GitHub

Foreword to the reader's friends, welcome to the night talk. We've invited the author of the new "Sweet Story" in this show. As a senior anthropologist in anthropology, Cao finds all the good stories relevant to the soul -- "When you really taste or really appreciate the good things, don't forget that it actually touches your mind and soul at some level. Then why is it that some food touches the soul? Why do you remember this? This is the subject of everyone's thinking.

Shen Yinni: Hello, dear human listener friends. It's night talk. I'm Shen Yinni, head of the human studio. Today we have an old human writer, Little Sister Cao, who has been involved in our night talk. In the meantime, a new book, The Tasty Story, will finally be published. Let's say hello first. CHO: Hello, my name is CHO, and it's good to meet you on the audio. Shen Yanni: Tsao Tsao has been in France all these years, simply to introduce himself? CHO: I study and work in France, and now I may be in a liberal profession, and then I usually write like this. SHINNY: Well, before we started, Cao Tsao said that he was very nervous, because he didn't speak Chinese for a long time, so I predicted that your French should be very good. CHO: It's not good to speak French, because it's been a long time since the Chinese language was spoken, and it's a little scary and nervous when you eat or buy something, and you don't talk about something higher. Shen Yanni: I have a little problem with you writing forewords, including the author interview that you've prepared. I think you're very smooth when you interview or answer Q & A, and you speak in writing. CHO: All the slides are grinding. Shen Yinni: So is your foreword so silky that you want to think about it? I don't think there's any retrospect or retrospect in the slide like a mountain. CHO: It's a lot of changes. I was thinking about this this morning, and I think there may be a couple of ways to write, the first one being that you don't have to think about, simply by natural instincts or instincts, which could be very silky. There is another context where you have been thinking for a long time, or even changing it for a very long time, and finally a sense of absence, which I think is the second. I think my current quest is more like the second. Shen Yanni: Have you ever tried to want to be the first one? CHO: There has been such an instinctal writing, but I don't think it lasts long enough, because it does things by the power of one's life and the feeling of one's body, and even by all kinds of inspiration. But at the end of writing, it is not an inspiration-based art, it is a technology that may be more technical. Shen Yanni: At the beginning of your writing, I'm sure we'll all go through a time of inspiration, because without it you wouldn't have started writing in a way. CHO: I've just started writing with an emotional desire to vent, but I don't normally dare to. It's a way for me. Shen Yanni: When did you start writing? CHO: The primary school has begun. Because in elementary school, you must have a lot of bad places. If you can't show resistance to your teacher, you can only write a diary. I think the diary is the origin of many Chinese writing. Shen Yanni: Last month, we published "The Five Love Street Past", and my sister also said that she had written all these years on a diary. Many authors wrote many journals in their early years, and then one day they started writing, and it turns out that the journals were unwittingly helpful. CHO: Yes, if you're serious about writing, it's too serious. It's probably only in the diary. You'll face yourself. Shen Yanni: And you wrote a lot of it in college? CHO: I didn't write it in college. I studied literature at university, and our literary teacher told us that the Chinese department did not train writers, so we studied a lot of literature, and I'm not a very good student, and I go to other departments. I was interested in social science, so basically I didn't write at that time, and I felt like I was completely destroyed in literature and even my ability to write. I think it's a shame. It's probably written something at 17 or 8, but it's been about 10 years since I got into college. Shen Yanni: Why does it give you almost 10 years to continue writing? CHO: First, I wasn't interested in literature at that time, but I didn't have much to do with it. The second was that my diary stopped. It's like when you go to a place, you're gonna want to eat something, and then suddenly you're going to throw at the best food in the world, but at this point you can't eat, and you're going to analyze it from look, color, softness until it turns into a really good article. But you didn't eat it, you didn't even know what it really tasted like. Shen Yanni: Instead of being an individual to enjoy the beauty of literature, she had to learn to criticize and analyse it. Tsao: All art is compatible, for example, drawing, and if you can't paint, you can only analyze it with all sorts of theories; if you can paint, you can see color, you can see the author's mood, you can see the tissue and structure of the pen, you can feel it from the inside, you can feel and you can feel differently. Shen Yinni: Was it the time when the pen was mentioned again? CHO: It seemed complicated to recall that time. Because I was doing a field survey, to analyze it from a completely scientific perspective, you would encounter a variety of people and things, and you would have a huge impact on all aspects of your emotions. You can't put it in there, so I want to write it down like a story. I put these on the Internet, and I didn't know a story was written. In 2013, he took part in an essay contest for bean petals and then won their first prize. But when that story didn't end, I said no, even if I got a prize, and I had to finish it. Then 46 stories were written and finally completely changed in 2017. When I was writing more than 20 stories in the back, I was sick and very sick, and I felt like I was dying. Shen Yanni: When we're all in bad health, there's something in the brain that's very