Contemporary literary scholar Li Ruobing's story Source: western culture network Time: 2005-12-15 Li Ruobing, born in October 1926, Shaanxi Jingyang Jianglu Township Yan Jiaobao people. National level writer. He has served as vice chairman of the Shaanxi branch of the Association of Writers, party secretary, director of the Chinese Writers' Association, chairman of the Shaanxi Provincial Federation of Literature, and director of the Provincial Department of Culture. His real surname was Liu, and when he was a child (shortly after his birth), he was sold to a family with the surname Du as a son, so he used the names Du Xishan and Du Deming, and his pen name was Sha Camel Bell. In order to honor the memory of his deceased mother and to remember the psychological trauma of an orphan's heart, he changed his surname to his mother's, and later adopted his current name, Li Ruobing, and his former pen name, Li Danren. Li Ruobing's wife, He Hongjun, was born in 1928 in Mibi County, northern Shaanxi Province, a teacher's home. 16 years old, she participated in the Suide Sub-district Cultural Troupe, acted in the "White-haired Girl" and other operas. The rice-planting opera Feeding Chickens, which she co-wrote with her sister He Hongxun, was praised by Zhou Yang and recommended for publication in Jiefang Daily, with a preface written by Mr. He Jingzhi. Later, she entered the newly liberated Xi'an and worked in the Creative Writing Office of the Northwest Literature Federation. The two met, fell in love, held a simple wedding, and then went their separate ways, one to the western Gobi, and the other to Beijing. From then on, Li Ruobing gave up her pen names such as "Camel Bell", "Sand Camel Bell" and "Li Danren" and began to publish her works under the name of "Li Ruobing". Li Ruobing", and began to publish his works under the name "Li Ruobing". He Hongjun also used the pen name He Lyyu. Ruobing and Linyu, taking the meaning of "a piece of ice heart in a jade pot", which is exactly the symbolism of their literary career and love. This is just as he wrote in one of his essays: "The fate of life is long and hard, and I was sold at birth, so that I have never seen my father in my life, which is my lifelong irreparable regret." In 1933, when he was seven years old, he began attending elementary school in Yunyang Township. A chance event changed the fate of his life. On this day, a children's theater troupe in exile came down from the northern mountains to engage in revolutionary propaganda activities and lived in the cotton store across the street from his house. When the troupe was going back to Yan'an, Li Ruobing wanted to join the troupe, but failed to do so because of his uncle's disapproval. Afterwards, he and his friends secretly found the office of the Eighth Route Army in Yunyang, hid in a cotton truck going to the North Mountain, and then whisked away the children's theater troupe in exile in Tiewang Village of Chunhua, where they were performing and leaving at the same time. In October 1938, at the age of twelve, he left home with the children's antiwar troupe to participate in the revolution in Yan'an, coincidentally, outside the south gate of Yan'an met his elder brother in the Eighth Route Army as a cook, from then on, Li Ruobing completely surrendered himself to his mother Yan'an. In Yan'an, the holy land of the revolution, he joined the Yan'an Anti-War Troupe and performed in the Shanxi-Gansu-Ningxia Border Region for propaganda purposes. However, he was not very interested in acting, but in reading and art. In addition to his love of reading everything, his unrestrained and active character also helped him develop his talent. In the revolutionary melting pot of Yan'an, he was like a lucky grass, bathing in the light and warmth of the Party, growing stronger and stronger day by day. From 1941, he studied at the Yan'an Army Art Cadre Training Course and the Border Region Art Cadre School, and took part in the vigorous mass production movement of clearing land, planting and spinning thread. In the rows of kilns in the ditch behind the new market in Yan'an, he read traditional novels such as Journey to the West and Water Margin in his spare time for rehearsals. From that time on, he had begun to love literature, which paved the way for him to engage in literary creation in the future. He participated in the Yellow River Cantata conducted by Xian Xinghai. After that, he went to the Border Region Art School, where he studied literature while cultivating the land, and in May 1943, he joined the Chinese ****anese Communist Party. In May 1943, he joined the Communist Party of China (CPC) and was transferred to the Northwest Literary Troupe and the Third Department of the Central Party School to study and work in the Rectification Movement. 