By candlelight talk

Author: Zhou Zuoren
Publisher:
Publishing Date: 2002-01-01
Features: Bioluminescence Talks was published by Shanghai Beishu Bookstore in February 1940. It contains twenty-nine essays written from November 1936 to April 1937, mostly post-Melon and Gourd Collection. The author originally wrote a preface but did not include it in the collection; it was later compiled into Post-Bioluminescence Talks. In Two Short Prefaces of Post-Bioluminescence Talks, it is noted: “Bioluminescence Talks has been published, but it lacks a preface because the manuscript was burned in the Shanghai fires.” Several of the author's works published after Bioluminescence Talks faced difficulties due to wartime conditions, with the printing of this book delayed for several years being one example. Bioluminescence Talks was published by Shanghai Beishu Bookstore in February 1940. It contains twenty-nine essays written from November 1936 to April 1937, mostly post-Melon and Gourd Collection. The author originally wrote a preface but did not include it in the collection; it was later compiled into Post-Bioluminescence Talks. In Two Short Prefaces of Post-Bioluminescence Talks, it is noted: “Bioluminescence Talks has been published, but it lacks a preface because the manuscript was burned in the Shanghai fires.” Several of the author's works published after Bioluminescence Talks faced difficulties due to wartime conditions, with the printing of this book delayed for several years being one example.
In the preface, the author states: “The thirty or so essays in Bioluminescence Talks are largely no different from those in previous works,” yet in comparison, essays on specific topics constitute a significant portion, making them closer to Night Reading Notes than Melon and Gourd Collection. The Pearl Notes in the collection were originally published in World Daily·Pearl, alongside contributions by Yu Pingbo and Fei Ming, resembling column articles. However, their style differs from Bitter Tea Notes (On Nineteen Essays) and Bamboo Shoot Notes (Reason and Emotion), still maintaining the form of a Reading Record or Random Notes on Books, though slightly shorter. In his later reflections on his writings, the author emphasized works like A Cat (or A Cat): “In my opinion, apart from essays on reason and interest, some with quirky titles like A Cat, On Burial Alive, and The Gloved Hand of Glory are also quite distinctive. Unfortunately, many good topics remain unexplored due to insufficient preparation, such as the eight-legged essay, bound feet, and opium smoking.” (Recollections of Zhou Zhaotang·Postscript)
“Reason,” “interest,” and “quirky titles” can be used to categorize Zhou’s Reading Records, and even his entire body of work. “Quirky titles” represent typical cultural critiques. The concept of cultural critique can be applied to most of Zhou’s mid-career works, with the distinguishing feature of these essays being their exploration of specific cultural phenomena (quirky titles primarily refer to this). They ultimately touch upon the fundamental issues of the cultural systems they address. Their sources range from ancient to modern, from Chinese to foreign, all stemming from the author’s unique knowledge, interests, and discoveries, with all three being indispensable. The relationship between them can be understood as knowledge leading to discovery, discovery fostering interest, and both being encompassed within interest. As interest-driven works, they adopt a rambling style, though substantial in length and depth, they remain essays rather than academic papers. Whether considered from an artistic or intellectual perspective, “quirky titles” rank among Zhou Zuoren’s best works and best represent his style.
Later, the author remarked: “My essays are not particularly outstanding, but my intentions are always good. I wanted to steer Chinese essays in two directions: one, the dagger-like satirical essays (which I myself could not write), and the other, the essays of France and Britain, which are more diverse in nature. When I reviewed my old collections, I found some like A Cat, On Burial Alive, and News of the Mother of No Life still appealing to this day. Though this may stem from my habit of cherishing my own works, it is indeed the case.” (Letter to Bao Yaoming, April 21, 1965) This also refers to such works. The opening of A Cat discusses the writing process, revealing that in the author’s mind, “quirky titles” differ slightly from “Plants, Animals, Insects, and Fish.” “Plants, Animals, Insects, and Fish” are “appreciation mixed with critique,” with appreciation being the primary focus. These essays, however, are purely cultural critiques, though they are still lively and engaging, there is no need to rigidly rank them—yet their emphasis differs. After the 1930s, Zhou’s essays, particularly those on “quirky titles” and some reading records, exhibit strong cultural critique. It should be noted that this critique also carries symbolic social significance, with its motivations rooted in the real world to some extent. The author repeatedly stated: “I remain very active, yet I write these useless articles, hindering my principle of writing for myself.” (Postscript to Bamboo Shoot Notes) This was partly true but mostly unavoidable. On one hand, it was to avoid shouting empty slogans; on the other, it was a sense of responsibility to the declining nation. The contradictions in his thoughts were already evident in On Reading in Solitude.
However, this symbolic meaning is only one aspect, and not the primary one. It can be described as general versus specific, curative versus symptomatic, and addressing the root versus the symptom. In the author’s view, cultural critique itself holds ultimate significance. This edition is published based on the February 1940 first edition by Beishu Bookstore. The original book had three pages of contents and 227 pages of text.