The main debates in the literary world of the 1990s are

The Literary Transformation of the 1990s in Context

⊙ Zhang Lin

The reason why literature of the 1990s occupies an important position in twentieth-century Chinese literature is directly related to the fact that it is at the juncture of China's social transformation. In 1992, with the full-scale launching of the market economy, 'modernization' has entered the daily life of the common people in the form of abundant material goods. However, there is a huge discrepancy between the reality of modernization in the 1990s and the imagination of the intellectuals in the 1980s. This deviation forced the intellectuals to rethink many of the issues that had been raised in the 1980s, and at the same time, the literature of the 1990s was also actively involved in the re-conceptualization of the literature and thought of the 1980s, which led to the transformation of the literature.

In view of the close relationship between the literary transformation of the 1990s and the literature of the 1980s, this article will use the literature of the 1980s as a reference point, and through a comparative method, it will show the path of the change of the Chinese literature of the 1990s in terms of the context in which the literature took place, the identity of writers, and the core issues of literature. In order to reflect the continuity of this change, the writers, works and literary debates involved in this paper do not take 1990 as the upper limit, because since the mid-to-late 1980s, with the beginning of the experiments in the form of vanguard novels, the literary world has already conveyed the message of literary transformation.

I The Change of Context of Literary Occurrence: From Imaginary "Modernization" to Realistic "Modernization"

The issue of "modernization" in China is very closely related to the occurrence of literature in the 1980s and 1990s. However, during these two decades, the attitude of writers towards this issue has changed dramatically. At the beginning of the 80s, the word "modernization" had a sacred appeal, it was not only a holistic solution to China's problems, but also an ideal form of the future life of the Chinese people, and it became an indicator of the degree of progress in China's social life, including the political, economic, and cultural fields. Literature, as an important field of culture, also had to ride on the express train of "modernization". Writers at that time were eager to think about the relationship between "literature and modernization", and believed that due to the advancement of modernization, "the golden age of literature has come".1 At the same time, the Western modernist literary trend, which was popular from the end of the nineteenth century to the 1930s, was introduced into the Chinese literary scene as an aesthetic endorsement of modernization, and with the help of "modernization", "modernization" became the most important aesthetic concept in Chinese literature. At the same time, the Western modernist literary trend, popular from the late 19th century to the 1930s, was introduced into the Chinese literary scene as an aesthetic endorsement of "modernization", and with the aura of "modernization" it occupied a very favorable theoretical high ground. In the early 1980s, the concepts of "modernism," "modernism," and "modernization" were often treated as interchangeable terms. Even scholars who were wary of the literary claims of the Western modernists argued that "we will realize the four modernizations of socialism, and at that time there will be literature and art with the ideas and sentiments of our modernists." That is to say, "modernist literature and art based on a combination of revolutionary realism and revolutionary romanticism." 2 Feng Gicai, on the other hand, directly put "modernism" and "modernization" in the same breath, and cheerfully called for "modernization of society, why not the emergence of "modernism" in literature? 3

What should be noted here, however, is that there was a serious misinterpretation of the relationship between modernism and modernization in the Chinese literary world in the 1980s. In fact, the modernist literary trend in the West took place on the premise of mankind's fierce resistance to the process of industrialization (that is, modernization). However, in the 1980s, when people talked about "modernism" or "modernism", they often unilaterally emphasized that it was a historical product of modernization, but neglected the profound cultural contradictions between modernism and modernization. In other words, the modernist literature in China in the 1980s did not intend to rebel against modernization, but on the contrary, it gained its legitimacy in the name of modernization, and freed literature from political constraints, creating an independent aesthetic space.

It is interesting to note that although the Chinese literary world was subjugated to the grand narrative of "modernization," the skepticism it drew from modernist thinking maintained a certain intuitive vigilance against all authoritative discourses of sanctity, including "modernization". In the late 1980s, Mo Yan produced the brilliantly constructed middle-grade novel Building a Road (1986) and the short story Airship (1987). In the late 1980s, Mo Yan produced the brilliantly conceived middle grade novel Building a Road (1986) and the short story Blimp (1987). But they have not attracted enough critical attention.

"Building a Road" tells the story of a group of negligent peasants who are assembled to participate in punitive road-building labor day in and day out in the name of the revolution, in the midst of the Cultural Revolution. They don't know where the road leads nor when it will be built. Finally, at the end of the novel, a roaring road roller stops in front of the bored and desperate peasants, and a young man jumps out of the cockpit, bringing the news that the Cultural Revolution is over, and announcing that he will lead them as the new captain of the road.

"Blimp" is a work of absurdity. It is a simple story of a military airship loaded with explosives that crashes in a village where people make a living as beggars, giving the poor peasants a strong psychological shock. For the first time they saw the power of a blimp explosion, for the first time they ate a free meal from the air force, and for the first time they felt fear and exuberance over an uncleared bomb. Mo Yan describes the anxiety of the peasants in an agitated tone, "This night the whole village was ringing with a kind of chugging sound similar to the running of a clock, and everyone waited apprehensively, but hopefully, for a loud bang."

