used his real name, though his words and actions were made up. this is a recurring phenomenon with me. i'll start out using characters' real names in order to achieve a sense of intimacy, and after the work is finished, it will seem too late to change those names. this has led to people who see their names in my novels going to my father to vent their displeasure. he always apologizes in my place, but then urges them not to take such things so seriously. he'll say: "the first sentence in red sorghum, 'my father, a bandit's offspring,' didn't upset me, so why should you be unhappy?" my greatest challenges come with writing novels that deal with social realities, such as the garlic ballads, not because i'm afraid of being openly critical of the darker aspects of society, but because heated emotions and anger allow politics to suppress literature and transform a novel into reportage of a social event. as a member of society, a novelist is entitled to his own stance and viewpoint; but when he is writing he must take a humanistic stance, and write accordingly. only then can literature not just originate in events, but transcend them, not just show concern for politics but be greater than politics.
possibly because i've lived so much of my life in difficult circumstances, i think i have a more profound understanding of life. i know what real courage is, and i understand true compassion. i know that nebulous terrain exists in the hearts and minds of every person, terrain that cannot be adequately characterized in simple terms of right and wrong or good and bad, and this vast territory is where a writer gives free rein to his talent. so long as the work correctly and vividly describes this nebulous, massively contradictory terrain, it will inevitably transcend politics and be endowed with literary excellence. prattling on and on about my own work must be annoying, but my life and works are inextricably linked, so if i don't talk about my work, i don't know w
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