1944, he was admitted to the Literature Department of Lu Xun Academy of Fine Arts. In Lu Yi, he began to practice writing while writing notes on his reading. Afterwards, he was transferred to the Central Propaganda Department as an assistant secretary, and then moved with the central authorities to the north of Shaanxi Province until the restoration of Yan'an. His debut work was a literary review titled "Thoughts on the Play of Liu Hulan", which he signed with the name "Hunchback". Li Ruobing took the pen name "Camel Bell" because he saw the camels outside of Yan'an, and thought that this kind of heavy life is admirable, and the camel bell is the song of the trekker's heart. During this period, he utilized every minute and second of his time to read the best literary works of the past and present, and also tried to write some small articles. It is at this time, his a poetic pen name - sand camel bells "born"! This is because he often saw the camel on the banks of the Yanhe River, the strange ugly but lovely shape, its toughness, load-bearing and the spirit of perseverance in the faith, a natural respect. 1945, he was transferred to the Central Propaganda Department as an assistant secretary. 1946, transferred to the first field of the Fourth Army Riding Sixth Division hosted the "Qunli Newspaper", to participate in the great people's war of liberation. During the years of military service, he grasped every bit of time to write many poems, essays and insights. 1948, he worked as a secretary in the Political Department of the Northwest Military Region. After the founding of New China, he was transferred from the army to the Northwest Literature Federation in 1950, and entered the fellowship program of the Central Institute of Literature in Beijing for further study. During this time, he read a large number of literary masterpieces, extensively dabbled in history, geography, psychology, aesthetics, logic and philosophy, etc., and began to publish a number of short commentaries, poems, essays, novels, etc. In 1953, he transferred to the Xi'an Branch of the China Writers' Association to serve as a professional writer, and from then on embarked on the arduous journey of literary exploration and geological exploration. In June of the same year, Li Ruobing, as a professional writer, went to live in the oil exploration area of north Shaanxi Province, and in September, he went to Jiuquan Geological Exploration Brigade of the Northwest Geological Bureau to work part-time as a deputy brigade commander. Later, he recalled: I was deputy brigadier general of Jiuquan Geological Brigade, although it is said to be a posting, in fact, it is a practical work. When I was with various geophysical explorers of geology, surveying, drilling, seismic, and heavy magnetism, I almost forgot that I was a literary worker, and thought most about the progress, results and development of the exploration work. It is impossible for me to exclude myself from the exploration work, but one of them. From the very beginning of his contact with geologists, he was touched by their courageous spirit of dedication, and thus a strong impulse arose within him to show the noble work and life of geologists in his works. Soon after, his essay "Notes from Northern Shaanxi" was published in "People's Literature", and in 1954 he entered the Tsaidam Basin in Qinghai for the first time with geological exploration workers. Li Ruobing said in his book Scenery of the West, "My hometown is in the west, but for some reason I always yearn for the western part of the west, as if there is a mysterious and strange charm there that attracts me to go to its side uncontrollably." "From the early 1950s, I crossed the narrow Hexi Corridor from Chang'an with great joy, working with petroleum geological explorers to find oil and prospect in the vast Jiuquan Basin." Since then, Li Ruobing has been renowned in the Chinese literary world together with his Qaidam, occupying an important position in the field of prose creation. At that time, a whole new world opened up in front of him, and everything he saw and heard was so fresh and chic, which greatly stimulated his creative inspiration. It is in this source of hot life, Li Ruobing's creative desire and artistic inspiration was activated. He seized the stage of exploration work gap, in two years, wrote "in the Qaidam Basin", "explorer's footprints" (formerly known as "Qilian foothills"), "in the cold season", "Gobi Beach exploration girls" and other prose and reportage works. 