Classic Collection of Xiao Hong

Author: Tang Song
Publisher:
Publishing Date: April 1, 2002
Features: Xiao Hong, originally named Zhang Naiying, was born in June 1911 in Hulan County, Heilongjiang Province, into a landlord family. Xiao Hong has been gone for half a century. On January 23, 1942, she passed away in Hong Kong in poverty at the age of 31. Her early death was a great loss to the literary world. It was the dark society that devoured this woman writer who dedicated her life to ideals and possessed extraordinary talent. Xiao Hong's fate was unfortunate: a lonely and painful childhood, a drifting and unsettled life, repeated emotional setbacks, and the physical and mental torment caused by poverty and illness—all of which tormented her. Yet, she was also fortunate: she had mentors who recognized her talent early in her literary journey, and she received personal guidance and cultivation from Lu Xun, the pioneer of new literature, while the left-wing literary circle continued to support her, allowing her creative work to flourish in just a few years. Even though Xiao Hong's literary career spanned only nine years, starting from 1932, her achievements and influence made many who had toiled on this field for decades feel inferior. The artistic brilliance of Xiao Hong's works continues to shine brightly to this day. In this sense, she is even something to be proud of. Xiao Hong was particularly talented in prose writing. According to the writer Nie Gongnuo, Lu Xun, who highly praised her novel Field of Life and Death, especially valued her prose, saying she had "more promise than anyone else" in this genre ("Reminiscence of a Conversation with Xiao Hong," in Gazing Up at High Mountains, page 102, People's Literature Publishing House). This was undoubtedly an observation based on her actual creative work. A researcher once said, "Xiao Hong's novels have the charm of prose, and her prose has its own distinct style" (Lin Fei, Influence and Research on Modern Chinese Prose, page 139, Beijing Normal University Press). Lu Xun's argument may have been based on this as well. Xiao Hong had three collections that combined short stories and prose. These were Journey (published by Harbin Five-Day Picture Agency in October 1933), Bridge (published by Shanghai Cultural Life Publishing House in November 1936), and Cart (published by Shanghai Cultural Life Publishing House in May 1937). Among these, Journey was a collection of works by both Xiao Hong and Xiao Jun. She also published three collections of prose independently: Commercial Street (published by Shanghai Cultural Life Publishing House in August 1936), Xiao Hong's Prose (published by Chongqing Dadai Publishing House in June 1940), and Reminiscence of Lu Xun (published by Chongqing Life Bookstore in July 1940). Additionally, some of her works appeared in various periodicals. The first and second parts of this book are arranged in the order of the publication dates of the author's collections, with the works in the first part selected from Journey and Commercial Street, and the works in the second part selected from Bridge, Cart, Xiao Hong's Prose, and Reminiscence of Lu Xun. The third part consists of works that Xiao Hong did not compile into collections during her lifetime, and the fourth part is letters. In the three collections of short stories and prose mentioned above, some chapters are classified as short stories, while others are prose, and opinions differ on certain chapters. This naturally arises from the tendency of Xiao Hong's novels to lean toward prose. When defining the genre, we carefully considered each work to ensure accuracy, always prioritizing the actual nature of the work. Many of Xiao Hong's prose works have a personal, autobiographical nature. Commercial Street draws on her and Xiao Jun's extremely difficult and impoverished life in Harbin. Some of the prose in this collection received response upon publication and were later included in Ba Jin's Literary Series after being recommended by Lu Xun. Commercial Street allowed Xiao Hong to join the ranks of prose writers. The personal, autobiographical nature of Commercial Street does not hinder it from also having the characteristics of a social landscape painting. The stark contrast between the rich and poor in the metropolis, the fierce determination of the people to refuse to become slaves under Japanese occupation, their deep hatred for the Japanese and puppet regime, the tragic plight of the lower classes, the struggles of intellectuals to find work and survive, and the joys and sorrows of young people in their search for life's path—all are vividly depicted in the work. In terms of theme, Commercial Street expresses personal joys and sorrows, and its rare achievement is that it clearly reflects the shadows of the great era from the small joys and sorrows of individuals. Another significant feature of Commercial Street is its moving portrayal of the indomitable spirit of a young couple striving and struggling in hardship. Lu Xun said in Crisis of the Short Story (in Nan Qiang Bei Diao Ji) that prose should not only provide aesthetic pleasure but also serve as "preparation for labor and struggle." From this autobiographical work, we not only get to know and understand Xiao Hong and her companion but also gain a deeper understanding of the Northeast society under Japanese occupation, and we draw strength from the spirit of resilience in the face of adversity. Xiao Hong's autobiographical prose is not limited to Commercial Street. Almost all her prose works are based on personal experiences, though some focus more on herself, while others describe people she knew well. Even in chapters where others are the main characters, she always leaves traces of her own self. A Solitary Life can be considered a record of Xiao Hong's life in Tokyo, Japan, where she poured out her frustrations and loneliness as an outsider. Insomnia on a Sleepless Night, written in August 1937, was composed at the beginning of the full-scale outbreak of the War of Resistance Against Japan, with nostalgia for her homeland and a longing for the recovery of lost lands as the dominant emotions. Little Black Dog appears to be