‘허구’와 ‘비허구’의 경계

Abstract

Yan Lianke’s Blind Date, Clear Night is a novel with a strong transformation into a kind of curtain call that conveys a different direction of raising questions compared to the previously published work. What method was more important to him than what he wrote. If the article is intended to restore humanity by exposing its wounds as a huge media outlet, such as criticism of revolutionary ideology that overwhelms mankind, false consciousness of intellectuals, and suffering and anger of the Chinese people, it is a confession and reflection. In this “Quick Seeking Co-sleeping”, he once again implemented this “wild” to the end. The whole book tells a fictional story under non-fiction in a completely new way, and reality and fiction are constantly blended, blurring the relationship between the two.
 Yan Lianke’s can feel three major changes in his 20-year career as a writer. First of all, his writing was very realistic in the early days, but later on, it became more complicated by combining irrationality with various elements such as modernism, postmodernism, magic realism, black humor, and dreams. Second, writing for literature and freedom, even if it is no longer published, and third, thinking and efforts as “intellectuals” as much as possible, not just as a novelist, are important factors in the three changes.
 Yan Lianke’s novels are known in literary circles as “surrealism”. Speaking of realistic literary creation, Yan Lianke sighed: “Realism is not only about writing about people, it would be too shallow to limit realism to the description of social ecology.” Realist literature is not just about people and human nature, but about the survival dilemma of the whole person. If you want to write about the dilemma deeply, you have to learn to observe, and sometimes it is more important to observe other people’s lives than to observe your own life.”