1956, Writers Publishing House published his first collection of essays "in the exploration of the road". In the same year, he joined the Chinese Writers' Association. In 1957, he entered the Qaidam Basin again, and the colorful field exploration and endless source of creativity in the vast west brought Li Ruobing infinite temptation. The vast and boundless Gobi Desert and the entrepreneurs who struggled there aroused the strongest emotion in the writer's heart. He traveled along Golmud, Dachaidan, Xiaochaidan, Cold Lake, and Oil Spring Sub, and went to Mangya and the shore of Lake Gashkul, and walked to the edge of Qaidam. He wrote as he walked, thinking and writing, with a fire burning inside him, sometimes almost one article a day. He wrote about the marvelous scenery, the spirit of the explorers, and the mystery of his own soul. So there is a "winter night", "Chaka line", "Golmud Chronicle", "Along the Altunshan Mountain", "Hymn to the Oil Spring", "Night of the Oil Sands Mountain", "miss you, ah, Qaidam", "Mountain Lake Grassland", "Gobi Night Ride", "Silhouettes on the road of Qinghai-Tibet" and a batch of prose masterpiece and the "Qilian snow have", "Auto City Dissertation", "Sailing in the ocean's chest", "Forward, Young In 1959, the Writers' Publishing House once again published a collection of essays reflecting the entrepreneurs of the Qaidam Basin, Qaidam Handbook, which was recognized as Li Ruobing's masterpiece and established his position in the Chinese literary world. In the same year, China Youth Publishing House published a collection of his essays, Journey Collection; in 1963, Dongfeng Literature and Art Publishing House published a collection of his reportage literature, The Red Road; and in 1964, China Youth Publishing House published an anthology of his essays, Mountain-Lake-Grassland. Just when the writer's creation is fruitful, the "Cultural Revolution" began, Li Ruobing put aside the pen for five years. 1972, he came out of the dry school, he returned to Yan'an, headlong into the Loess Plateau in northern Shaanxi Province. He along the Party Central Committee, Chairman Mao's war in northern Shaanxi Province when the road in-depth life, almost every site of the revolution there. Tracing back the red years, examining the changes and living conditions here, his eyes often contain tears. He several on Shanbei, to 1978, has written a series of close-up "hard times", "Yan'an, in my heart", "the glorious course", "happy on the Liangjiajiao", "the great course", "offer me this flower in my heart" and so on more than a dozen prose masterpieces, collected for the "Shenquan Sunrise" was published in the summer of 1980, Li Ruobing can no longer inhibit the majestic wind of the vast ocean, the Yangtze River Sunset In the summer of 1980, Li Ruobing could no longer restrain his desire for the majestic winds of the vast ocean and the setting sun of the Yangtze River, and broke into Qaidam for the third time. In 1987, the writer entered Qaidam for the fourth time in his old age and went to the Tarim Basin of Xinjiang for the first time, publishing documentary essays such as "Kunlun Flying Waterfalls", "Impression of Korla", "The Years of Burning", "The Home of Guzi Music and Dance", "The Mystery of the Taklamakan", etc. In recent years, Li Ruobing has also published a series of articles on "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", "The Sunrise of Shen Quan", and so on. In recent years, he has published more than ten collections of essays, such as Love's Desire, Highland Words, Tarim Briefs, Full of Green Trees and Flowers, and Li Ruobing's Selected Essays, etc. During the 1980s and 1990s, Li Ruobing's essays were widely published in China. During the 1980s and 1990s, Li Ruobing served successively as secretary of the party group and vice-chairman of the Shaanxi Writers' Association, vice minister of the Propaganda Department of the Provincial Party Committee, director of the Provincial Culture and Cultural Relics Department, and chairman of the Provincial Federation of Literature. In his words, "The burden was heavy, the work was strenuous, and I had to put aside my own creations to make a small contribution to the development of culture and art in Shaanxi." But his works are still circulating, the song he co-wrote "Shandandandan Blossoms Red" is still being sung, and the dance "Imitation of Tang Music and Dance" that he organized and created has been performed for a long time. Li Ruobing thought of traveling west again and wanted to set foot in Qaidam for the sixth time. He said, "My hometown is in the west, my spiritual home is in the west." The answer is self-evident as to what is the power of the west that attracts writers to go there again and again. That is: the vast west not only has her broad-mindedness, but also the spirit of the national soul of the people living on that land.
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