Since its inception, there have been two traditions of "narrative in the countryside" and "narrative in the city". Since the 1990s, with the help of industrialization and urbanization, China has started a "great change of mountains and villages" from rural China to urban and rural China (1). Based on this, the phenomenon of large-scale rural population working in cities provides abundant writing resources for contemporary rural literature, which makes the "narrative of entering cities" which was originally in the "sub mainstream" (2) position begin from the edge Edge to the center, gradually grow to replace the "narrative in the countryside" mainstream status.
In fact, the narrative of entering the city in the contemporary local novels also has its origin. "In terms of the development logic of the Chinese local novels themselves, the writing of" peasants entering the city "in the Chinese local novels at the turn of the century is not the result of sudden occurrence and mutation, but the historical extension and variation of the similar narrative of the Chinese modern local novels at the turn of the century starting from the May 4th movement.". (3) In the development of the narrative tradition of entering the city, three kinds of narrative paradigms have gradually formed, which are manifested in: firstly, in the narrative values, entering the city narrative deliberately emphasizes the dilemma of the identity of "urban alien"; secondly, in the narrative values and emotions, entering the city narrative focuses on enlarging the binary opposition premise Finally, the object of urban-rural narrative focuses on the single dimension of the group image of those who enter the city. These three modes are especially used in the urban narrative works from 1990s to now, but the solidification of the narrative mode also causes the phenomenon that the theme of the urban narrative works goes first and the text is homogeneous. "Other land" is another masterpiece of writer Fu Xiuying after "stranger" for three years. It can undoubtedly be regarded as one of the most representative creative achievements emerging in the main tide of narrative local novels in the city. Zhai Xiaoli, a girl from Fangcun, entered the city through the college entrance examination and met her boyfriend from the provincial capital. She started her life in the provincial capital with a full expectation of the city life. Marriage did not bring the expected happiness. When the trivia of marriage and the contradiction of family were exposed, she entered Beijing through postgraduate entrance examination. During her stay in Beijing, she had a complicated relationship with Laoguan, Zhengda officials and other figures by chance, and finally achieved reconciliation with reality and identity leap by virtue of her tenacity and perseverance.
In "other land", the writer shifts the field of writing from local China to urban and rural China. This is not only a timely expansion of Fu Xiuying's literary creation territory, but also a literary review of Chinese local novels 20 years later, which is the key to China's modernization process. Although the work focuses on Zhai Xiaoli's personal history of going to the city and struggling, its experience is a metaphor of this group's wandering, growth and transformation in the accelerated period of China's modernization. At the same time, in Zhai Xiaoli's growth process, it also reflects the era code and memory in China's urbanization changes. From the perspective of the generational Evolution Pedigree of story materials and theme, the author's targeted description of Zhai Xiaoli's experience of entering the city, the son of Fangcun, is undoubtedly a continuation of the narrative tradition of entering the city of Chinese local novels. What's rare is that the writers who are trying to seek innovation and change in their creation have not only creative experience in the narrative of salary passing into the city, but also try to break through the nearly solidified traditional narrative paradigm in their texts: first of all, Fu Xiuying, through Zhai Xiaoli's changes in rural and urban concepts after entering the city, subverted the dilemma of identity of "urban alien", and contributed to entering the city Secondly, cultural metaphors are set up in the description of urban and rural landscape paintings to realize the micro and objective replacement of the binary opposition of urban and rural civilization in the narrative of entering the city; finally, Fu Xiuying constructs the figure group image map with Zhai Xiaoli as the center, and on this basis, multi-dimensional perspective of human weakness is carried out. In Zhai Xiaoli's helplessness and lament, struggle and unyielding, persistence and progress, Fu Xiuying has realized the literary writing of the history of "going to the city" by melting the "other country" into the "my country", thus realizing the new change of the century old tradition of going to the city narrative. 01
Since the 1990s, the biggest puzzle faced by Chinese local novels is that the local China in the rapid transformation overflowed the existing "local experience" mode of local writers, and the once familiar countryside became strange (4) When the transformation of rural China is put into practice by the writers of rural novels, it is fused into the performance mode of de rural narrative, while the narrative of entering the city focuses on the confusion of the identity and cultural identity of the urban alien groups. As far as the narrative of entering the city is concerned, the most obvious manifestation of this confusion is the cognition and evaluation of the identity of the group of entering the city as a stranger. Under the guidance of this narrative pattern, the group of entering the city is shaped as the "double marginal people" of the city and the country. However, the image created by this paradigm is not so much a literary representation of the situation of the large-scale peasant groups in the 1990s, but a kind of imagination and imagination of the majority of writers after the lack of experience in the life of the group. Under the stipulation of this paradigm, the urban groups are not only the sufferers of rural suffering, but also the victims of urban discrimination. The urban aliens are finally shaped as "double marginal people". In the process of moving towards the era of "common name", they have gradually become a symbol with code meaning, which also causes the dilemma of the image shaping of the urban residents in the urban narratives into a pattern. Therefore, how