Writer 1978: I Need to Give the Literary World a Lesson

Chapter 103 American "Scar Literature"

The next day, Liu Yimin woke up at 10 a.m. Yang Lixin called Liu Yimin to get up and eat breakfast, but when there was no response, he stopped calling.

Liu Yimin stretched and yawned. He hadn't felt unwell yesterday, but when he woke up in bed today and moved around, his thighs felt sore.

Dragging my tired body out of bed to wash up, I looked out the window of the fourth-floor bathroom. The weather in Yanjing was exceptionally good today. The biting northwest wind was no longer violently shaking the poplar and willow trees on the sidewalk, giving them a chance to breathe.

Poplar and willow trees are very common on the streets of Yanjing. Because of their short growth cycle, they are planted in large quantities to green the area and protect against sandstorms.

After washing up, Liu Yimin went to the cafeteria, which was empty. Looking at the spotless windows, he rubbed his stomach. It seemed he would have to endure it for a while longer.

When the chef saw Liu Yimin, he waved to him and said with a smile, "Writer Liu, don't go, don't go, there's food left for you. Teacher Yu specifically told me this morning that you got up late today and asked the cafeteria to save some food for you. Come and eat quickly, it's been kept warm in the pot, it's still hot now."

Liu Yimin was surprised by Yu Shizhi's thoughtfulness and said to the chef, "Thank you, Master!"

"Don't mention it, it was just a small favor, no need to thank me. Just tell me what you'd like to eat next time, and I'll make it for you if I can." The chef put all the hot and sour shredded potatoes and large slices of meat into Liu Yimin's lunchbox, two or three times more than usual.

Liu Yimin thanked him quickly and happily. It was indeed beneficial to have a good relationship with the chef. Even if you didn't have a good relationship with him, you should never offend the chef.

"Master, it's been a while since I've had your cooking, I really miss it!" Liu Yimin closed the lunchbox and prepared to leave.

"Then you should come to the Beijing People's Art Theatre often. Anyone who can stay at the Beijing People's Art Theatre is remarkable. Once the theatre is built, I'll cook here. I've had this skill for decades! Would you like another steamed bun?"

When Liu Yimin came out, he was carrying not only a lunchbox but also a large white steamed bun. It was almost eleven o'clock, so he had just finished eating his lunch.

Today, the Beijing People's Art Theatre is not rehearsing "Mr. Donkey," but rather Cao Yu's script "Wang Zhaojun." This play, commissioned by the Premier, praises national unity, but unfortunately, it wasn't completed until 78. To prepare for writing this play, Cao Yu personally visited Inner Mongolia and Xinjiang provinces for on-site research.

This theatrical production, which began in 60, took eighteen years to complete. Upon its release, tickets were in high demand, but it also received mixed reviews. Critics argued that it excessively elevated the image of Wang Zhaojun, transforming her from the weeping historical figure into a smiling, cheerful character in the play—a positive figure promoting national unity.

After finishing his meal, Liu Yimin went over to take a look. He thought the script was very well written, and Cao Yu had used a combination of realism and artifice to portray Wang Zhaojun's image from the outside in.

The teacher is worthy of being a teacher.

In the afternoon, Zhu Lin arrived at the Beijing People's Art Theatre, found Liu Yimin, and, holding a meal ticket in his hand, said he wanted to treat him to a meal.

"You came here specifically to have dinner with me?" Liu Yimin asked suspiciously.

“That’s not it!” Zhu Lin quickly said.

Liu Yimin said with a grin, "I won't eat unless I'm specially invited!"

"Ah!" Zhu Lin was momentarily at a loss for words, unsure of what to say.

A figure flashed past the rehearsal hall entrance and shouted to Liu Yimin, "Comrade Liu Yimin, some foreigners are looking for you!"

"Foreigner?"

"Yes, a big-nosed foreigner!"

Liu Yimin walked towards the door and arrived at the entrance of the Beijing People's Art Theatre. Li Congren and the others were communicating with the gatekeeper through gestures and words. Li Congren's gestures were so fast that they were almost blurry, but the gatekeeper still wouldn't let them in.

"Uncle Liang, they've come to see me," Liu Yimin quickly said.

Li Congren excitedly waved to Liu Yimin: "Liu!" Followed by Kelifu and Mulatu.

“I told you we knew each other!” Klif said smugly to the doorman.

"Yimin, hurry up and take them inside!"

