Liu Zhenyun is one of the most misunderstood novelists in China.
Each time his latest novel is released, he is buried with boos and
catcalls. "But later, I'm bombarded with cheers, even from the same
bunch of folks," he says.
"Perhaps my attempt to try new tricks fails to impress my readers
and critics. Or, it is just that they are getting used to my style
and unwilling to watch me taking risks and making a fool of
myself," explains Liu during a book launch for his latest novel
I Am Liu Yuejin (
Wo Jiao Liu Yuejin).
Nonetheless, the 49-year-old writer, who often crosses over to
movie script writing and even acting, never yields to criticisms.
"I always move on amidst heaps of criticism over my 25-year
writing career. But when a new novel is completed, I have to turn
to a new direction since I am no longer in the same mood. I must
turn a deaf ear to my critics when I trek on a new path," he
says.
Hailed by critics as a "Neo-realist writer", Liu refuses to be
pigeonholed and claims I Am Liu Yuejin, his fourth
full-length work of the genre, marks "a new turn".
Liu's new novel hit the bookshelf early this month, with at
least 200,000 first-edition copies printed, according to Jin
Lihong, the publisher of the book with the Changjiang Literature
and Arts Publishing Group. Jin anticipates a good harvest from this
"insightful yet dark-humored novel".
Liu says his story is a subversive parable about a sheep that
eats wolves.
It is how the weak and downtrodden unexpectedly get an upper
hand. "Only in my novels I can make the impossible possible. "
The plot involves a countryside chef searching for his lost bag
and dealing with different bands of deadly killers.
"Sheep and wolves are metaphors I make use of to express a new
angle we look at today's world," he says.
Liu believes the world is full of uncertainties and endless
accidents and coincidences. "The world is out of the control of
human kind. In addition, that is where drama comes from and I want
to explore in my novels."
His protagonist Liu Yuejin "exposes the absurd, irrational logic of
some people in today's world".
Liu's characters are true to life, critics say. "No matter if
they are a he or she, a nobody, a superrich, or a high ranking
official, each has his or her weaknesses, worries, fears, hopes and
whimsical dreams," says Yang Xuemei, an editor with a publishing
house in Beijing.
Chef Liu is a mild-natured migrant worker who is tortured by his
broken marriage. The chef tries every means to safeguard his own
interests. He is smart but powerless.
In his search for his lost bag of money, Liu Yuejin breaks
promises, playing a deadly game with dangerous enemies, including a
real estate tycoon, corrupted officials, the mafia, vendors,
prostitutes, private eyes, and subcontractors.
"Life looks smooth and perfect. However, when looking
underneath, one may find holes, cracks and misfit joints. I intend
to do a justice to the incongruity of life in my stories," explains
Liu who prefers to call all his novels "comedies" instead of
"tragedies or tragic-comedies".
"For centuries, playwrights, writers, and scriptwriters are fond
of writing about tragedies. But in my eyes, all tragedies are
comedies," says Liu.
Readers may find Liu's short stories and novels characterized by
a restrained, matter-of-fact narration that also conveys strong
satire and humor. His compassion for ordinary people at grass-root
level of society, his disgust with abused power, and the
out-fashioned mentalities shines throughout.
The new novel has drawn mixed reviews from the readers. Some view
the work "a long-winded story, sandwiched with self-satisfied
social commentary, and psychoanalysis of the protagonists", while
others praised the novel for its "relentless revelation of the bare
truth of contemporary life, convincing depiction of the characters,
and breathtaking, humorous narration". The Beijing-style language
is colliqual and character names are borrowed from pop idols and
classicals. Li Yuchun (Super Girls), pop legend Madonna and
Green-faced beast Yang Zhi (Outlaw of the Marshes).
Han Sanping, head of China Film Group Corporation, is extremely
confident about the appeal of Liu's new novel and has invested
about 10 million yuan (US$1.3 million), turning the book into a
movie of the same title. It will open on Thursday .
"The movie appears more dramatic than the original novel. And
the pace picks up quicker than the novel does," Liu admits, adding
that director Ma Liwen only made use of part of his novel.
Liu is script-writer, producer and plays a bit role in the
movie, directed by Ma, an emerging female director, whose poetic,
cozy low-budget flick You and Me won awards at the 18th Tokyo Film
Festival in 2005 and Chinese Golden Rooster Film Festival in
2006.
Over the years, Liu has collaborated with director Feng
Xiaogang, arguably one of the most successful blockbuster-makers in
China alongside Zhang Yimou. One of the most eye-catching and
commercially successful co-operations between Feng and Liu is
Cell Phone.
In Cell phone, TV anchor Yan Shouyi lies to his wife
and friends, but is eventually betrayed by his cell phone. Raking
in more than 50 million yuan in box office, Cell Phone,
became the China box office champion of 2003. Based on the film
script, Liu wrote a novel of the same title, which sold more than
300,000 copies.
"Everyone utters thousands of sentences a day. Only a few
sentences are true, useful and meaningful. In other words, people's
mouth betrays their heart. Cell Phone is to tackle this
theme," he says.
Unlike many of his peers, Liu believes writing TV and film
scripts can only help sharpen his skills and offers new angles of
looking at life.
"Script writing is as challenging as novel writing. So is
acting. As a novelist, I have indeed benefited a great deal from my
experiences in the filmmaking sector," he says.
"A movie does not harm the original novel. Instead, it promotes
people's awareness of your novels," he says.
"Did you notice that there are so many remakes of films based on
good novels? In addition, usually people read the novels before
watching the movies. I believe novel has a longer life span than
movies. And you can read it anywhere you want," he says.
In Liu's view, watching a movie based on his novel is like
eating spicy fast food but reading his original novel is like
eating a rich feast.
"You need to slow down a little and pay attention to the refined
taste. And after eating the meal, you could have a pleasant
memory," he says.
Due to his active involvement in filmmaking, critics have
labeled Liu a "commercial" novelist. However, Liu does not feel
ashamed.
"Not so many Chinese writers can earn a descent living by
writing short stories or novels today. If their works do not sell
well, how could they survive as writers?" he says.
"Due to the lack of money, a writer can no longer pursue lofty
goals in his literary career. I hope more and more writer will be
commercially successful. It is a good thing for both writers and
their fans."
(China Daily November 26, 2007)
