It is not so much more important to find problems than to solve them, but it is as difficult to answer them as to ask them. In literary works, it is often much more difficult to answer questions raised by a great novel than to answer mathematical questions. Because literary problems don't have standard answers like math problems, readers can explain them from different angles and draw different conclusions. Therefore, the more problems a novel has, the more infinite its charm and the wider its readership.

However, a novel like One Hundred Years of Solitude, which contains many metaphors, can only find the answer through a general interpretation, which can only be futile and difficult for me to do. To solve the mystery and leave it to critics to study, I only try to write my own unique feelings. In the previous interpretation, I just made a very one-sided and personalized comb of the important plots, characters and unique writing methods of each chapter of the novel. This combing does not mean drawing a conclusion, enlightening or explaining a reading secret to readers; On the contrary, the deeper you read, the more you find, and the more questions you have. This is an undercurrent turbulent sea, and I am just a drifting boat, which has not yet reached the other side of cognition; This is a group of peaks shrouded in fog. I'm just a little climber. Its true face can't be seen clearly in the fog cover. I got lost and wandered in the canyon several times. This is an Amazon jungle that covers the sun and is full of danger. I'm just a lonely explorer, and bloodthirsty plants and ferocious beasts almost make me have nowhere to run. Therefore, the process of interpreting One Hundred Years of Solitude is itself a great adventure. Since "knowing that there are tigers in the mountains", why do you want to "favor the tiger mountain"? This is because in my previous reading experience, this novel not only brought me endless feelings, but also seemed to be a curse, a wall, which tightly restricted me, bound me and influenced me. I often mention it in my prose writing, which always gives people a naive feeling of losing my schoolbag. So, I must get rid of it. I want to pour it out completely in words, and then spit it out quickly.

I want to finish this long speech as soon as possible, but at present, I still need a summary interpretation, that is, the influence of One Hundred Years of Solitude on China writers.

2、

I don't want to make a long list, just select a few representative people. They not only praised One Hundred Years of Solitude, but also published their personal opinions and literary comments in public academic speeches, symposiums and literary publications, and they also saw very obvious imitation in their early writing. As far as I know, writers such as Mo Yan, Su Tong, San Mao, Ge Fei, Li Er and Chen Yingsong are all loyal fans of One Hundred Years of Solitude. Among them, Mo Yan, Ge Fei and Lear are hardcore fans. They not only wrote critical words about One Hundred Years of Solitude, but also found traces of imitation in their novels. This imitation process not only did not make them lose their own style, but also greatly improved their writing level and enriched their writing experience. They absorbed very rich literary nutrition in One Hundred Years of Solitude.

Take Mo Yan's novel Goldilocks as an example. The content of the novel is not simply introduced. This novel is a comprehensive imitation from writing language, writing skills to writing style. From form to spirit, the language is beautiful, smooth and natural, and it is a very moving and successful novel. Now analyze it from the above three aspects.

The novel imitates a lot of exaggeration, empathy and absurdity in One Hundred Years of Solitude. For example (1) "She slept again, and when she woke up, she heard the sun squeaking and climbed uphill like an old cow." He threw the photo into the drawer and stood up as if there were a hive of bees in his head. He saw tables and chairs floating, swarms of ants crawling on the concrete floor, and the noise of the lake sounded on the crescent lake. Without binoculars, he saw people of all colors standing on the lake, and people continued to flock there. They continued to weld people to the group until they were welded to the distant traffic arteries. These two wonderful sentences are familiar to us, and we can find the "mother sentence" in One Hundred Years of Solitude. For example, the four-year rainy season in the novel is over. "A round of simple and honest, bright red, rough as red brick crumbs illuminates the world, and it is almost as fresh as running water." There is also the huge roar of writing insects eating furniture; Strike workers gathered in the square and were strafed by military and police machine guns: "They were surrounded, spinning and turned into a huge whirlpool, and gradually narrowed into it, because its edge was being cut round and round in an orderly manner."