In a sense, it's no accident that these two works have been overlooked. In "Blimp", the author let the blimp, which represents "modern civilization", suddenly fall from the sky and intrude into the daily life of the Chinese peasants, who are still struggling for survival, in an absolutely unexpected way. In the eyes of the peasants, the "zeppelin explosion" brings both extraordinary beauty to their humble lives as beggars and tangible material benefits to their starving situation. The contrast between the power of the airship and the affluence of the air force and the ignorance and poverty of the villagers exposes the heterogeneity of the "modern civilization" symbolized by the airship in pre-modern China. As the end of the novel suggests, "modern civilization" is the "American time bomb" left in the village, which the Chinese people have always been afraid of. Building Roads" is a more profound novel, in which the fate of the peasants is not fundamentally changed by the historical changes at the end of the story. With the help of literary metaphors, the writer recognizes that "modernization", like "revolution", is nothing but a kind of myth and imagination, and conveys to the readers in a unique literary way his double questioning of the "golden road of cultural revolution" and "golden road of modernization". Therefore, in the midst of the passionate desire for modernization in the literature of the 1980s, this fear and doubt of "modernization" hardly attracted the attention and recognition of the critics.

It was not until the early 1990s that the cruel reality of the commodity society broke the intellectuals' beautiful fantasy of "modernization". It became clear that the market economy had not brought justice and equality to society, but had instead given rise to more insurmountable social contradictions. Faced with the serious deviation between imagination and reality, the Enlightenment intellectuals began to realize that the spiritual crisis in contemporary China was not only a result of traditional culture, but also a product of "modernization".

The crisis of "modernization" had a significant impact on the transformation of literature in the 1990s. Under the general disappointment, the literature of the 1990s swept away the optimistic and bright tone and had to rethink the reality it was facing. Unlike the strong desire of factory manager Qiao Guangpu for "modernization" from the point of view of collective and national interests in Jiang Zilong's "The Assumption of Office of Qiao Factory Director" in the 1980s, the questioning of "modernization" in the literature of the 1990s started from the fulfillment of personal desires. In the writings of young writers, the face of "modernization" gradually became ambiguous, and it was no longer synonymous with national prosperity and national strength, but pointed to the endless pursuit of desires. As a result, with Wang Shuo as the pioneer, a number of urban stories written about desire emerged, such as his "Stubborn Master", "Half of the Flame, Half of the Sea", "Surfacing", Liu Heng's "Black Snow", Jia Pingwa's "Wasted City", Ge Fei's "Flag of Desire", and He Dun's "Innocent in Life", etc. "Desire" as "modernization" has gradually become an ambiguous face, which is no longer synonymous with national prosperity and national strength, but points to the endless pursuit of desire. "Desire, as a synonym of modernization, has entered literature and life, becoming the most common dream in China in the 1990s. In these works of desire, Qiu Huadong and his ambitious stories of urban struggle gradually came to the fore. He likes to compare his characters to the provincial youths in Balzac's novels. They share Factory Director Qiao's anxiety about the future, but this anxiety has nothing to do with the country's ambitious goals; it is closely linked to the success or failure of individual struggles. In Qiu Huadong's narrative, "the city" is the real carrier of desire, full of strong temptation and shock to him. Therefore, the magnificent cityscape is almost everywhere in his novels:

Sometimes we drove from Chang'an Street to the direction of Jianguomenwai, the majestic buildings, the International Hotel, the Customs Building, the Kailai Hotel, the International Building, the Changfugong Hotel, the Guiyou Shopping Mall, the Sait Shopping Mall, the International Trade Center, the China World Hotel, flashed across the eyes, and then the car turned into the third ring road, the highway, and then the car turned into the third ring road, and the car turned into the third ring road. Highway, then, the building resembles a huge blue trihedral prism of the capital's tallest building Jingguang Center, as well as the Great Wall Hotel, Kunlun Hotel, Capital Mansion, the development of the building, Yuyang Hotel, Landmark Mansion, Lufthansa Mall, Jingxin Mansion, the Oriental Art Mansion and the Hilton Hotel and so on once again in the side of the sweeping one by one, you would suspect that you are in the United States at this moment in Detroit, Houston or some part of New York, and you will forget yourself for a while in a moment of amazement. （

No writer in contemporary China has ever reproduced the streets of a city as accurately as Qiu Huadong. As he lists the real names and buildings of Beijing on paper, the reader is as thrilled and shocked as the writer that the dream of modernization that once spurred Qiao's factory manager has become a reality. In the face of the terrible but great city, in the face of the strange but real modernization, Qiu Huadong does not have a lofty sense of victory, the strong material stimulation makes him excited, but the serious disparity between the rich and the poor makes him feel extremely helpless and small. Thus, his character bears some resemblance to Mo Yan's frightened peasants: "Both of us are more or less worried and fearful, fearing that this city, like a slot machine, will swallow us up, turn us into simpler substances like coins, and then consume us mercilessly." Obviously, the writers of the 80s and 90s did not share the same anxiety about modernization. This is a clear indication that "modernization", which takes national interest as its ultimate goal, has been replaced by "modernization", which takes personal happiness as its ultimate value.