sensitive to the world. CHO: Yes, I thought the 46 anthropological little stories were my legacy, and I didn't think it would last long. Shen Yanni: From 2013 to 10 years now, you're going back to see if your work 10 years ago is going to be revised or something new. CHO: No revision. Because I think it's like a can, and it saved me a memory of that time. Since that's what it's all about, I'm not going to change it. The author sometimes acts like a painting, doesn't know which one will stop, and if you keep changing it, there's no way to finish it. So I took my life, and now that I'm finished, I think it's a complete picture of what I thought, and I'm done with it. Unless you see something wrong or something you can't really read. Shen Yinni: I remember you writing to people in 2017. CHO: Yes, because I was sick in 2015, I was very ill in 2017 and nothing new appeared during the revision. The book was not read by anyone during writing, so I was in a particularly lonely state, and I didn't know what level of writing I had. Before getting an award for writing, I didn't know it was just your luck. So it's a very insecure state. I don't know if I can, but just keep writing. In 2017, it was New Year's Eve, when insomnia and illness were severe. It's funny to see the human text and the human taste, because the first net I wrote a long time ago was called Qingqing, and it's no longer needed. I thought it wasn't God calling me to make a contribution. Ha ha, just impulsive. Shen Yanni: Exactly. CHO: I'm also interested in writing food. I'm supposed to eat, so I'll write and try to see if I can still write. Because when you're in bad health, you lose all your powers. I've seen a lot of people say that writing is by gift, by ability or by talent, and I don't really believe it since it happened. Shen Yanni: Why? It takes a long time to judge things, to be physically able, or even to write a hundred words. At this point you just want to prove by writing that you're still alive. A big feeling at the time was that it was empty, that the whole back was empty, that there was only a skin in front, that there was no spirit. So when you're writing in a skin bag, you might have to face a lot of physical pain. But physical pain can also be good for the spirit, which is a very strange thing. Sometimes writing doesn't make you too comfortable. Ha-ha-ha. It's probably just so comfortable. When you really feel close to death, a chemical in your brain explodes, and it creates something different for your text or your feelings. Shen Yanni: It's like you're alive, or you're dying for something else. The effects of emotions and memories are particularly clear. And then things that don't like, that don't like, that want to go after, that want to go after. CHO: Yes, because writing itself is life, a work of the soul. When your life reaches a desperate end, your soul wakes up. In scientific terms, some of the chemicals and chemical elements in your brain have changed. Shen Yanni: I don't really know from your words, including "Sweet Story," that there's ever been pain in the mind or body. In particular, your first article is about sending students back home with a vanilla tree, from the beginning to the end of the country. It's wonderful, it's touching, it's full of life. It's not that I'm having a bad time abroad and then I miss life in the country; I don't eat well, I miss the good stuff in the country, not exactly. You're in France, you're in France, you're in the best of your life. I think it's an extremely positive attitude to life. CHO: Yeah, because you have a baby. When you face death, the power of your life comes out. I think it's a little strange that when your life is very comfortable, the power of death comes out. When you face death, the power of your life comes out. A man with such a two-faced character always gives you a way to think about life. Of course, if you write something of the same kind at a time of great pain, it itself is a double wound. Because of the second injury in my first book, which lasted for a long time, it had a great impact on every aspect of my body. So if you don't want a good story, you'll get a second injury from food. It's written in the same way that it hurts, but by reminiscent of the terrible past, it ends up as if it were sealed in a can and you were cured. I would like to see the readers of these articles cured by opening the can, if they have similar or related experiences. Shen Yanni: I think a very high level of writing is healing myself. If you can cure yourself in writing, then it is not important to publish or all other results to heal yourself, and I have always seen this as important. CHO: Before, a lot of writers said that writing was a biological necessity for them and that they could not survive without him. But I think it is a good way to express emotions and ideas. It is then an effective way to connect to others, even to yourself. Because the pain in our lives is because we have the trauma, and it comes from a lot of abruptly broken connections. I think it's a process of re-connecting and re-movement of love, whether it's writing or any other art, even with people. Only by making love flow will your whole human being be alive and free. But it is difficult for our societies to establish deep and effective connections with those around us. I think the most effective way is art, including writing. Shen Yanni: A need in the heart or in the soul is not what is called a real physical need, not to eat or wear. CHO: Yes, it's a soul need. Of course, there are many types of soul that must be written, not just, like, you're very good at cooking, you're very happy at cooking, you're looking for all kinds of food, you're doing a meal and you're sharing it with everyone, and you're completely into your soul, your body and your body, and you're enjoying it, and it's a way to connect with your soul. Shen Yanni: The pursuit of happiness and happiness was also a very necessary but not so easy thing. Two years ago, and especially after the outbreak, I became increasingly aware of the connection between