As far as Lin Zixuan knows, Shen Yanbing attaches great importance to Bingxin when she edited the "Novel Monthly".

In January 1921, he took over the first issue of the Novel Monthly reform, and ranked Bingxin's short story "Laughter" in the "Creation" column, which is hard to imagine in the literary world that focuses on qualifications.

Subsequently, Bingxin's novel "Superman" was still ranked first in the "Creation" column.

Including Wang Tongzhao, Zhu Ziqing, Sun Menglei, Luo peanut, Ms. Lu Yin and Ye Shengtao were all behind Bingxin.

That's not all, Shen Yanbing also specially opened a column for "Reader Comments" to discuss Bingxin's novels.

The first collection of poems in the "Literary Research Society Series" published by Commercial Press is Bing Xin's "Fengxing".

The first collection of novels in the "Literary Research Society Series" also belongs to Bing Xin, the short story "Superman" published by Commercial Press in May 2019.

It can be said that such a large page and a large number of comments from "Novel Monthly" made Bingxin famous in one fell swoop.

From this we can see the relationship between writers, literature and literary journals.

What methods do literary journals use to promote writers who can represent their literary propositions and thus promote the development of their own journals is an important issue facing literary journals.

Bingxin's novels can represent the literary concepts of the Literary Research Association, so they were highly recommended by the Monthly, and Bingxin's novels have brought a large number of readers to the Novel Monthly.

This is a win-win situation.

Bingxin is a representative writer of "problem novels" in this era.

In the second half of 1919, she published "A Man Who Was Alone" in the "Morning News Supplement", officially creating the creative style of problem novels.

Generally speaking, any novel that clearly contacts a certain social reality or life phenomenon, consciously raises questions, or even tries to answer questions can be called "problem novels".

This type of novel includes social issues such as personal freedom, love and marriage, ethics, and women's liberation.

Some works also involve the sufferings of the working people, the disasters brought about by warlord melee, children's problems, education problems, labor problems, etc.

This is exactly what the Literary Research Association advocates that "Literature should reflect social phenomena, express and discuss some general issues about life."

So, "Novel Monthly" found Bingxin as the spokesperson for their literary propositions.

Lin Zixuan also needs to find a spokesperson for "Crescent Moon" magazine. In terms of the magazine's poetry positioning, this spokesperson is better to be a female poet or a beautiful woman.

No matter what, in society, beauties are always treated preferentially.

For example, if you know that the author is a beautiful woman when reading a novel, then the reader will definitely feel different when reading the book. This is human nature.

Lin Huiyin is undoubtedly the best choice.

Lin Zixuan plans to launch a column in the magazine "Crescent Moon" called "April Day on Earth". He specializes in publishing Lin Huiyin's poems and essays, and praises her as the number one female poet of the Republic of China.

With this gimmick, you are not afraid of magazines being unsuccessful.

Even Guo Moruo knew this method, and his Creation Society also launched a female writer named Feng Yuanjun.

This is also a talented woman with a family background. She loved reading ancient Chinese since she was a child and especially Tang poetry. She could write poems and write lyrics at the age of twelve.

In 1922, she graduated from the Chinese Department of Beijing Women's Higher Normal School and was admitted to the postgraduate degree at the Peking University Institute, studying Chinese classical literature.

In 2019, she began to create novels and published novels such as "Travel", "Isolation" and "Isolation" in "Creation Quarterly" and "Creation Weekly" under the pseudonym Ms. Gan.

Her novels are full of bold descriptions and the spirit of resisting the old ethics, which shocked many readers.

These women can be said to be the first generation of female writers in China after the May Fourth Movement. Most of the novels they wrote are "problem novels" that reflect social reality.

Lin Zixuan couldn't help but think of Ding Ling, who loved making movies.

Ding Ling is the second generation of female writers after the May Fourth Movement. She focuses more on women's own problems, such as "Meng Ke" and "Ms. Safi's Diary".

Later, Xiao Hong was a genius novelist. She created a unique novel style.

That is the prose culture of the novel. The language in her novels has no trace of deliberate sculpting. Naturally, it contains a kind of naive and simple beauty. A unique and mellow mood, thus becoming an important feature of the narrative style of the novel "Xiao Hongti" novel.

As for Zhang Ailing, she is the master of Shanghai romance novels.

Her novels have little to do with new literature, but are directly influenced by Chinese classical literature. She wrote a real and illusory Shanghai.

These female writers can be said to be the times that made them, and they wrote this era.

On December 10, 2019, the first issue of "Crescent Moon" magazine was released nationwide, triggering a great discussion on new poetry.

Some people believe that the so-called rhythmization of new poetry is to put shackles on new poetry, to bind the "nature" and "freedom" of new poetry, and to a regression of new literature.

Some people also agree that the reason why poetry is not a novel or a prose is because it should have a melody and rhythm, and should not be too loose and without constraints.

This is actually the debate between "free style new poetry" and "regular new poetry".

Guo Moruo's "Goddess" is a representative work of new free-style poetry. His poems are entirely determined according to the emotions expressed by himself. The length and length of the poem are unchanged, and the rhythm is unchanged.

Or he can write whatever he wants, as long as he can express his feelings.

The rhythmic poetry advocated by Xu Zhimo requires that the poetry must have a certain rhythm, rhythm and musicality.

The poetry propositions of the two are very different.

Lin Zixuan did not participate in the debate. He knew that this debate did not disappear until later generations, but in later generations, new metrical verses were at the marginal position, and free verses occupied the mainstream.

This is not only because free verse can best reflect the free spirit of new poetry, but is the most open and inclusive.

Because new metrical verses are more difficult to write and free verses are easier to write, fewer and fewer poets write new metrical verses. However, poetry had long since declined at that time, and poets were no longer worthwhile.

Lu Xun said in 1934: "Although poetry has two types of things that can be seen and sang by mouth, it is better to pursue the latter one. Unfortunately, the new Chinese poetry is probably the former. Without rhythm and without rhyme, it cannot be sung; if it cannot be sung, it cannot be remembered; if it cannot be remembered, it cannot squeeze out the old poetry in people's minds and occupy its position."

This may explain the reason for the decline of poetry in later generations. Because there is no rhythm, readers cannot remember it at all.

In this issue of "Crescent Moon", some people also noticed Lin Huiyin's name. Although the poem is written in a mediocre way, he is a female poet with a family background.

Because his father held an important position in the Beiyang government, Lin Huiyin was quite famous in Peiping.
Chapter completed!