Original title: Literary and Art Review | After all, there was no opportunity to analyze the “fan club culture”.
The title of “Idol Squalification” naturally recalls Dazai Osamu. His depression was so famous that it became an aesthetic style; his depression was so totally disqualifying as a human being. On the contrary, current Japanese society continues to carry on this type of social depression, even going as far as “social disqualification”. 21-year-old Usami Suzu won the 164th Akutagawa Award for the story of a girl chasing the stars and a falling idol, and that year she ranked first on the Japanese literary novels list. This actually shows the changes in the ecological context of literature, the significant intergenerational changes in readers, and the resonance of a large number of Japanese youth with low desires and losses.
The writer born in 1998 is “contemporary” with the character of the novel Mingli. From the individual psychology of the students, she can see signs of spiritual crisis, project social emotions and have spiritual resonance. It doesn’t matter “I Am a Cat” by Natsume Soseki or “Girls’ Apprentice” by Dazai, there is this effect. From a certain point of view, “Idol Squalification” belongs to the context of “Youth Pain”. However, it is not a story that a rational reader can normally understand. Because the novel has an abnormal narrator: a closed melancholy girl, repressed and painful, chaser of stars who indulges in lies. How to provide this narrative perspective of madness and delirium is proof.
Hollow man, dangerous self-hypnosis
“Supporting the idols is my clumsy self-rescue.” This sentence illustrates the motivation of the characters and the stories. When the idol broke the negative news of beating people, the protagonist Mingli felt that the sky was falling, as if it were suffocating. He couldn’t tolerate the fall of his idol of hers, so he decided to support her and join other fans to keep his idol of hers. The chase for the stars was born out of Akari’s painful experience when she was 4. In that day’s play, Peter Pan, played by Mako Ueno, was like falling from the sky, which relieved Akari of her pain. This spiritual experience of possession by the Savior becomes a reflection of self-protection, a persistent complex.
After that, he recorded Ma Xing’s speech, wrote a diary of his thoughts, collected his photos, variety shows and commercials, and watched it repeatedly. She too, she captures the idol’s language, habits and movements, trying to decipher it. This frenzy made her reluctant to study and her grades were so poor that she dropped out of school. Idols have become the basis, center and premise of life, erasing all value judgments. Mingli defended the idol scandal, was frustrated by the idol’s loss of followers and was angry at the idol’s negative reviews, but it became an insignificant existence and worked hard at a fast food restaurant just to buy the rights. vote of the idol.
The core of the autonomous movement is self-hypnosis, which fills the void with paralysis. Due to the fear of a two-way relationship, one-sided attention is the most reassuring. Just like a crush never fails, because without rejection it never breaks. “No matter what I do, it won’t destroy the relationship … I left it all behind while supporting idols, and even though it was a one-sided emotional exit, I felt full like never before.” I want something in return, but there are always people who say it’s pathetic, I’m really fed up. “
However, this one-sided relationship contains dangerous logic. It loses the social attributes of dialogue and interaction with people and emotional feedback, and goes to the psychological insanity that is close to sacrifice. This is a “female fan monologue” in the style of a “Madman’s Diary”. Even if you are morbid and crazy, you will be sure of your logic and you will think that everything is reasonable.
Just as it is difficult for a drunk person to realize that getting drunk is difficult, so the writer cannot wake the person up on the show. Therefore, the novel presents a narrative attitude of non-comment and non-intervention. It looked like Usami Suzu had found a diary, but she opened it and read it with us. It features the latest form of morbid stargazing: worship through the creation of god, offerings, and an awkward sense of ritual. The idol CD display is called “altar”, and has an exclusive backing color. “It’s like a cross in a church or a Buddha statue in a temple. I decorated the top of the display with a large autographed photo of the idol.”
The greatest meaning of the story is to write a kind of “empty man”, which is as important as the stranger and the few people in classical literature. Living in a cavity means becoming a container for the stuffing of other people: a spiritually naked person. Mingli refused to enrich his heart and enrich his life, but chose to eliminate himself: “It was like nailing yourself to the spine through some kind of difficult practice. The superfluous things were eliminated and I became the same thorn. bare dorsal “. It was the “spiritual poisoning” of Gan’s brainwashing, voluntary slave service, and the practice of self-abuse that alerted people.
