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The challenges facing Chinese society become more complex as the reform goes deeper， yet it provides rich materials for literary creation. In this sense， Jia believes that there's a bright future ahead of Chinese literature， as it will nurture more great ideas among Chinese writers.
“China is undergoing various changes， and excellent literary works are emerging，” addressed Jia Pingwa 贾平凹， president of Shaanxi Writers’ Association and a famous writer at the seminar of “Shaanxi Literature： Start Again” last month， which had struck a chord.
“To talk about the contemporary literature in Shaanxi， I must first talk about the contemporary literature in China，” said Jia with a strong Shaanxi accent.
“The social reality of China had decided our literature categories.”
Jin believed that literature has made a remarkable contribution to the economic and social development of China. “China’s reform started with economy， but the first that has been reformed was literature. In the past， when various foreign literature trends surged into China， Chinese writers were suddenly and strongly stimulated； they interpreted them， absorbed them and conceived many new ideas and thoughts. They then wrote a lot and thus influenced Chinese people， which in turn had promoted Chinese reform.”
He said as the reform in China goes deeper， social problems become more complicated， while it provides rich materials for literary creation. This also strengthens his belief that Chinese writers will embrace a brilliant future as they will bring more excellent works to the world.
“The social reality determined the categories of our literature. We were born for the age and society， and we use the pen in our hand to record and express it. This is our mission and responsibility，” said Jia.
Write a Chinese background story appealing to a worldwide readership
Talking about the influence of the West literature， Jia regarded it as a process of absorbing and criticizing， through which more Chinese writers know what they should write and how to write. Their creations have gradually come onto the ‘right’ track of literature and attracted much attention over the world.
On the other hand， Jia pointed out that as far as he concerned， the outer world tends to focus more on the political elements of contemporary Chinese literature rather than the literature itself today. However， it’s the Chinese writers who can change it as what they do next would be essential to the situation. “Chinese writers should concern more about the quality of their literary works. The world belongs to all the human beings， and China is part of this entire community. We should look up to the 'sky' of the world and write out a 'land' of our own （by which Jia means to write a Chinese background story that appeals to a worldwide readership）. Only this kind of literature can inspire and appeal to more people in the world.”
“What has contemporary Chinese literature created？ What has it provided for the world？ These are the questions that the Chinese writers should be aware of. They should find in their works not only Chinese society and politics but also the aesthetic values. This is the best thing that we are expected the most，” Jia added.
“Novels should carry more themes besides rural area and peasants； the role of plot should not be underrated. ”
Jia， Lu Yao， Chen Zhongshi， Gao Jianqun and Ye Guangqin are representative writers of Shaanxi writers of the last two generations， while in comparison， good young writers are few. Concerning this， Jia explained the reason why the works by writers of the last two generations are excellent as their works penetrate into the reality and are closed to our daily life. He called for ‘plundering deeper into the soil of literature’， as he believed only though that could something be gained.
“However， novel writing should also be diversified. Writers of the last two generations basically focused on the rural areas of China， while today’s young writers should have an open mind. We should encourage the literary creation on other themes.”
He also felt that the popular arts， such as films and TV series， their influence on novel writing is obvious. “Unlike most contemporary Chinese novels， films and TV series focus more on plots and characters. Influence by Chinese literary trend in modern times， contemporary Chinese novels are basically away from plot； however， we’ve noticed it and that’s also what we will work hard to change in the future.”
“Writers should have their own home， universe and rivals.”
“What’s the most important thing for a writer？ The energy of writing，” said Jia. “This energy comes from the modern knowledge， tradition and folk culture. The more you learn， the more energetic you will be.”
Jia hoped the young Shaanxi writers could enhance their cultivation and energy reserve. “With sufficient energy， you need not choose the theme but are chosen by the theme. You can lead the society but not be controlled the society.” Jia also emphasized that a writer should have his or her own home， universe and rivals of literature. “By home of literature， I mean writers should know where they come from， what they should have and what should not.” “In the universe of literature， writers should know what they need to revere and what are allowed and what are not.” “Your rival could be other writers， the one that you adore or the critics. Your achievements will depend on how great your rival is.”
About Jia Pingwa
Jia Pingwa， born in Danfeng County， Shaanxi in 1952， member of the 7th， 8th， 9th and 10th CPPCC national committee， president of Shaanxi Writers’ Association and member of China Writers’ Association Presidium. He is a contemporary Chinese writer with creative spirit and worldwide influence， and was honored as the “Wizard Writer”. He holds on to the culture of the Qin and Han Dynasties， and tries to illustrate the culture with Confucianism， Buddhism and Taoism philosophies. Jia is good at depicting the simplicity and frankness of people on the northwestern land. He places this living lives in the throes of the changing time， brands them with scares of the time on the body and soul. In 2008， his novel， Shaanxi Opera （《秦腔》）， won the 7th Mao Dun Literary Prize. His representative works include The Full Moon （《满月儿》）， Fickleness （《浮躁》）， The Abandoned Capital （《废都》）， Shaanxi Opera， Old Kiln （《古炉》）， etc.
