Tao Yushu's idea is not groundless. Selections such as "a hundred kinds of excellent Chinese literature in a century" are imported products. Westerners can do this selection much earlier than in China.

As the end of the century approaches, not only the cultural circles in China and Greater China are busy conducting various century-old selections, but also the cultural circles in foreign countries are not the same.

"It should be, but if the influence is not enough, it may not be able to spread to China."

Tao Yushu chuckled when he heard this, "You are wrong. As long as it is a slightly influential selection, someone will definitely move to China."

In the late 1990s, the domestic press and cultural circles worshipped foreign countries and fascinated foreign countries reached its peak.

What are "Japanese toilet water can be drunk" and "German sewers can be used to sports cars", only public officials dare not think about it, and nothing they dare not say.

Tao Yushu runs a media group and is also very familiar with some domestic trends.

Such a trend is difficult to reverse by personal will, but sometimes it will provide her with some help, such as the current selection.

She is sure that as long as there is an English media conducting such a selection, there will be a high probability that the domestic media will reprint it.

The couple was talking and laughing, and the phone rang at home. Lin Chaoyang answered the phone and it was called by the Humanities Society.

The selection of "A hundred and a hundred excellent Chinese literature in a century" has just been released, and the Humanities Society plans to take the lead in holding a symposium.

As the only contemporary writer to have two works on the list, Lin Chaoyang naturally cannot be absent.

A week later, Wencai Pavilion.

Today's Wencai Pavilion has shining with stars. A hundred selected works have left the dead. The vast majority of those who have not been present have also been too old and seriously ill.

"Chaoyang, I haven't seen you for a long time!"

"Teacher Chaoyang!"

When they arrived at the venue, all acquaintances came forward enthusiastically to greet Lin Chaoyang.

Wang Meng, Zong Pu, Cheng Zhongshi, Moyan—·

In addition to these old acquaintances, Chen Yingzhen from Wandao has also come.

In this selection of "Hundreds of Excellent Chinese Books in a Century Years", there are also four writers on Wandao's list, namely Lin Haiyin's "Old Things in the South of the City", Bai Xianyong's "Taipei People", Wang Wenxing's "Family Changes" and Chen Yingzhen's "General Clan".

Chen Yingzhen is closest to the mainland and has settled in the mainland many years ago, so it is not surprising to attend this symposium.

Lin Chaoyang talked with acquaintances and friends and greetings, he also became the focus of discussion among the bystanders not far away.

This selection selected 100 excellent works, which seemed to be a large number, but this is a collection of all excellent literary works in the entire Chinese literary world over the past century.

Every selected work is a temporary choice, and today it has long become a classic of a generation.

Among these 100 works, only a little over a third of the authors are still alive, among which Lin Chaoyang is the second, so he must be considered the most special among today's guests.

From the order of speeches at today's symposium, we can see that from the passing of the older generation of writers who have come from modern times, there are many people plagued by illness. Wang Meng is already one of the most elderly and experienced people among the guests at this year's symposium.

In addition, he served as the second-in-commander of the Cultural Association and the Minister of Culture, so he ranked first in the speech.

Following him was Lin Chaoyang.

"Old Wang said it very well and comprehensively. The comrades from the Cultural Association insisted that I talk too. For a moment, I really don't know what to say."

There was a burst of laughter in the venue, and the atmosphere was relaxed and pleasant.

After pondering for a while, Lin Chaoyang said again, "But since I have agreed to others, I still have to fulfill my promise. Today I will talk about 'ideals and beliefs about creation'."

"Ideals, beliefs, and these words sound too illusory, and everyone should have this feeling.

So I can't talk big, I can only start small, talk about my personal feelings, and talk about how my 'literary ideals and beliefs' were developed."

Speaking of this, Lin Chaoyang coughed lightly, and the faces of many writers in the venue couldn't help but become serious.

In terms of qualifications, there are many senior seniors present who are more senior than Lin Chaoyang, but in terms of creative achievements and literary influence, almost no one present today can compare with Lin Chaoyang.

Therefore, when he showed a solemn expression, everyone couldn't help but listen.

"First of all, I have to say that I am a little different from my ordinary colleagues.

Many people love literature and writing because they like reading, and embark on the road of creation and become famous and family.

Just like Lao Cheng—”

Lin Chaoyang pointed his finger at Cheng Zhongshi, who looked honest, "He told me that he met a teacher Che in middle school. He was originally tired of writing essays because the school asked everyone to write topics. For children who are free and cheerful by nature, this is indeed a torture."

"But this teacher Che is different. He lets students write whatever they want, so Lao Cheng suddenly became interested. Not only did he find the fun of writing essays, but he also developed a longing for literature and creation."

"Old Cheng is very lucky. He met a good teacher. Without this teacher Che, there would be no "White Deer Plain" in the Chinese literary world.

Now!"

Lin Chaoyang's teasing made everyone laugh again.

Cheng Zhongshi and Lin Chaoyang were two separate seats. Listening to Lin Chaoyang's teasing, he chuckled a little, and his heart seemed to be filled with clear springs.

He vaguely remembered that what happened to Teacher Che was mentioned by him and Lin Chaoyang when they attended the Huangdao Writing Conference. Unexpectedly, after nearly twenty years, they were mentioned by Lin Chaoyang again.

