Normal person

Author: Shen Shanzeng
Publisher:
Publish Date: 2007-01-01
Features: When it comes to Shanghai literature, readers' reactions are often the romance school of the early Republic of China, the New Sensibility school of Mu Shiying in the 1930s, or a series of representative works in contemporary literature, such as The Long Ballad. The legends in these works often take place in the dazzling Shanghai of the 1930s and 1940s, reflecting the extravagance and luxury of the "" (Ten-Mile), with a style that is magnificent and unconventional, not known for simplicity. Of course, works of simplicity are not absent—many Shanghai writers changed their styles during the social transformation of the 1950s and 1960s, shifting their themes from cities to rural areas, and became rustic literature free of ostentation. From initially reflecting the "Land Reform" until the emergence of "Injury and Scars" literature, Shanghai literature, constrained by political influence and the personal inclinations of writers, lost its original charm. Fortunately, the author of this book, decades after the fragmentation of the Shanghai literary tradition, presents us with a new (scroll) of old Shanghai through his unique perception and writing ability. It is called "new" because the Shanghai atmosphere it depicts is neither in the horse racing track nor in the dance hall; not in the young aristocrats or the elegant "old keller" women in qipaos. Instead, it lies in the ordinary people living in the shikumen (stone gatehouse) buildings. The era it portrays is also unrelated to the "Paris of the East" famous for its prosperity in the 1930s and 1940s—this book's story begins in the mid-1950s and ends in the late 1970s. It is called "old" because the novel is filled with a strong Shanghai atmosphere, beyond the glitz and glamour of the tycoons and the elegant crowd, focusing on the quiet lives of ordinary people. The author's (brush) is filled with numerous eccentric characters with strange nicknames, each taking their turn on stage. The political movements of the 1950s and 1960s affected their destinies, but failed to change the inherent lifestyle of this Shanghai group—the Shanghai people will carry a bottle of Sichuan-flavored bean paste even when they go far away. Titled The Ordinary People, the author records the thoughts and lives of the people of old Shanghai through an unconventional style during the ups and downs of history. It can be said that "everyone sees it, but no one writes about it." Seeing the big in the small, it differs greatly from other literary works of the same era. What is also commendable is the author's unique brushwork—combining humor, irony, self-deprecation, and playfulness, making it a delightful and irresistible read. His self-reflective writing style also reveals his unique demeanor—if readers can resonate, then you and I are kindred spirits; if not to your taste, my existence's value is not diminished in the slightest—I do not curry favor with others, only because I am indeed confident. This book is the literary creation masterpiece of Shen Shanzeng, a member of the Shanghai Writers' Association and the (deputy director) of the Novel Committee. It pioneers the use of the "excitement point shifting" structure and the "non-identifying third-person narration" in the narrative of a long novel. It has also made significant contributions to the elevation of Shanghai dialect to the realm of literature. In his vivid, humorous, and ironic narration, it is also evident that the author is skilled in philosophical thinking and has a keen concern for ultimate values.