks questions about them.

The reporter said that in our era, the commodity society is more and more developed, which will have a strong impact on our thoughts, concepts and lifestyle. It is impossible for a writer to be indifferent to such a life. Li Jingze said: do not think that I advocate young writers to hide in the ivory tower to engage in so-called "pure literature.". On the contrary, I think the life of the times has posed a severe challenge to our literature, and writers must respond.

Li Jingze pointed out that "impetuosity" not only means that writers are lured by the market and "fame", but also means that writers indulge in superficial experience and fall into "paralysis" in cognition. He said: we all admit that in this huge transformation period, the society is too complex, the experience is too complex, and our value world is turbulent, divided, and conflicted. In this case, writers will have a sense of powerlessness. Many friends often say that life is far better than fiction, and the interpretation of life in novels can't be compared with focus interview or southern weekend It is reasonable, but it also shows that the novelists have lost their ambition of understanding. The novel's insight into life and the world can't be provided by the news. If we can't insist on this belief, it's really impetuous to the point of collapse. He said: I don't know what novels should do and what they can do, which is more serious impetuosity. It makes the writer lose the starting point when facing the world and himself, and lose the foothold that can make him observe and think effectively. In terms of creation, nihilism prevails. In many novels, you can't see why he wrote and his real concern for life. The writer habitually puts on a cynical or enigmatic posture. In the end, he tells us that it's all meaningless. What else can he write when it's meaningless? This is a kind of paralysis in cognition. Now we regard this paralysis as something like Zhang Ailing's "desolate gesture",

It's just to hide our shallowness.

Evaluation 3

Therefore, Li Jingze borrowed Hu Feng's concept and proposed the need to revitalize the writer's "subjective fighting spirit". He said that in the face of complex life and experience, writers should not only ask outside, but also ask themselves. They should bravely and enthusiastically take themselves as the object of battle, fight against their impetuousness and cheap nihilism, and really find a way out for themselves It's the place of the hair.

Talking about the so-called "pure literature", Li Jingze believes that literature is never "pure", especially novels. Although we should maintain a firm belief in literature, it is by no means to say that novelists should turn themselves into "distillers". Novels are not distilled water, they contain everything in the world, and literature should always keep a dialogue with real life. The reason why some young writers are "impetuous" to a large extent is that most of their writing career began in the 1980s, when the myth of "pure literature" was in vogue. Young writers imagined themselves to be extraordinarily refined, which was fragile and illusory, and it was easy to disillusioned. Now they met the market, best sellers, film and television adaptation rights, and so on, and suddenly they began to live in the world When the cloud falls to the ground, the gap is unbearable, and people will feel dizzy and make a fuss.

Li Jingze said that for novels, "market" is not a new problem. The rise of western novels in the 17th and 18th centuries is closely related to the generation of the middle class, the improvement of public education, and the development of publishing and circulation system. In other words, it is in the test of the market that Chinese and foreign classical writers have established their great novel tradition. They have won the market, conquered the public and defended art. Li Jingze said that a writer will always face many problems in his creation and in his relationship with the times, which need constant reflection

Chinese PinYin : Li Jing Ze