In writing skills, Goldilocks also imitated the magical reality in One Hundred Years of Solitude. For example, it is written that the blind old woman "saw" the night watchman when she came at night: "The night watchman should be a sloppy young man with a dark face, wearing a dark black robe, her hair combed into a hundred pigtails, her eyes wandering, and a pair of black pottery in her left hand. With a big Mo Dou pen in his right hand, the hip flask creaked and the ink spilled all over the floor, like a black rainstorm. Drunk, numb, stumbling, the nocturnal god is too sloppy and naughty, dangling all night. " This night watchman probably comes from Amaranta's description of death before she died in One Hundred Years of Solitude: "She saw it when she was sewing clothes with death in the corridor. She recognized it on the spot. Death is nothing to be afraid of. It was a long-haired woman in blue, looking a little old-fashioned, a bit like pilar Tenera who helped them in the kitchen earlier. " As far as language is concerned, Mo Yan's language is more concrete, vivid and vivid than Marquez's. This little imitation shows that Mo Yan, as a powerful writer, has excellent ability to control and imitate words, and he dares to imitate and surpass them, which is worth learning from all writers.

Another obvious imitation is that when telling stories, Goldilocks used the method of traveling through time and space more than once. (1) "Later, he sat by the river in his hometown and felt that all this seemed to be destiny takes a hand, and everything developed according to the designed program." (2), "This night, the voice she heard made her remember it like lightning for the rest of her life. Every time I think about what happened that night, she feels that the burning flame is quickly biting the candle head of her life. " This way of thinking about the future now and recalling the past in the future is the most proud literary creation of One Hundred Years of Solitude. Mo Yan also successfully transplanted it into his own novels. Perfection may be exaggerated, but it is just right, which is very harmonious with the narrative atmosphere of the whole novel.

A higher level of imitation is the shaping of character. The old lady in Goldilocks is very much like the middle-aged and old ursula in One Hundred Years of Solitude. Apart from the hallucination and blindness I mentioned above, she, like Ursula, recalled the past backwards: "She smiled and mumbled nonsense. She still remembers clearly what happened a few years ago. She said she was sold to a cloth dealer in her fifties when she was eighteen. Cloth dealers often beat her and tortured her all over. " This level of imitation is somewhat difficult, and my comments also pose challenges. How to comment? If you can't do it by skillful language skills and rich imagination, you may need to accumulate life experience and compare cultural backgrounds. This ability grinds a sword for ten years, which is very human.

After introducing famous writers, I think it is necessary to reserve a seat for ordinary writers, or "grassroots writers". I'm not afraid of everyone laughing, including my work, which has been imitated. As we know, One Hundred Years of Solitude has a distinctive writing feature: that is the description of omens. Let's talk about a writer named Wei Shi. He once published the short story "Escape" in the third issue of Fujian Literature 20 10, which was well written. What impressed him most was that his father, as a magician, performed magic at the funeral of the mother of the county education director in order to sue his illegally detained son: he was lying in a box, and a forklift ran over him, and people saw blood splashing out of the box on the spot. Meanwhile, Wang Xiangdong, his mother and my cousin, who was not at the scene, had an induction. The book wrote: "Later, according to Wang Xiangdong's memory, at this time, he was suddenly stabbed by something in the detention center. My cousin was eating chicken wings at home, and the stool under her ass collapsed with a bang. She is upside down, and his mother is writing a poem. Pencil lead broke it for no reason. " Read here, shine at the moment, can not help but smile, is there no Cai Feng, heart; High mountains and flowing water, love meets bosom friends. I really don't know who Wei Shi is. If we can meet for a hundred years, we can talk about it and write all our lives.

I also imitate first and then write notes. Before writing this short message, I wrote a short story "My Brother Buffalo".

This novel describes that when I was a child, my grandfather and I lived in the countryside and raised a buffalo at home. 1976 In September, at the memorial ceremony of the death of a great man, this buffalo shed tears with others. When I was a child, I was very moved to know that cows are human beings. A few years later, the farm was divided into households, and the cattle were also assigned to my home. The villagers' labor enthusiasm has improved, the labor intensity has also increased, and the manual labor of cattle has also increased. Once the cow got sick and was cured by grandpa. Time flies, when I grow up, I go to study in the city, and my grandfather and buffalo are old. There is such a passage at the end of the novel: "That morning, something unusual happened at home. Grandpa used a brown rope bullwhip to turn into a copper snake, slipped down from the wall and formed a circle at the foot of the bed. In the morning, the brown sugar porridge cooked by my mother for grandpa was put on the stove, and the brown sugar particles suddenly turned into ants crawling around. At noon, grandpa really breathed a sigh of relief. In the afternoon, the ice coffin was carried into the house, and grandpa was lying in the coffin. I stood in front of the ice coffin, not knowing whether it was because the cold on my face solidified my tears or because I was indifferent and didn't cry. I am ashamed of myself. "

This is only a superficial imitation, and it can't be compared with Mr. Mo Yan's masterpiece Goldilocks. The reason why I quote it as encouragement is that I hope this guy can jump out of the aura of One Hundred Years of Solitude and create a new realm after thoroughly understanding it.