Liu Yimin waved from the steps, and Li Congren ran in carrying a bulging bag that looked heavy.

"Why are you here?" Liu Yimin asked curiously.

“We came to the school a few days ago. We called the Beijing People's Art Theatre and found out you were back, so we came here specifically to see you. Liu, it's been so long! I missed you so much in America!”

Li Congren excitedly put his arm around Liu Yimin's shoulder, while Kelifu recounted what he had seen and heard at home. Mulatu put his hands in his pockets, thinking to himself, "I'm better than you guys; I even met Comrade Liu Yimin during the winter break."

Liu Yimin led them into his dormitory at the Beijing People's Art Theatre. The four of them quickly felt cramped. All four were tall, and besides Liu Yimin, the other three were quite robust.

The three of them sat on the bed board. Liu Yimin was afraid that they would collapse the bed, so he had no choice but to go next door and find a few stools.

“Liu, these are the books I brought you from America. Since you understand English, I don’t need to translate them for you. They’re all here, from historical novels to race-related stories. I can now confirm that your idea is a brilliant one.”

Li Congren happily took all the books out of his bag and placed them on Liu Yimin's desk.

"This is 'Roots,' written by Hey People author Alex, published in 76. It tells the story of a Hey People family that migrated from the Murrah region of Africa. I don't think you'll have any strong emotions about it!"

Recalling what had happened last time, Li Congren crossed his arms defensively and looked at Mulatu warily. Mulatu's reaction when the Foreign Language Teaching and Research Press recounted the incident still haunted Li Congren.

“What have you done to Africa? Shouldn’t I have a strong reaction? But I know I shouldn’t at this moment, and I’m trying to restrain myself!” Murat said.

"Okay, this is a novel about a Hey people family who were trafficked from the North to America, oppressed and exploited by white people, and how their descendants eventually integrated into American society after rebelling against the oppression. It caused a great upheaval in American society at the time, and was adapted into a TV series a few months later. ABC broadcast it for eight consecutive nights during prime time, setting a ratings record."

Li Congren excitedly stated that the book, coupled with the influence of the TV series, became a bestseller in the United States for several consecutive months.

“F***,” Murat cursed under his breath.

After Liu Yimin offered a few words of comfort, Mulatu calmed down a little.

“Li Congren, what do you want to say?” Klifu asked.

“I want to say that Liu’s idea is perfectly valid. This idea has already been proven by the novel ‘Roots.’ Liu should write it down.” Li Congren gripped Liu Yimin’s hand tightly and shook it wildly. Klif countered, “But Liu is Chinese. Publishing it in the United States will definitely face restrictions.”

Li Congren's enthusiasm waned slightly, but his eyes quickly lit up again: "Now that China and the United States have established diplomatic relations, I believe that in the near future, Liu will be able to meet American readers with his novel. There is an old Chinese saying, 'Wait and see.' Liu can write it first, and when the time is right, publish it in the United States."

“That’s a good idea,” Kliff said.

"Liu, there is an old Chinese saying, 'Write for millions of people,' you have to speak up for Americans."

Mulat also said, "Yes, I thank you on behalf of my fellow Hei people!"

Liu Yimin opened the novel *Roots* and read it; it did indeed reveal the tragic history of the enslavement of Black Americans. Liu Yimin then looked at the other books, one of which was a history of survival for Black Americans, and it also contained a book called *The American Black Survival Guide*.

In the United States, Black people and white people live in the same city, but their restaurants and hotels are strictly separated from those of white people; white people's places will not serve Black people.

Li Congren told him that, according to his understanding, the current standard for payment for articles published in magazines in the United States is between 5 cents and 20 cents per word, which is between $50 and $200 per thousand words.

Such a remuneration standard surprised Liu Yimin. The same length would earn twice as much if published in the United States, not even taking into account the exchange rate.

Liu Yimin dusted himself off and said heavily, “I feel it is necessary for me to do something for the American people, to establish a future for my American comrades, and to take up the banner of Mr. Martin Luther King Jr.”

Liu Yimin knew quite a few novels and movies about Hebrews. He first told Li Congren about "Green Book," a movie about a Hebrew pianist who became famous and then toured the racially conflict-ridden southern region.

Before setting off, he specifically sought out a white American man to protect him. This white man was going through a rough patch and was temporarily unemployed due to bar renovations, so he was in need of a job.

Even so, the white American hesitated when he saw that his employer was Black. However, as they moved south, their views of each other gradually changed during their daily interactions.

