Chapter 18: Looking Forward, Pioneering a New Path

During the sent‑down period, I heard on radio and newspapers the stories of frontline soldiers fighting bloodily, and I was deeply moved, which sparked my urge to write.

In the writing process, I reflected extensively on the beauty and ugliness of human nature I experienced during my studies, sent‑down years, and work. In the end I concluded that a good work should praise the sunshine and not shy away from darkness.

Yearning for and pursuing sunshine is the source of hope for human society. Not avoiding darkness is to eliminate the sludge that clogs the spring of hope, allowing the water that yearns for goodness and beauty to gush forth.

Xu Yuexin spoke fluently, showing no sign of stage fright.

When Wang Chaoyin heard Xu Yuexin's words, he immediately gave him an approving look.

These remarks were not only well‑reasoned but also eloquent, and their expressive effect was truly brilliant.

Wang Meng also nodded slightly, his expression showing admiration for Xu Yuexin.

The young man before us not only writes fine articles but also possesses a high overall level of insight; he is a rare good seedling.

Reporter Li Renchen was excited by Xu Yuexin's speech: as journalists, they most appreciate interviewees with strong expressive ability and frequent golden sentences, which creates an excellent interview effect.

"Comrade Chunfeng, I strongly agree with your earlier idea. Now I would like to raise a question: regarding the current debate between Looking Forward and Looking Backward, what is your view?"

Wang Chaoyin and Wang Meng, upon hearing the question, both turned their gentle gazes toward Xu Yuexin.

The dispute over Looking Forward versus Looking Backward is a major controversy currently unfolding in the literary world.

"Looking Backward means focusing creation on the social upheavals of recent years, with representative works such as 'Scar' and a batch of similar pieces."

"Looking Forward advocates directing attention to the renewed outlook of people since last year's conference, the continuously advancing state of society, especially the ongoing reforms."

The two sides sparred fiercely, sparks flying, and parts of the discussion have gone beyond literary scope, elevating into a major social issue.

Wang Chaoyin and Wang Meng both agreed that with so many leading literary figures arguing endlessly without reaching a consensus, it is enough for Xu Yuexin to attempt a response; he need not produce an answer that convinces everyone.

Facing the question, Xu Yuexin gave a faint smile and replied, "Reporter Li, may I ask whether you think the book 'High Mountain's Flower Wreath' is Looking Forward or Looking Backward."

Based on Xu Yuexin's earlier exposition on sunshine versus darkness, Li Renchen answered directly, "I think this should be a Looking Forward work."

"I would like to ask everyone again: after reading the piece 'High Mountain', what is your most immediate impression?"

Xu Yuexin did not rush to answer, but continued to probe.

Wang Chaoyin, Wang Meng, and Li Renchen thought for a moment and then each gave an answer.

"There is a feeling of being stirred. The sacrifices of Liang Sanxi, Jin Kailai and others in the text are indeed heartbreaking, yet while lamenting the heroes, I feel a surging heroic sentiment in my chest, reinforcing my belief that our nation is invincible and full of hope and prospects."

When Wang Chaoyin mentioned this, his expression shone brightly as he said, "Heroes burn themselves as torches, illuminating us."

Xu Yuexin acknowledged his words.

"The style of Looking Forward carries this meaning: what does the public need? To yearn for light and pursue hope. Looking Forward precisely provides that hope."

"Conversely, Looking Backward often overindulges in personal emotional expression, with a bleak tone that leaves readers disheartened; consequently, such literature struggles to sustain lasting vitality."

Having once been a copyist, Xu Yuexin understands readers' mindset to some extent.

People read books in their spare time for pure enjoyment; when a book pleases the crowd, tips and monthly tickets naturally follow.

In this era, a physical work that can inspire readers and give them positive emotions after reading is what matters.

Literary genres that fail to achieve this are doomed to go nowhere. In fact, Scar Literature entered a decline after 1981, and after the 1990s it received virtually no attention.