“China is undergoing various changes， and excellent literary works are emerging，” addressed Jia Pingwa 贾平凹， president of Shaanxi Writers’ Association and a famous writer at the seminar of “Shaanxi Literature： Start Again” last month， which had struck a chord.
“To talk about the contemporary literature in Shaanxi， I must first talk about the contemporary literature in China，” said Jia with a strong Shaanxi accent.
“The social reality of China had decided our literature categories.”
Jin believed that literature has made a remarkable contribution to the economic and social development of China. “China’s reform started with economy， but the first that has been reformed was literature. In the past， when various foreign literature trends surged into China， Chinese writers were suddenly and strongly stimulated； they interpreted them， absorbed them and conceived many new ideas and thoughts. They then wrote a lot and thus influenced Chinese people， which in turn had promoted Chinese reform.”
He said as the reform in China goes deeper， social problems become more complicated， while it provides rich materials for literary creation. This also strengthens his belief that Chinese writers will embrace a brilliant future as they will bring more excellent works to the world.
“The social reality determined the categories of our literature. We were born for the age and society， and we use the pen in our hand to record and express it. This is our mission and responsibility，” said Jia.
Write a Chinese background story appealing to a worldwide readership
Talking about the influence of the West literature， Jia regarded it as a process of absorbing and criticizing， through which more Chinese writers know what they should write and how to write. Their creations have gradually come onto the ‘right’ track of literature and attracted much attention over the world.
On the other hand， Jia pointed out that as far as he concerned， the outer world tends to focus more on the political elements of contemporary Chinese literature rather than the literature itself today. However， it’s the Chinese writers who can change it as what they do next would be essential to the situation. “Chinese writers should concern more about the quality of their literary works. The world belongs to all the human beings， and China is part of this entire community. We should look up to the 'sky' of the world and write out a 'land' of our own （by which Jia means to write a Chinese background story that appeals to a worldwide readership）. Only this kind of literature can inspire and appeal to more people in the world.”
“What has contemporary Chinese literature created？ What has it provided for the world？ These are the questions that the Chinese writers should be aware of. They should find in their works not only Chinese society and politics but also the aesthetic values. This is the best thing that we are expected the most，” Jia added.
“Novels should carry more themes besides rural area and peasants； the role of plot should not be underrated. ”
Jia， Lu Yao， Chen Zhongshi， Gao Jianqun and Ye Guangqin are representative writers of Shaanxi writers of the last two generations， while in comparison， good young writers are few. Concerning this， Jia explained the reason why the works by writers of the last two generations are excellent as their works penetrate into the reality and are closed to our daily life. He called for ‘plundering deeper into the soil of literature’， as he believed only though that could something be gained.
“However， novel writing should also be diversified. Writers of the last two generations basically focused on the rural areas of China， while today’s young writers should have an open mind. We should encourage the literary creation on other themes.”
He also felt that the popular arts， such as films and TV series， their influence on novel writing is obvious. “Unlike most contemporary Chinese novels， films and TV series focus more on plots and characters. Influence by Chinese literary trend in modern times， contemporary Chinese novels are basically away from plot； however， we’ve noticed it and that’s also what we will work hard to change in the future.”
“Writers should have their own home， universe and rivals.”
“What’s the most important thing for a writer？ The energy of writing，” said Jia. “This energy comes from the modern knowledge， tradition and folk culture. The more you learn， the more energetic you will be.”
Jia hoped the young Shaanxi writers could enhance their cultivation and energy reserve. “With sufficient energy， you need not choose the theme but are chosen by the theme. You can lead the society but not be controlled the society.” Jia also emphasized that a writer should have his or her own home， universe and rivals of literature. “By home of literature， I mean writers should know where they come from， what they should have and what should not.” “In the universe of literature， writers should know what they need to revere and what are allowed and what are not.” “Your rival could be other writers， the one that you adore or the critics. Your achievements will depend on how great your rival is.”
About Jia Pingwa
Jia Pingwa， born in Danfeng County， Shaanxi in 1952， member of the 7th， 8th， 9th and 10th CPPCC national committee， president of Shaanxi Writers’ Association and member of China Writers’ Association Presidium. He is a contemporary Chinese writer with creative spirit and worldwide influence， and was honored as the “Wizard Writer”. He holds on to the culture of the Qin and Han Dynasties， and tries to illustrate the culture with Confucianism， Buddhism and Taoism philosophies. Jia is good at depicting the simplicity and frankness of people on the northwestern land. He places this living lives in the throes of the changing time， brands them with scares of the time on the body and soul. In 2008， his novel， Shaanxi Opera （《秦腔》）， won the 7th Mao Dun Literary Prize. His representative works include The Full Moon （《满月儿》）， Fickleness （《浮躁》）， The Abandoned Capital （《废都》）， Shaanxi Opera， Old Kiln （《古炉》）， etc.