In the South, the pianist encountered all sorts of troubles. Even at banquets where guests came to listen to his performance, he was still not allowed to eat with the white people.

"The Green Book" refers to a travel guidebook crammed with information on where Black people can go and where they are not welcome. This kind of writing is practically American "scar literature."

This movie is based on a true story. The pianist was named Don Shirley, the driver was named Tony, and the screenplay was written by Tony's son.

In reality, most of the content has been dramatized, and the two families argued quite a bit about its authenticity. The Don Shirley family felt that most of the content was untrue; Tony was just the driver, the two families never became friends, and there was no harassment from them because of their race.

This film was made in 2018 and won the 91st Academy Award in 2019.

Liu Yimin changed the characters and adapted the original story. He changed the protagonist to a descendant of slaves who escaped from the south and studied the cello.

The story can be adapted to some extent, but as long as the discrimination and the friendship between the two characters remain unchanged, the overall theme of the novel will not be altered.

However, after writing and submitting the article to the United States under Liu Yimin's name, it's uncertain whether the US will publish it!

Novels set in other countries were not numerous in China during the 1970s and 80s, but they were by no means rare. However, most of them focused on touching stories set against the backdrop of countries like the Soviet Union, which carried a certain thematic weight.

The Dutchman Robert van Gulik also wrote an English version of "Judge Dee's Mysteries," which was eventually translated into Chinese and contained approximately 1.4 million words.

If it can't be published in the United States, then follow the example of the Dutchman Robert van Gulik and publish it in your home country. After it has a certain impact, then translate and publish it in the country where the story takes place.

Don't understand American society? There's the team at Foreign Language Teaching and Research Press, and stacks of English books to help you understand.

The four chatted for a long time, and Liu Yimin learned a lot about American society from Li Congren, including the daily life of Americans in the 1960s, such as clothing, food, housing, and transportation.

When it was six o'clock in the afternoon, after checking the time, Klifu smiled and invited Liu Yimin to go to the Haidian State-run Bathhouse for a bath.

At this moment, Liu Yimin remembered that Zhu Lin seemed to have invited him to dinner, and quickly said to the three of them, "I have something to do today, so I won't go for a bath!"

The three looked disappointed upon hearing this, and they had hoped to continue their frank conversation in the bathhouse and discuss the issue of literary creation further.

After seeing them downstairs, Liu Yimin turned around and went back to the theater. As soon as he got to the second floor, he saw Zhu Lin standing at the door of the rehearsal room, looking at him with a resentful expression.

"Sorry, these foreigners are really annoying!" Liu Yimin said apologetically.

"It's nothing, Comrade Liu Yimin. I just thought about it, and I came here specifically to invite you to dinner," Zhu Lin said sincerely.

"Okay, where should we eat? I have a big appetite!"

"Take whatever you like, I'll make sure you're full," Zhu Lin assured him, patting his chest.

"When in Rome, do as the Romans do. I'm fine with whatever they say!"

Zhu Lin tilted his head and thought for a while. He had originally planned to take Liu Yimin to the state-run restaurant next door for dinner, but then he thought that he couldn't waste this rare opportunity to treat someone to a meal.

So he gritted his teeth and said, "Comrade Liu Yimin, I'll treat you to a meal at Lao Mo!"

"Old Mo?" Liu Yimin wanted to refuse, because a meal at a Moscow restaurant wasn't cheap, and he didn't want to bankrupt Zhu Lin. But before Liu Yimin could say anything, Zhu Lin repeated, "Old Mo, we can't refuse!"

"Then I shall respectfully comply!"

Lao Mo was located on Xizhimen Street in Yanjing, about seven or eight kilometers away from the Beijing People's Art Theatre. Liu Yimin borrowed a bicycle and followed Zhu Lin to the Moscow Restaurant.

Located next to the Yenching Exhibition Hall, the old Mo is visible from afar, with its tall, pointed roof. The solemn and imposing building instantly draws you into a magnificent atmosphere, making you feel as if you are in another world.

No wonder people from Yanjing feel like they're on a pilgrimage when they come here to eat.

The streets outside were bustling with people. After locking their bicycles, Zhu Lin and his companion quickly went inside.

As Zhu Lin walked, he introduced Lao Mo to Liu Yimin: "I used to dream of eating a meal here, but unfortunately my family didn't have much money, so my parents couldn't bring me here often. Every time we were apart, the memory felt very distant."

(End of this chapter)