Kuala Lumpur, 5 May (ZXS) -- Question: Liu Zhenyun: After thinking maturely, they can write about urban young people who do not "lie flat."

China News Agency reporter Chen Yue

With the novel "One Day, Three Autumns" set in his hometown of Yanjin, Henan, Chinese writer Liu Zhenyun came to the Kuala Lumpur International Book Fair in Malaysia and had a dialogue with Malaysian writer Xu Tongyuan on the 29th.

Liu Zhenyun's interview is one of the Chinese guest of honor activities at the 40th Kuala Lumpur International Book Fair in Malaysia. This is the first time that China has held a guest of honor event at the ASEAN International Book Fair.

In Kuala Lumpur, a foreign country, Liu Zhenyun also met his "fellow countrymen" - several readers from Fengqiu, Henan. Liu Zhenyun promised one of the "fellow villagers" that in the future, when his thinking was mature, he would write a long novel set in a metropolis.

In the impression of many readers, Liu Zhenyun's novel is inseparable from Henan and Yanjin, the hometown of "yellow sand and salt alkali". From the early "Tower Shop" to "One Sentence Top 10,000 Sentences" to the latest "One Day, Three Autumns", although the style has evolved, what jumps on paper are the past, present and future of ordinary people in the small city of Yanjin. Liu Zhenyun himself said that for a writer, writing from his hometown is because "all writers write about their familiar life at the beginning."

In fact, in the early days of Liu Zhenyun's creation, he also wrote "Chicken Feathers in a Place" and "Unit", which shaped the youth living in the big city - "Xiaolin".

In a conversation with readers at the Book Fair, Liu Zhenyun said that many people now describe China's "post-90s" and "post-00s" young people as "lying flat", but they don't see it that way, "No one is lying flat, how to live when lying flat?" An example in Liu Zhenyun's eyes that does not "lie flat" is "takeaway brother". "It's the only profession that runs to work," "They're running hard to work."

"Writers should pay attention to the history, present and future of the nation." In a conversation with Xu Tongyuan, Liu Zhenyun said that on the one hand, writers should pay attention to life, and on the other hand, they must integrate their own ideas and artistic penetration, "one is indispensable."

Thoughts and thinking are the two words that Liu Zhenyun repeatedly mentioned in the dialogue that day.

In recent years, Liu Zhenyun's works have become popular in film and television adaptations. Speaking about this in the conversation, Liu Zhenyun said with a smile, "Because I write well." He said that the way of viewing novels is different from film and television: the reading form of novels is like two people talking under the lamp, which can show profound content; The film is "watched by many people together", "which determines that it must be the art of the masses".

Liu Zhenyun also said that around the world, he was most asked "why are you so humorous". Liu Zhenyun believes that the first level of humor is the humor of language, and then the humor of details, the humor of the plot, the humor of the story structure, and the highest is the "humor of reason". The humor of language may be limited when translating, but "humor in reason" can break through the limitations of countries and nations.

For Malaysian Chinese readers, Liu Zhenyun's work has no sense of linguistic barrier. During the Book Fair, wherever he went, Liu Zhenyun could gain the enthusiasm of many local readers. As the ambassador of reading promotion at the Beijing International Book Fair, Liu Zhenyun also specially invited Malaysian readers to the Beijing International Book Fair in June this year to continue the literary dialogue.

A young Malaysian reader told the China News Agency that for the local young generation of Chinese, China's metropolitan life may be more affinity, and he is looking forward to Liu Zhenyun's new works with the metropolis as the background after his thinking is mature. (End)