论文部分内容阅读
Cao Wenfang’s works are all local novels.
Speaking of local novels, we will associate a series of name: Lu Xun, Zhao Shulili, Sun Li, Ai Wu, Shen Congwen, Fei Ming, Wang Zengqi ... Talking about local novels in the children''s literature, we will naturally think of a large number of children''s fiction of Ren Daxing and Ren Dalin, which are full of regional style of eastern Zhejiang, as well as works of Li Yougan and Cao Wenxuan, that are based on area of rivers and lakes in northern Jiangsu. But this kind of works is diminishing as campus novels are growing popular in children’s literature, and standout works of this kind are even scarcer. Therefore, Cao Wenfang’s Water Candle Series "( Twenty-first Century Publishing House), show the different value.
Cao Wenfang’s novel is the same kind as Li Yougan and Cao Wenxuan’s works. Since they share the same living environment, “water” is a common thread in their works—vast rivers, misty rain, and rivers everywhere. Symbiosis with the water, their works are doomed to have the natural characteristics of water.
I always have an idea that, for literature, rural areas have a natural advantage and a broader and richer literal present space comparing to cities. The rural land is the most natural soil to nurture literature. This is not only rural areas have a natural scenery that have distinctive four seasons and vitality, but they possess outspoken and honest folk customs, accompanying with a wide range of life stories and struggling of the fate. Literature works with a background of rural life rely on the nature and base on “human nature”; therefore, they tend to be richer and heavier than other literatures.
In the postscript writing, Cao Wenfang says, “writing is not my original dream. But I believe that, for a sensitive girl who grows in rural areas and gets familiar with the smell of the literature from his father and brother, pick up a pen to write is a very natural thing. All works that she has published are sharpened by the time, and built up little by little. These words record the track of her chasing the literary dream from naive to mature.
Cao Wenfang’s words are words that flow downstream, not driven by a philosophy and deliberately “made”. She writes because there are words that need to be expressed and stories that need to be shared. Her language is just as the flow of water, drifting, natural, and smooth. The stories written by her are also the same, not pursuing grief (although death is a common plot in her novels), nor depending on unexpected turn of events to attract eyeballs. Even she writes tragedies, she writes restraint and indifferently. She likes small things in daily life, and in her works, those pictures of life that are full of charm can be found everywhere - solar salt, coopering, collecting lotus roots, painting fingernails, and pollinating pear blossoms... comparing to the drab children’s lives in the city, Cao Wenang’s works present readers a charming and elegant scenery, as well as a portrait of people who live in a rural life. The rural area described by Cao Wenfang is feminine, and even write abput hardships and pain, and they are resolved by a feminine heart. Her female perspective makes the crude land soft and delicate. I appreciate her light brushstrokes, which leave proper blanks and inadvertently pursue the pure and simple style. She is good at not going beyond a point, instead, she stops and leave it to reader to appreciate.
Cao Wenfang’s works write about her own childhood. Although the material was not abundant, but the love she got was very rich. “In my memory, there is no scenes sitting in a classroom to listen to the lecture, instead, she runs in the open field all day. The memory is full of green lotus fields, tile blue sky, and brick alleyways in the village ...” “the children in my novel are like me, their little minds feel the colors of nature, and they feel happyness, fears, worries, and grieves for life and death as well as little things in life. This kind of childhood is the key to Cao Wenfang’s novel. Young mind and nature are in harmony, and those so-called stories of “little things” take on the vitality of the water, the fragrance of flowers, the vast of the sky. Unlike some children’s fiction confined to the urban life, Cao Wenfang’s work has a natural, light, and widely sparse temperament. Also because it writes her own childhood, and the words are running out of her own heart, it makes her work possess a clean, sincere, and simple tone.
When many writers of children’s literature are running towards shallow, light, and frolic, Cao Wenfang naturally walks into the literature, guarding the literature according to her mind and guarding her own childhood. She may not deliberately do this, but what she is guarding is precisely the origin of the literature. To read her novels, you cannot have an impetuous mind, and people who enjoy heavy flavors are also not suitable.
Reading Cao Wenfang’s novel is a kind of “green reading". Living in this hasty, disturbing, and gray world, children are suffering from the pressures of study and scores, and they need more exposure to this "green reading". Because the people who write holding a sincere heart, without affection or fine polish, by reading, readers can return to nature, return to the real, return to slow speed, and return to the pureness.