about a dog, but it is actually a reflection of the author's own life. From it, we can sense the subtle currents of the woman writer's emotions: maternal affection, a compassionate heart, and a melancholic tone, all of which leave clear traces in the text. Xiao Hong's letters, especially those to Xiao Jun, are clearly autobiographical. They not only record many of her past experiences but also bear the imprint of her emotions. In Xiao Hong's prose, there are also many works that focus on others, most of whom she knew very well, while some she had only brief interactions with but left a strong impression. Sitting on a Rickshaw is a recollection of her childhood life, where she writes from a child's perspective, describing how a rickshaw driver took her home after she got lost, highlighting the driver's noble character. She never expected her grandfather, her closest relative (both her father and stepmother treated her poorly), to thank the driver but instead believed she had been wronged and even struck the driver, leaving her indignant. Despite her grandfather's affection, she always felt a sense of distance. People Outside the Family also reflects life through a child's observations, genuinely describing the misfortunes of her second uncle in his later years. Her kind second uncle, a distant relative, was in a worse situation than the family's own long-term servants due to poverty and incompetence. The work profoundly exposes the hypocrisy and cruelty of the feudal family system. Xiao Hong always showed deep emotion when portraying the misfortunes of the poor and working people, likely due to her own hardships. She did not depict them with pity but with the understanding of "fellow travelers in misfortune," allowing not only a warm current of deep sympathy but also a genuine wellspring of emotion to flow in her works. Among Xiao Hong's character sketches, Reminiscence of Lu Xun is particularly noteworthy. This is not primarily because it provides invaluable historical material but because she uses the bright, delicate, and intimate brushwork of a woman writer to create a real, human, and living image of Lu Xun. This lengthy essay, spanning over 20,000 words, is a series of life fragments, seemingly ordinary and even trivial, but it contains a rich emotional capacity and social significance. The close friendship between Lu Xun and the "Communist Party members who returned after walking 25,000 li," his care for young writers, his diligence in work, his sincerity in character, his simplicity in life, and his profound knowledge—all are vividly depicted in the work. Xiao Hong was very skilled at capturing life's moments. By recounting conversations between Lu Xun and others while watching a Soviet documentary film, she expressed his sincere yearning for socialism. In the story of a plate of fish balls, his kind heart toward children and respect for them left a deep impression on readers. She also used a slightly humorous tone to describe Lu Xun's reaction when he learned that his manuscript had been used to wrap steamed buns in a small shop, contrasting with Xu Guangping's displeasure. Lu Xun, completely unfazed, revealed that even though he was a literary giant at the time, he did not consider himself special. The Lu Xun portrayed in Xiao Hong's prose is both a thinker and a writer, as well as a teacher and mentor who deeply cares for young people, a husband deeply in love with his wife, and a father who understands children's psychology and is attentive to them. Reminiscence of Lu Xun primarily depicts the daily life of this great man, revealing his character and personality. Reading Xiao Hong's heartfelt tribute, readers feel a sense of closeness because she does not portray Lu Xun with an attitude of reverence but simply shares stories about a kind and approachable elder and his demeanor. This long essay was written in October 1939, three years after Lu Xun's death, and the author's emotions had already calmed. Yet, her admiration and love for Lu Xun still flowed gently in her gentle and engaging narration. The nine years Xiao Hong spent on the literary path coincided with a period of severe national crisis. Her passionate anti-imperialist sentiments and strong national consciousness were particularly prominent in her prose. Spring Blossoms on the Tree Tips painfully exposes the sickening state of Harbin under Japanese occupation, where the revelry of foreign gentlemen and ladies in dance halls contrasts sharply with the wailing and crying of Chinese beggars on the streets. In Rickshaw, the endure hunger and humiliation, yet their chests burn with patriotic fervor, yearning for unity and resistance against Japan, and hoping for victory. The work not only expresses Xiao Hong's deep sympathy for their plight but also conveys her heartfelt respect. The Fire starters burns with hatred for the atrocities of Japanese invaders. The work is written in the style of a record, narrating the fascist crimes of Japanese planes bombing densely populated areas in Chongqing, causing the deaths of tens of thousands of innocent civilians. Anger and passion flow through every word. Chang'an Temple depicts the serene scene of a temple on Mount Gele in Chongqing during wartime, but Xiao Hong, preoccupied with national affairs, cannot find peace even in such a tranquil place, as Japanese planes could drop bombs there at any moment. Her reflections elevate the theme of the essay. Xiao Hong's deep hatred for invaders who disrupt peace and inflict suffering on the living is vividly expressed even in these short sketches of travel. A Letter to Northeast Compatriots Who Have Fled to Other Places, written on the 10th anniversary of the "September 18th Incident," is a powerful expression of her emotions. At the time, Xiao Hong was already bedridden with illness, but her longing for her homeland and her hope for victory never left her mind. This letter-form prose, filled with national confidence, radiates an inspiring brilliance. The passage of time cannot dim people's remembrance of this talented woman writer, Xiao Hong, whose works, unique in style, still possess immense vitality and power of persuasion. The charm of true art never fades.