yourself, people and people that you were talking about. I will try to find more ways to keep the connection smooth, or I will feel that I have no hard-won life. CHO: Yes, it is. Every effective connection requires a full commitment and depth. I may not like that shallow connection right now, like eating without taste, but it's probably a chemical thing that you actually go to the field to pick, to do it in person and to do it slowly. People have the same relationship to people as cooking and even a society. Shen Yanni: I'm the most impressed, the one I'd like to talk to you about is that article you wrote about your grandmother who was hoarding food. Would you like to share the history of this article? CHO: This article may have been written for three years, when I discovered that it was about Grandma. I started writing before the outbreak. Because, after a long period of illness, there was a lot of hoarding when there was no strength to eat. Like when I'm with friends, I'm very sensitive when I'm hungry. On the way out, the bag was filled with food of all kinds. Shen Yanni: Feels like the way you're a kid to express your hospitality, and your parents are crazily eating for the kids. CHO: You keep stuffing people, but they don't like to eat like you do. I was thinking, how did I become exactly like my grandmother? Later, a Romanian friend of mine who worked together, we were all the same places to eat, and it would make us angry if we didn't eat, so eating was a big thing for us. Because she's a psychologist and I'm talking to her. Why would we be like this? She said you have to think about whether there's a story like that in your growing-up environment. She then told me her story, because Romania was a socialist country at the time, and there was a shortage of food or something, which led to various hoardings of food at home. And then I wanted to write in that way, and I felt wrong about half the time, and I couldn't pick it up. None of the dots felt they could wear it. Subsequently, the outbreak erupted, with the psychological trauma of food-grabbing, not only by itself, but also by the family. All of a sudden I asked my mom about the history. And from that perspective, I suddenly understand a lot of things, including looking around, and you're not feeling anything when you haven't experienced it. When the epidemic came, I was surrounded by a lot of French people who didn't go to hoard. But when you go into the supermarket and you find nothing, you panic and I think about my grandmother. When she was young, her family was rich, so she was in the same situation, and her form of trauma was not born, but rather the accumulation of sudden social events, where anxiety was not eased and finally became a knot and then a strange way to pass on to future generations. So look at my grandmother, look at my mother, and then include me, the trauma between us may not be a clear and obvious line, but it's an outbreak in the shortages caused by the epidemic. Shen Yanni: So it is not the older generation who simply understands the elders, but rather the cultural genes and upbringings of one family generation after another. It has a very different but very similar social agenda behind it. CHO: It's like planting the next seed that grows the same when the external environment changes. Shen Yanni: It is not a simple intergenerational influence and inheritance, but a more complex cause, with more heavy issues behind it. CHO: Yes, very heavy historical, cultural and even educational factors, including individual physical and psychological trauma. Then they create our eating habits, including the way we feed our children, even the way we deal with food, the response in times of crisis. This is not just a matter of personal history, but a matter of society. So what I want to do with the food hoarding is an individual micro history, and I want to look at a larger history. Shen Yinni: Next up is "The Panorama of Moonlight", which I personally think has a deep cultural history behind it. At that time, there were still some anthropological shadows in relationships between people, small communities and families. CHO: It was written to make things clear through a personal historical perspective. As my first mid-page, I found it difficult to grasp, so I went to House IV. Adding some anthropology is quite a new experience for me. Shen Yanni: There is also a deep-seated theme behind it that children have to think about when they grow up. And now, when we think about childhood, when a complex society of adults first appears in the eyes of children, how do you see it or how you feel about it? After I had finished reading, I suddenly had a lot of childhood memories in my head, something I couldn't understand at the time, but something that affected me later in life, or when I looked at things, planted seeds in childhood. CHO: Actually, I wanted to deal with a particularly ambitious subject. It means that a child, if it's called original sin by the word of insolence, if it's in the word of infamy, it's not as pure as we thought. In many works of art, children are made to be naive, without any worry, happy creatures. But in my experience of lurking around my children for many years, I think the child knows everything, and he can't say that he can't express himself like an adult, but he was already learning everything in the adult world early on and would deal with it in a cruel way. This is a subject I want to explore. In essence, there is a search between a person's first sexual goodness and a person's first sexual evil, and there is a desire to find some answers, because people come from children. Shen Yanni: The first feeling after reading this article is that it's a giant scar-striking act. I think about some of my childhood experiences. Something I can't tell anyone, or even share. And then it turns out that there are people in the world who are tearing their scars. CHO: Yes, so this is a painful writing process. Think about the things you've done, the things you've been through, the things you've been dealing with. You'll torture yourself, all