to bridge the identity difference of "City township" of the group of people entering the city in the narration of entering the city, and how to shape the image of people entering the city with both the temperature of human nature and the height of the times has become an unavoidable problem in the narration of entering the city. Because whether it is the original sin of the identity of the rural immigrants or the extreme behavior of the urban identity, it presupposes the necessity of the times of the "double marginal people" of the urban group. In fact, when the wind blows, there is a clue. There are synchronic reference and diachronic inheritance in the identity building mode of "double marginal person" of urban stranger in the narrative of entering the city. As far as synchronicity is concerned, the characters in the narration of entering the city are undoubtedly the spatial displacement of the peasant groups in the countryside who are facing survival difficulties in the narration of the countryside. If we look back on the image of the youth in the local novels, we can find that, taking Xiaoerhei (Xiaoerhei's marriage) - Liang Shengbao (entrepreneurial history) - Sun Shaoan (ordinary world) - Heiliang (Jihua) as the example The situation of the representative rural youth in the countryside corresponds to the process of the gradual decline of Chinese rural society. Because of this, the rural characters in the throes of reform are still carrying the "pain" of the former after being implanted into the city. In terms of diachrony, in the modern literature stage, whether it is ah q in Lu Xun's true story of Ah Q, Zhu Dashan In Wang Tongzhao's mountain rain, or Li Ma in Wang Luyan's Li Ma and Yang Qi Gong in Ye Zi's new year's celebration of Yang Qi Gong, those who enter the city have been constructed in the narrative works of the bankrupt and the oppressed; since the new era, Gao Jialin (Lu Yao Life), Feng Jiachang (Li Peifu's lamp of the city), ant (Xiao Jianghong's cry for soul), Tu Ziqiang (Fang Fang's personal sorrow of Tu Ziqiang), Liu Xin (Jia Pingwa's joy), Wang Changchi (East and West's life of tampering), Chen Yuan (Chen Cang's three underground feet) and other successive City entrants in the city narrative works always hesitate to be on the edge of the city 。 Although the backgrounds of the two times are different and the characters are different, the identity presupposition of "double marginal person" of the group of people who enter the city in the narrative of entering the city for one hundred years has a breakthrough in time and space. The awkward identity of "urban stranger" undoubtedly becomes the starting point for Fu Xiuying to break through the narrative tradition of entering the city for a hundred years. The title of the novel is "other land", which obviously implies Fu Xiuying's hard work. As a common word, "other land" undoubtedly implies Zhai Xiaoli's identity as an outsider in the city. In terms of spatial dimension, village is the metaphor of hometown, while city is the pseudonym of other hometown. Therefore, Zhai Xiaoli, born in the countryside and transformed into a city, undoubtedly implies the possibility of becoming a "double marginal person". Looking through the whole article, we can see that Fu Xiuying obviously has a deep understanding of this. Therefore, she has subverted the identity of "double marginal people" of traditional city entrants by examining Zhai Xiaoli's identity as a peasant and exploring the relationship between Zhai Xiaoli and the city. First of all, the re examination of the identity of rural Americans is the basis for breaking through the identity of marginal people. Fu Xiuying once said frankly, "my roots are in Fangcun, which is my spiritual hometown, the source of my blood and the spiritual base." (5) Therefore, it is the starting point to look for the human nature temperature of those who enter the city. In the past narratives of entering the city, many writers have always regarded the peasant identity of those who enter the city as the "original sin" that caused the tragedy of this group era. In Tu Ziqiang's personal sorrow, Tu Ziqiang attributes the suffering of "never slacken, but never get" to her rural origin; in happy, the hero, Liu Hawa, changes her name to happy, that is, to separate her name from reality, so as to break up with the countryside and move forward to the City; in tampered with life, Wang Changchi, in order to let her son get rid of the consanguinity in the countryside, unexpectedly blames her son Son gave it to his enemies living in the city, hoping to cut off blood ties in exchange for the next generation's geographical identity transfer. In the view of many writers, although the countryside is the spiritual hometown of the "son of the earth", the remaining cultural soil leads to their cultural identity not satisfied after entering the city. Therefore, it is reasonable to blame their own difficulties on the identity of the rural people. However, this concept will lead to the rupture of cultural roots of those who enter the city, and then lead to the deformity of their cultural personality. Although it is said that as a narrative work of entering the city, the writing volume of the countryside is far less than that of the stranger, but "Fangcun", as a hard background, stands silently in the remote countryside and helps in secret ". (6) Specifically, Fang village's "assistance in secret" is directly implemented as Zhai Xiaoli's examination of his identity as a peasant. In other places, Zhai Xiaoli, as the son of the countryside, condenses the concept of "gratitude" and "gratitude". In order to help Zhai Xiaoli to go to university, uncle GUI lent her all the money that the whole family hoped to buy cattle as tuition, which undoubtedly gave Zhai Xiaoli the initial material guarantee on her way to the city. In the case of a sudden flood in the countryside, Zhai Xiaoli, her mother and grandmother were brought to live in the house for a while. When Zhai Xiaoli and Youtong were unable to take care of their daughter, they were also the second sister of Fangcun The third generation of rural Americans was recruited and their children grew up healthily. Therefore, in Zhai Xiaoli's memory, family love "is connected with summer night, sleep, mother's love and hometown." (7) the support from hometown makes Zhai Xiaoli full of gratitude for the countryside. Just because of his gratitude for his identity as a peasant, Zhai Xiaoli, as a representative of the city dwellers, was able to get the starting point and return