3、

The influence of One Hundred Years of Solitude on China writers may not only be the improvement of writing language, writing skills and writing style, but also the innovation of writing concept and the purification of writing personality.

We know that under the existing system, except for a few writers, such as Wang Shuo, Zheng, Han Han and others, writers rarely have their own independent writing personality. Their living conditions vacillate inside and outside politics. Most writers are just accessories and megaphones of politics. Because you can't support yourself just by paying for the manuscript. Some of them are kept by writers' associations, some by rich women, some by a cultural propaganda department, and some even become street beggars. I remember at a gathering of literary friends, a third-rate poet who wrote poems cried while drinking, saying that one of his poet friends could not publish his poems, so he had to pay for it himself, and finally he was so poor that he sold vegetables in the street. I said an ugly sentence at that time: "If it can't be published, it means that his writing is not good enough." Now that I think about it, I feel that my words are too heavy, which has hit the confidence of my friends. As literati, what's the hurry? Scholars don't look down on each other.

In fact, Marquez also had a period of poverty in his early years. At that time, he was a reporter for a newspaper and was sent to work in Europe. Later, I don't know why the newspaper was closed down for violating the rules, and he lost his job himself. After returning home, his life was so poor that he couldn't even pay the rent. In order to write One Hundred Years of Solitude, he shut himself in for a year and a half. When the manuscript was written and sent to the post office, only the second half of the chapter was sent because it was too overweight to pay the postage. After receiving the manuscript, the newspaper was ecstatic and thought it would be the greatest novel of this century. Since then, "One Hundred Years of Solitude" has become an instant hit, officially published in a publishing house in Buenos Aires, Argentina in June 1967, and distributed globally in 18 languages. Up to now, more than one million copies of10 have been sold, and the author himself won the Nobel Prize in Literature in June 1982.

Here, we can't ignore the most fundamental fact that One Hundred Years of Solitude was written in Spanish and Marquez was Colombian. This leads to a topic: the national history, cultural background and political environment in which Marquez created One Hundred Years of Solitude. As a writer in China, we can imitate his novel skills, novel features and novel style, but how can we imitate the cultural background, political environment and national history when he wrote this novel? Colombia became a Spanish colony in16th century and did not become independent until 18 19. Spanish has always been the official language. But as indigenous people, Hindi should be their mother tongue. So Marquez was influenced by both western culture and Indian culture since he was a child.

Quote a passage. In his speech at the 1982 Nobel Prize awarding ceremony, he said: "I dare say that what deserves the attention of Swedish colleges this year is the unusual reality of Latin America, not just its literary performance. This reality is not written on paper, but in our lives. It determines the countless deaths that occur every day and provides us with an inexhaustible, disaster-filled and beautiful creative source. And I, belonging to this source, a Colombian who is wandering outside and misses his hometown, is just another number designated by the plane. In this extraordinary reality, everyone, whether poets, beggars, musicians, soldiers or people with evil intentions, must turn to imagination as little as possible, because the biggest challenge we face is the lack of conventional wealth necessary to make our lives credible. Friend, this is the crux of our loneliness. " What is the most fundamental source of creation? What is the most fundamental crux of loneliness? When we read "One Hundred Years of Solitude" carefully and combine his words, we should gradually understand why the colonel launched 32 wars and why the banana workers went on strike. Although the Colombian people broke away from Spanish colonial rule, the 300-year colonial shadow could not be shaken off for a while. Especially in cultural psychology, they can't identify with western countries and are always in a turbulent situation. Especially in the 1960s, when One Hundred Years of Solitude was born, the western powers still cruelly exploited and oppressed the people of the third world. However, the people of South America are enthusiastic, lively, imaginative and brave in struggle. They were not intimidated by these exploitation and oppression, but rose up and resisted. The expression of this resistance in the literary world is "the Big Bang of Latin American Literature in the 1960s/kloc-0", and One Hundred Years of Solitude is like an atomic bomb detonated in this big bang, which shocked the world literary world.

From this perspective, Marquez is a writer who cares about politics and is independent of politics. He is a writer who faces reality squarely and remembers tradition. He is a writer with both writing ambition and writing conscience. After all, he is an independent writer. He is also a good writer loved by readers in all third world countries (including China) and studied by all writers.