On The Stylistic Transformation Yu Hua's Novel

Yu hua, an influential and characteristic writer in contemporary Chinese literary circles, has undergone two transformational turning points in his writing career. The second transformation in around 1990 is rather impressive for its direct connection with the trend of pioneering literature and the change in Chinese political culture in 1990s.Some said he returned to the " worldly " tradition from his being pioneer. Others held that he returned to be folk rather than pioneer. Still others believed that he stayed pioneer in a superior way. Actually, the transformed writer restructured in his works—Living, Xi Sanguan's Sale of his Own Blood, brother etc.—a non-Utopian World on the debris where he destructured. In the real world of his works, super-ethic compassion replaced angry view, and the spirit of pioneer literature goes from being conspicuous to concealment and even further. On the other hand, under the pressure of winning back the readers whom the pioneer writers used to neglect, the writers have to adopt a relaxing and humorous form. The transformations of spirit and form seem to diverge here, while actually they reach harmony in an upper way.During the pioneer period, Yu Hua benefits a lot/mainly from the 20^th-century Western Culture, especially the theories and creations of Modernism and Postmodernism.After the transformation, the writer absorbed a lot from all Western Civilizations, particularly from classic civilization. From the more significant classic music and Bible, he discovered the central idea of human existence: to overcome hardships from which a greater soul is born. 1990s saw significant changes in Chinese political culture and the flourishing of wordly ideas. Under such pressure, Yu Hua gave up the pioneer literature's "hypocritical form" but never devalued the significance of this creations and spirit. With the approaching of the centennial carnival, he kept calmly searching for the origins of hardships and the way out for the spiritual questions. The moving search originates from his enduring classic ties. As an excellent reader of human literary heritage, he rather esteemed Western literary classics which he's fully comprehended; as a writer, he bears in mind and keeps himself to the attainments that an excellent writer deserves by the production of quality from the reduction of quantity—he longs to accomplish classic works that "can be read repeatedly at each time the works will broaden and enrich our narrow and dull life as it is, or, to be more exactly, our soul." To our amazement, he succeeded in finding a more appropriate form in his pursuit and compromise.Yu Hua's transformation is a step forward from the imitation of western writers toform his independent writing style due to his motives to accomplish classical works under the influences of both modern and classic works. It shows the maturity of young writers, which means not only a milestone on Yu Hua's way to the classics but also an epitome of Chinese writers who keep making achievements and go all out to create works reflecting human spiritual civilization in the new era. However, the writer is so keen on Western civilization that he neglects to absorb Chinese civilization in a systematic way, thus his works are rather like Western operas featuring Chinese as the singers: Fugui's story resembles the one of an American black slave's miserable life; Xu Sanguan's hardship is the worldly version of Matthean Passion; in brother, Song Pingfan and his son (or father?) are as endurable and broad-minded as Jesus—Yu Hua doesn't create the real Chinese images in his works.