Looking back on the good teacher, he remembered a lot of memory in his heart, and was even more grateful to Lin Chaoyang for remembering the inconspicuous little things that were back then.

". Speaking of myself, the biggest reason I embarked on the road of creation is to earn some royalties. My starting point is more utilitarian.

Since it was to make money, there was no ideal or belief at that time. Therefore, my literary belief was formed for a long time, which was a process from utilitarian to non-utilitarianism, from unconscious to self-consciousness.

Among them, I won’t explain the stage of valued fame and fortune in detail, but I still need to take care of my personal image.”

After the little joke that caused laughter, Lin Chaoyang continued: "After publishing some works, both me and my works have had a lot of influence in society. At this time, literary creation, as a personal survival or seeking fame and fortune, gradually fades."

"It's not that they are no longer important, but that they are retreating second, not the main contradiction."

"You become a widely recognized writer in society, and every passage you write may have a ideological and cognitive impact on thousands of readers.

Under such circumstances, the decline of personal material pursuits and fame and fortune is inevitable, and the requirements for one's own will be further improved. This is probably what I realized after the mid-1980s—"

After hearing Lin Chaoyang talk about this, some people present remembered that Lin Chaoyang's main work during this period should be the "Xiangjiang Trilogy".

To be honest, in the "Hong Kong Trilogy", except for "Trumen's World", the other two works in the mainland have not had a particularly large influence.

Of course, this refers to comparison with Lin Chaoyang's other popular works.

One of the big reasons for this is that at that time, Lin Chaoyang lived in Xiangjiang, and the stories of the "Trilogy" revolve around the city of Xiangjiang.

From the audience's perspective, the "Xiangjiang Trilogy" does have certain aesthetic and cultural differences with mainland readers.

But now more than ten years have passed, and looking back at these works, everyone's feelings about these works have become more profound.

Because many social problems in Xiangjiang reflected in the "Xiangjiang Trilogy" that year have been gradually revealed in the mainland after so many years of development.

The popularization of mainstream culture, the entertainment of news media, the widening of the gap between the rich and the poor in society, and the speculative atmosphere driven by the stock market...

The problem that seemed very distant back then is now approaching the daily lives of contemporary Chinese people little by little.

The value of the "Xiangjiang Trilogy" is becoming increasingly high and is increasingly recognized by the literary community and readers.

Lin Chaoyang talked about his pursuit of improvement at this stage, and the "Xiangjiang Trilogy" is the best portrayal.

Just as the Xiangjiang media said back then, Lin Chaoyang's "Xiangjiang Trilogy" is like a scalpel, accurately dissecting the abscess of the rich and poor in Xiangjiang society, and presenting the complexity and struggle of human nature and the contradictions and oppositions of social classes to readers nakedly.

Now it seems that the "Hong Kong Trilogy" explains more than just the problem of Hong Kong.

Although Xiangjiang is a small society, it has all the internal organs.

Isn’t the “Xiangjiang Trilogy” review and criticism of Xiangjiang a review and criticism of the entire modern human society?

For most literary works, the reputation and evaluation after their release almost determine its destiny.

But the "Hong Kong Trilogy" is a little different. The impact it caused back then has not only not weakened after fermentation by time, but has become more and more innovative and profound. This is probably the charm of the classic.

"-That was probably the first time I realized that society recognized the value of a writer, and what was implicit was the influence you brought to society and the public.

By the 1990s, the excitement I could have for me was getting weaker and weaker, on the contrary, I felt a stronger and stronger pressure.

As a writer, in contemporary Chinese literature and on the world's literary stage, what level of writer am I a writer? Give yourself a score and consider your own weight. Do I deserve the word "writer"? This is a question I often ask myself in my heart in those two years."

Lin Chaoyang's voice echoed in the venue and reached the ears of every writer present, and many of them empathized with his sharing.

The writer who can attend this symposium today is the foundation.

In other words, most of the people present do not lack fame and fortune, so metaphysical pursuits have become an issue that everyone can empathize with.

To sum it up, it is nothing more than four words and one by one to keep in history.

Leaving the name of modern and contemporary literary history with words has accomplished most of the things that many people present today.

But Lin Chaoyang thought a little further than them. What he pursued was not only to leave a name in the contemporary literary history of China, but also to leave a rich and powerful color in the history of world literature that is worthy of attention from future generations.

Even for the famous writers present today, this is extremely difficult, but no one thinks Lin Chaoyang is whimsical.

Looking at the modern and contemporary Chinese literary world, there are not many writers who have gained great influence overseas, Lu Xun, Lao She, and Lin Yutang.

If you count it carefully, there are always ten or eight, but if you have to rate it first, it is probably Lin Chaoyang.

Just the article "The works are sold tens of millions of copies overseas", Lin Chaoyang is enough to make many predecessors ashamed.

Not to mention the huge influence of his works adapted in various forms.

Among the writers present today, Wang Meng and Cheng Zhongshi are very familiar with Lin Chaoyang, and they also felt the deepest about what he said just now, because they had such a mentality, but they both had this mentality when they were nearly fifty years old.

And Lin Chaoyang·—·

The two of them smiled bitterly at the same time. They realized this truth in their thirties.
To be continued...