The Bridge (Part 3)
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Summary
Mr. Fei Ming wrote this novel in November of the fourteenth year. He said that Bridge taught him how to write and how to understand things. The original book divides Bridge into two parts: the first part has eighteen chapters, and the second part has chapters; it has been published many times so far, with many changes. Fei Ming's novels are known for their 'prose-like' quality, fusing the prose of the Six Dynasties, Tang poetry, Song ci, and modernist ideas into one furnace. The language is concise, the scenes profound, plain and unadorned, yet possessing a beauty that is raw and unconventional. Fei Ming's Zen thought is also reflected in his works. Bridge is the representative work of his first phase. During this period, Fei Ming's novels are on the whole far removed from reality and social issues, and it is almost hard to find the writer's sorrow or protest regarding real life in them.
Editor's review
Bridge is the representative work of Fei Ming's first phase and a key text for understanding his 'prose-like' conception of fiction. The author said himself that this novel taught him how to write and how to understand things, which shows its weight in his career. The book is divided into two parts; this is the second-part portion corresponding to the middle volume, and it has undergone many revisions. The language is concise while the scenes are profound; it is steeped in the prose of the Six Dynasties and in Tang poetry and Song ci, while also incorporating modernist ideas, forming a unique style in which a plain, unadorned surface reveals a raw and unconventional beauty. Bridge should not be read with the expectations of traditional plot-driven fiction: it stands far from real social problems, and one can scarcely find sorrow or protest about real life in it. Its center of gravity lies in mood, language, and the permeation of Zen thought. This approach makes it sui generis among modern novels and requires readers to adjust their reading rhythm. It is suited to slow, paragraph-by-paragraph reading in quiet moments, attending to the blank spaces and turns between words and appreciating how Fei Ming fuses poetic and prose traditions with personal philosophical reflection. For readers willing to take pleasure in language itself, this work rewards repeated chewing.
Who it's for
A good fit for
- Readers who love prose-like fiction and poetic language in modern literature
- Literature enthusiasts interested in Fei Ming's style and Zen thought
- Scholars studying stylistic experimentation in modern fiction and the fusion of poetic and prose traditions
- Deep readers willing to read slowly and value mood and the texture of language
Not a good fit for
- Novel readers expecting a complete plotline and the advancement of characters' fates
- Those hoping to obtain direct real-world concern and social critique from literature
- Readers with fast reading habits who lack patience for textual gaps and leaps
Reading tips
- First learn about the structure of Bridge's two parts and the background of its many revisions, then enter the main text to reduce confusion while reading.
- Slow down and read paragraph by paragraph; where there are leaps, do not force coherence—first feel the language and mood.
- Excerpt favorite sentences and read them aloud repeatedly to appreciate the concision and rawness that come after fusing poetic and prose traditions.
- After finishing, compare Fei Ming's early and late works to trace the trajectory of changes in his style and thought.
Contents
- 版权信息
- 下篇
- 水上
- 钥匙
- 窗
- 荷叶
- 无题
- 行路
- 萤火
- 牵牛花
- 蚌壳
FAQ
Why is Bridge called a 'prose-like' novel?
According to the materials, Fei Ming's novels are known for their prose-like quality, fusing the prose of the Six Dynasties, Tang poetry, Song ci, and modernist ideas into one furnace, with concise language and profound scenes. Bridge does not rely on tight plotting for momentum but emphasizes the crafting of mood and language, and on the whole stands far from real social problems; thus it presents a prose-like appearance.
Is there a difference between reading the second part and the first part?
The original book is divided into two parts: the first part has eighteen chapters, and the second part has its own chapter count; it has been published many times and has many changes. The second part continues the book's style and Zen purport, and it should likewise be read slowly and savored in detail. If one reads the first part first, one will be more familiar with the characters and the thread of mood, but the second part can also be entered independently.
What kind of Zen thought is embodied in the book?
The materials point out that Fei Ming's Zen thought is embodied in his works, and Bridge, as the representative work of his first phase, bears this imprint. This thought does not appear as systematic argument but permeates the concise writing, profound mood, and blank spaces; readers need to appreciate it slowly at the level of language rather than look for explicit conclusions.
What background knowledge is needed to read Bridge?
It can be read without specialized background, but understanding the characteristics of Fei Ming's 'prose-like' novels and the fact that the book is divided into two parts and has undergone many revisions will reduce confusion in reading. If one has some acquaintance with the prose of the Six Dynasties, Tang poetry and Song ci, and modernist ideas, it will be easier to appreciate the interest of its fused language.
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About the author
Fei Ming (Feng Wenbing)
Author · Chinese · 1901–1967
Fei Ming (1901–1967), originally named Feng Wenbing, was a native of Huangmei, Hubei, and a modern Chinese writer, poet and scholar, regarded as a representative figure of the Beijing School of literature. His fiction is known for its poetic, essay-like style, with representative works including Bamboo Grove Stories, Peach Orchard, Jujubes, Bridge and The Story of Mr. Moshu. He long engaged in teaching and research, having taught at Peking University and Jilin University and served as vice chairman of the Jilin Provincial Federation of Literary and Art Circles. This library holds 23 of his works, covering classics, literary appreciation, social fiction, classical literature, classical poetry and modern poetry, showing that beyond creative writing he also left lecture manuscripts on classical literature and new poetry.
