In the 1980s, Lu Yao was already fully aware of such a necessity. Li Yunlei, a notable literary critic, observed that they have, through writing about the travails of ordinary people, degraded the narrative mode of grassroot literature into a personal way to transcend beyond the aesthetic form with appalling nonchalance.Īuthors who genuinely want to speak for grassroot groups need to sustain an equal, effective and ongoing dialogue with common folks. Anxious for new arenas and breakthroughs, some regard grassroot literature as an innovative literary genre and artistic style, and so they attempt to tackle the topic from a top-down perspective in a self-centered manner. Usually highly educated and formally trained in writing, the authors find it problematic to approach the underclass. Indeed, such a perception is confirmed by a number of fictional works portraying the lives of common people. However, given the rapid growth of grassroot literature and various challenges faced by relevant writers, it is advisable for us to once again look at Lu Yao and his Ordinary World because the novel offers the best lesson on depicting life at the bottom.īeneath the current debate lies an underlying perception assumed by many critics that authors can never break away from their self-constructed identities or capture the real lives of disadvantaged groups since there is an unbridgeable gap between them. On the other hand, some literary critics have criticized it for lacking literary consciousness and having a mediocre, predictable storyline. General readers tend to sympathize with the youthful aspirations and indomitable spirit of the characters depicted in the novel. Recently, there has been a revival of interest in the long-deceased author Lu Yao owing to the success of a TV drama adapted from his novel Ordinary World, which is of great eminence in contemporary Chinese literature. Since its adaptation into a TV series, the Ordinary World by Lu Yao was revived the public’s interest in rurual literature.
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