Xu Yuexin's remarks were ahead of their time; Wang Chaoyin, Wang Meng, and Li Renchen found them very true and began to digest them internally.

"You are absolutely right; excessive personal expression combined with a dark tone will only ruin a novel."

After a long pause, Wang Meng, his expression revealing high praise, said, "This is an issue that deserves strong emphasis in future work; literary prosperity cannot be separated from excellent style." "Indeed, Comrade Chunfeng's piece 'High Mountain' is a prime example of such excellent style."

After this conversation, Wang Meng increasingly felt that Xu Yuexin was no ordinary talent and that his perspective on issues was highly insightful.

Li Renchen recorded the dialogue beside them, feeling especially pleased to have fulfilled the interview mission perfectly.

Interviewee Chunfeng spoke with brilliant wit and deep insight, the dialogue was vivid and directly hit social hot topics. Undoubtedly, this was an extremely successful interview, and the final edited version will surely cause a great sensation.

……

That evening, after Xu Yuexin left, Wang Meng continued discussing the unforgettable exchange with Wang Chaoyin, as well as the follow‑up plans for the work 'High Mountain'.

"In my judgment, this young fellow Xu Yuexin is a rare talent worth focused cultivation. Chaoyin, what do you think?"

As Vice Chairman of the Writers Association in Jingcheng, Wang Meng remained immersed in the joy of having another talented writer emerge in the literary world, speaking with considerable praise.

"I agree with your view. What exactly do you mean by focused cultivation?"

Wang Chaoyin asked curiously.

Traditionally, focused cultivation simply means sending the writer for further study, enrolling them in literary seminars, giving them formal training to facilitate future title evaluations.

Wang Chaoyin thought his old friend's description of focused cultivation was nothing more than that.

Wang Meng smiled gently, his gaze turning toward the distant sunset, and without answering directly said, "You and I, as a generation of writers, fought our way up in public newspapers and periodicals during our youth."

"Xiao Xu and his peers are different; in the future they will likely face the era of a commodity economy. As writers, they must also undergo market scrutiny."

Having authored 'A Young Man Came to the Organization Department' in 1957, Wang Meng had already attracted the attention of senior leaders during his youth.

His information network is far more extensive than that of other literary figures.

According to recent information, Wang Meng believes the commodity economy era is inevitable, and in the future writers' income will come not only from manuscript payments for periodical submissions.

For example… publishing books and receiving royalties? Wang Chaoyin for the first time did not grasp his old friend's meaning.

He laughed, patting Wang Meng's knee, and said, "Alright, now that you're a leader, you start playing riddles with me. So, what plans do you have regarding Xu Yuexin?"

"Publish Xiao Xu's piece 'High Mountain's Flower Wreath' separately and collect royalties."

Wang Meng said firmly, his gaze revealing great determination.

Wang Chaoyin jumped in surprise, "What? Weren't royalties abolished back in 1960?"

"No, Lao Wang, what are you trying to do?"

Wang Meng took a deep breath, smiled at Wang Chaoyin, and asked, "Who says something that's been abolished can't be reinstated?"

The amount of information in Wang Meng's words was overwhelming, and Wang Chaoyin struggled to absorb it at once.

Since the abolition of royalties in 1960, all authors have lived on manuscript payments, and there was even a period when manuscript payments themselves were abolished.

Upon hearing his old friend express a desire to experiment with royalties, Wang Chaoyin's first reaction was not excitement but concern for him.

"Will doing this cause any problems?"

Wang Chaoyin cautiously probed, saying.

"If I'm not sure, I wouldn't do it either. To be frank, a leader leaked information to me, saying that the restoration of royalties has entered the higher‑level agenda, and everyone wants to see what the effect will be after implementation."

Wang Meng, with confidence in his expression, said, "I think it's most suitable to start the trial with Xiao Xu; his 'High Mountain' is the work most likely to achieve success after publication."

(End of chapter)