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Author: Jia Pingwa
Publisher:
Publishing Date: Not available
Features: Sun Li's writings about Sun Li are like reading a book of "Shimen Ming," where every stroke and stroke make one feel comfortable, and one can imagine the calligrapher's ease at the time of writing, free from any illness. Good writing doesn't feel like an article, so in Sun Li's works, there is no trace of technique, nor can one see overflowing talent. "Holding the Cuan Ba Zi" is also good, and so is Zheng Xie's six-and-a-half-fifty, but they are good only in their oddity and strangeness, lacking in clarity and integrity. Yet clarity and integrity are the hardest to find in the world. Sun Li had ambitions in life, not in the official circles or in the hustle and bustle, but he lacked the air of a hermit or a Taoist, still remaining a Confucian, a great Confucian. Such a person appearing in modern China, especially at the Tianjin docks, is truly unimaginable. For decades, the literary world has been determined by the themes of works—this was true in the past and remains true today, leading many to fame. Sun Li's writings have always been about getting published, regardless of the newspaper or its position. He could write about anything and make it literary. In his lifetime, every black word written on a blank sheet was proudly included in his collected works, neither harming the person nor the writing. How many in the country can do the same? A writer whose works can live for at least half a century can truly be said to be creative. Although Sun Li never achieved widespread fame, his works have always been studied, and he continued to write until the end of his life, his pen strength never weakening. This shows how great his creative energy was!