Second-hand life, the cancellation of self-awareness
In Mingli’s world, idols have been internalized by objectified objects apart from their own subjects. This is the cancellation of the subject-object boundary, the consciousness of oneself and of others. Just as it has often been suggested: “I want to see the world through the eyes of idols”. This type of stargazing is rare and intends to occupy the life position and perspective of others, overlapping, projecting and coherently with the idol. “The singing of the idol in my ears was like humming from my mouth. My voice overlapped that of the idol and my eyes overlapped those of the idol.”
The more autistic life is, the stronger this projection becomes. Mingli’s sadness lies in living in an interwoven “virtual world”. She can only “project” herself onto idols to achieve some sort of sustenance survival. The crisis lies in the lack of endogenous, that is, I want, I am and I become. Without self-desire and free will, she can only rely on imitation and live unconsciously. “My life project depends on the idol’s itinerary”, all actions and logic are first determined by the idol’s life. You can only live a blindly mechanical “second-hand life”, and you must.
The protagonist’s broken mind state, the great monologues and the writer’s madness and narrative technique – the free association of the stream of consciousness – are precisely combined. “I can’t listen to the class. I stared blankly at the handwritten characters that are often used in Chiye’s handouts, thinking wildly, if this is the character written by an idol … If I cut out those characters and put them together, maybe we can launch a Ueno Masayuki typeface. ” “There was so much noise going around that I thought they were cicadas flying into my ears, hatching large numbers of young eggs in my heavy head and squealing like feathers. I clearly wrote a memo and screamed in my mind. But even if I wrote What’s the point of forgetting to look and wearing it. ” “I deliberately pushed my body to the limit, then my heart leapt and I began to realize that I was pursuing difficult feelings … I would feel cleansed for it All things in return can be poured into it, which can make me feel the value of my own existence. “It can be seen that the novel’s description often links body sensation to conscious feedback and the root of pain is that the body and consciousness are always far from contact and rebellion. The original unity of consciousness and perception was intentionally destroyed.
A tale directed by a writer of broken thoughts
Perhaps the problem with the novel is that the writer writes about the pathetic girl with almost sympathy, but objectively it makes the reader feel hateful.
From the reading experience, “Idol Squalification” looks like a graphic novel and many paragraphs are like a girl’s diary with a comic grid. Usami Ling is more like a “writer of broken thoughts”, who writes with extremely private and secret emotions, touching on increasing symptoms. However, the superficial life in the story, the description of feelings, is difficult to understand. The first-person narrative gives the writer and Mingli’s insights the impression of convergence and overlap, and even makes people addicted to it, devoid of another dimension of observation. If we take Akutagawa Ryunosuke’s “Infernal Change” as a reference, no matter the intensity, depth and intensity, it’s hard for this post-2000 writer to nearly match. Where is the gap? I think it can be seven words: fine, light, direct and flat.
The story of “Idol Squalification” originally contained a phenomenon-level topic: “fan club culture” and idol star hunting, but it is likely to be narrowed down and solidified by the topic. It is good that a novel has a topic, but how to extend it from the text to society is also linked to a sort of “literary sociology”. It is a shame that the writer missed this opportunity for further study, and it may be beyond his abilities. It does not explore social psychology, group consciousness and the spiritual crisis of behavior. In other words, it lacks a hermeneutic of itself and the two directions of “knowing yourself” and “taking care of yourself”. Between her and Mingli there is more empathy and empathy, but in terms of interpretation she seems helpless.
It did not analyze the psychological mechanism of supporting girls, that is, the “inevitability of action”. In my opinion Mingli’s father is absent, and he has no sense of security in growing up, so he must seek refuge and sustenance; if his academic performance is not good, he must find alternative compensation and ask for the approval of the fans; without communication in real life, he has to keep virtual emotions in fantasy pairing. The pursuit of the stars has become a form of mental anesthesia and symbolic relief. This is no different from internet addicted teens indulging in role playing games. Writers may elevate themselves to writing social novels, but ultimately remain at the level of private novels. The rhythm of “Idol Squalification” is an unlovable daily life, flat and straightforward, as in an inert gas, unable to breathe. The novel’s award-winning and first-selling novel does not explain how talented this new generation of writers is. On the contrary, it shows that some symptoms of Japanese society, such as general loss, high pressure and low desire and decay, continued after the war, and the work undoubtedly touched these emotions.
Author: Yu Gengyun
Publisher: Guo Chaohao
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