adults will be children, all children will become adults, and you might want to see an instant of overlap between children and adults. I don't know if it's clear at the end. But when it's done, maybe my own heart is down. Shen Yanni: I'm sure many people don't think about it. For example, there are a lot of articles on campus bullying, but it's really bad, and bullies have a great deal of physical and psychological damage to the bullies, and even affect their future lives. But when the bullies grow up, they say that if I hadn't read these articles or if I hadn't done anything, I didn't know what was so serious and I'm sorry. But most people do not have such reflections, which are few. I don't know if they're happy or unfortunate. Rethinking is really not easy, especially when you want to record it. CHO: I think when you write, you go down to the deepest part of your soul, you see all kinds of scenes, things in heaven, things in hell. But the journey to the depths of your soul, the end of which is to get you to take out those hells and show them. When you are able to do this, you may be closer to a genuine horizon. I think honesty is one of the most important qualities to allow writing to continue. You must examine and reflect on your soul, and then you will have to repent. I don't want my work just singing or making people laugh. Of course, I'd like my work to make people laugh, because you write funny things and you're happy. The work is the reaction of your whole soul, and your soul has a variety of aspects, so it makes you laugh and makes you suffer. And in this process, you're being cleansed. Shen Yinni: It's just to return to what we started talking about, and when you do this, and you go back, it's a process of re-establishing your relationship with writing. Because you dig deep, you honestly see yourself deeper. CHO: If, from a personal point of view, you're dealing with yourself in the end, and you're always looking at yourself in your words like a mirror, and if it's funny, it's narcissistic. Writing may have a second and greater meaning, and you're a human being. Shen Yanni: It is that each and every one of us is a small world of the world. CHO: I often go to the museum to see the origin of the universe and the Big Bang. You'll find that we're all elements of the universe. When we disappear into the universe, this element doesn't seem to change much. So I always thought that for a man to dig deep, it was for a group, even for the universe. But this excavation cannot be based on personal gain and fame, which is a very recent reminder. If that's the case, you'll turn narcissistic. The whole writing, you're dealing with yourself, you're dealing with human society, you're dealing with the universe. You're going to connect this relationship. It's about connecting it from day to day. With such a connection, I feel more powerful. I have recently spoken of two levels of connectivity for writing, the first level of connectivity from day to day and the second level of connectivity from person to person. When one of us has problems at some level of connectivity that cannot be connected, a person who, like a light bulb without electricity, loses the light completely, so whatever the connection, if we want to have a freedom, love, happiness, or the light of life, I think that the connection between these two levels is an effective way to give us the light of life. Writing is one way for me to connect people and people. There may also be many avenues for others, such as reproduction, and social activity. Shen Yanni: Looking for Soulmate, career pursuit. Tsao: Yes, even to make food, it is a way to have fun in it, to feel your life promoted, to communicate with heaven, to communicate with others. Shen Yanni: We talked about a big topic, but I liked it very much. In fact, non-fictional writing is a particular expression of an author's world view, values, and vision of life. CHO: Because we're all exploring, we don't know how to live, we're exploring at different levels, so long as it's not a voice, you have to do it, and everyone can make their own voice. Shen Yanni: Thank you for sharing so much with us. And once again, to all of our readers and listeners, Anne Lee, "The Good Story." We began to prepare for publication in 2020 and have not met with you this year for various reasons. All the articles I read over and over again, and I still feel that they are the same for you, three years ago and ten years later and 20 years later. So, thank Cao Cao: Thank you, thank you, the readers of the world for their unfailing company over the years, and thank you very much for your comments on my article. It is hoped that everyone will find their own connections and their own happiness. Shen Yanni: We hope that love will always flow in our hearts. It is to be hoped that you will see, feel, find a way to move your love to life, a thing worth pursuing for life. CHO: I'd like to add one last sentence, why the name Tasty Story? Not to say that my story is delicious, but it is a desire to say in the book that all the good food in memory is about the soul, all the good stories are about the soul, and when you really taste the good things, don't forget that it actually touches your soul and soul at some level. Why does it have such a vibe, a memory that everyone has to think about? Hopefully, through my own exploration, you can get some connections, some senses, some comforts. Shen Yanni: Every time I talk to you, I feel like I've been comforted somehow. CHO: I really want my writing to reach a point where you can come and see my work if you are not happy. It is an exclusive copy of the Internet and is authorized by exclusive copyright and may not be reproduced by any third party. For the “the Livings” non-fiction platform writing plan, title ideas, cooperative intentions, cost consultations, etc., please send a letter: The Livings@vip.163.com

For “rejianfm” audio cooperation, etc., please send: renjianfm2018@163.com

The film " Happy Bread " (2012)

2024-11-26

2024-10-24

2024-04-11

2024-11-06

2024-09-03

2024-04-10

2024-03-27