Speaking of local novels, we will associate a series of name: Lu Xun, Zhao Shulili, Sun Li, Ai Wu, Shen Congwen, Fei Ming, Wang Zengqi ... Talking about local novels in the children''s literature, we will naturally think of a large number of children''s fiction of Ren Daxing and Ren Dalin, which are full of regional style of eastern Zhejiang, as well as works of Li Yougan and Cao Wenxuan, that are based on area of rivers and lakes in northern Jiangsu. But this kind of works is diminishing as campus novels are growing popular in children’s literature, and standout works of this kind are even scarcer. Therefore, Cao Wenfang’s Water Candle Series "( Twenty-first Century Publishing House), show the different value.
Cao Wenfang’s novel is the same kind as Li Yougan and Cao Wenxuan’s works. Since they share the same living environment, “water” is a common thread in their works—vast rivers, misty rain, and rivers everywhere. Symbiosis with the water, their works are doomed to have the natural characteristics of water.
I always have an idea that, for literature, rural areas have a natural advantage and a broader and richer literal present space comparing to cities. The rural land is the most natural soil to nurture literature. This is not only rural areas have a natural scenery that have distinctive four seasons and vitality, but they possess outspoken and honest folk customs, accompanying with a wide range of life stories and struggling of the fate. Literature works with a background of rural life rely on the nature and base on “human nature”; therefore, they tend to be richer and heavier than other literatures.
In the postscript writing, Cao Wenfang says, “writing is not my original dream. But I believe that, for a sensitive girl who grows in rural areas and gets familiar with the smell of the literature from his father and brother, pick up a pen to write is a very natural thing. All works that she has published are sharpened by the time, and built up little by little. These words record the track of her chasing the literary dream from naive to mature.
Cao Wenfang’s words are words that flow downstream, not driven by a philosophy and deliberately “made”. She writes because there are words that need to be expressed and stories that need to be shared. Her language is just as the flow of water, drifting, natural, and smooth. The stories written by her are also the same, not pursuing grief (although death is a common plot in her novels), nor depending on unexpected turn of events to attract eyeballs. Even she writes tragedies, she writes restraint and indifferently. She likes small things in daily life, and in her works, those pictures of life that are full of charm can be found everywhere - solar salt, coopering, collecting lotus roots, painting fingernails, and pollinating pear blossoms... comparing to the drab children’s lives in the city, Cao Wenang’s works present readers a charming and elegant scenery, as well as a portrait of people who live in a rural life. The rural area described by Cao Wenfang is feminine, and even write abput hardships and pain, and they are resolved by a feminine heart. Her female perspective makes the crude land soft and delicate. I appreciate her light brushstrokes, which leave proper blanks and inadvertently pursue the pure and simple style. She is good at not going beyond a point, instead, she stops and leave it to reader to appreciate.
Cao Wenfang’s works write about her own childhood. Although the material was not abundant, but the love she got was very rich. “In my memory, there is no scenes sitting in a classroom to listen to the lecture, instead, she runs in the open field all day. The memory is full of green lotus fields, tile blue sky, and brick alleyways in the village ...” “the children in my novel are like me, their little minds feel the colors of nature, and they feel happyness, fears, worries, and grieves for life and death as well as little things in life. This kind of childhood is the key to Cao Wenfang’s novel. Young mind and nature are in harmony, and those so-called stories of “little things” take on the vitality of the water, the fragrance of flowers, the vast of the sky. Unlike some children’s fiction confined to the urban life, Cao Wenfang’s work has a natural, light, and widely sparse temperament. Also because it writes her own childhood, and the words are running out of her own heart, it makes her work possess a clean, sincere, and simple tone.
When many writers of children’s literature are running towards shallow, light, and frolic, Cao Wenfang naturally walks into the literature, guarding the literature according to her mind and guarding her own childhood. She may not deliberately do this, but what she is guarding is precisely the origin of the literature. To read her novels, you cannot have an impetuous mind, and people who enjoy heavy flavors are also not suitable.
Reading Cao Wenfang’s novel is a kind of “green reading". Living in this hasty, disturbing, and gray world, children are suffering from the pressures of study and scores, and they need more exposure to this "green reading". Because the people who write holding a sincere heart, without affection or fine polish, by reading, readers can return to nature, return to the real, return to slow speed, and return to the pureness.