The Changing Identity of Writers: From Enlightened Intellectuals to Folk Figures

With the dissolution of the sanctity of China's "modernization," Chinese intellectuals have been forced to rethink the legitimacy of their roles as "enlightened ones" and "spokesmen" who have relied on this process. As early as 1988, Wang Meng saw that the cooling of the literary boom was not a bad thing, but that the change indicated that "our country is undergoing a great, historical change. The social mentality is also changing. ...... It is possible to dislike the current literary phenomena, but no one can prevent it from changing." 4 As he points out, political utopia is no longer the core issue of Chinese society, while economic development and the pursuit of profit have become the first driving force behind the functioning of society. It was in this historical context that the guiding and admonishing role of literature in society and life collapsed, and literature began its historical transformation in the 1990s.

While academics were still lamenting the impact of the commercial tide on humanism, writers were already pointing their criticisms at the intellectuals. In 1990, Wang Anyi published three middle-grade novels in a row, "Uncle's Story", "Singing in Japan" and "Utopian Psalms", in which she y pondered over the problem of the changing identities of the intellectuals in the 1980s and 1990s. The most influential of these novels is Uncle's Story. In this text, Wang An-Yi for the first time stood on her personal position and questioned the group identity of intellectuals in the 1980s. She uses the "story of my uncle" in her collective memory and the "story of my uncle" in my personal memory to collide with each other, and ultimately to question both history and reality. Wang An-Yi repeatedly uses two identical sentences to emphasize the fundamental contradiction she feels between reality and imagination: "Uncle's" aphorism is, "Originally I thought I was the lucky one, but now I realize that I am not. And "I" associated herself with her uncle's sentiment, "I always thought I was a happy child, but I suddenly realized that I am not. Here, Wang Anyi has already hinted to the reader the theme of her writing: this is a story of failure and disillusionment. To further prove this frustration, the author arranges another story in which the "uncle" tries to conquer the German girl. The moment the girl screams in German and refuses the uncle's demands, she reverts to her first-world identity, and the enraged uncle curses in the town's vulgar slang. The internationalized travels and speeches neither change Uncle's third-world identity nor make him a truly enlightened person. Wang Anyi sees Uncle's Story as "a summary and review of an era," and "it made me realize that I have returned to my personal world of experience, which is deeper than before, and so, there is some pain in it." 5 And it is her pain that seriously questions the collective delusion of the 1980s.

In the process of literary transformation, the identity of writers was rapidly polarized as the Enlightenment intellectuals retreated. A considerable number of writers gave up their right to speak and moved closer to the values of the common people. It was in this context that the "New Realistic Novel" emerged and won the attention of the literary world. Whether it is the self-righteous "Xiao Lin" (A Lot of Chicken Feathers), the hardworking "Yin Jiahou" (A Troubled Life), or the ambitious "Qiguo" (Scenery), their resentment and resistance are ultimately tamed and submissive. The helplessness of the protagonists and the silence of the narrator convey the worldview of the "new realism" writers. According to Fang, "A man is a tiny, tiny creature in the face of a huge society. He is very weak, very humble. ...... The only thing you have to do is: live how they live, live how they live; live how they tell you to live, live how you live." 6 Obviously, in the early 1990s, the pressures of survival outweighed the metaphysical philosophizing of the 1980s. Pioneering writer Yu Hua's thesis was not dissimilar to Fang's: "People live for the sake of living itself, not for the sake of anything other than living." For a time, "living" became a basic portrayal of the Chinese people's living conditions, and was even called "noble".

As writers paid renewed attention to the picture of the lives of the lower classes, the question of what writers write about in what capacity was once again raised. In this regard, Mo Yan has a very concise formulation. He divided writing for the people into two aspects: "writing for the people" and "writing as the people". The former, he argues, is writing in which the writer puts himself in a position superior to the people and to the characters, which is essentially a kind of pseudo-folk writing, a kind of quasi-temple writing; while the latter is the "real folk writing," because the writer writes in a kind of equal relationship with the people and the characters.8 Mo Yan's words show that the identity of the "folk character" has replaced the role of the intellectual as the initiator, the spokesman, and has gained a wide popularity. In Mo Yan's words, the identity of "folk characters" has replaced the role of intellectuals as enlightener and spokesman, and has gained wide recognition. And it was this rather broad concept of "folk" that promptly eased the intellectuals' sense of loss and helped them find a place to live again outside the system, outside ideology.

With the reintroduction of "Baiyangdian Poetry Group" and folk publications such as Today in the academic circles, a large number of young poets and writers outside the system began to consciously differentiate themselves from Wang Shuo's light-hearted and speculative way of writing for the common people, and consciously undertook the historical mission of confronting the inherent Chinese literary system (magazines, publications, organizations, etc.).

In May 1998, three young writers from Nanjing, Zhu Wen, In May 1998, three young writers from Nanjing, Zhu Wen, Han Dong and Lu Yang***, jointly planned and initiated the act of "Rupture" in Zhu Wen's name. This questionnaire activity, which aimed to challenge the literary order, attracted much attention from the critics. Han Dong declared their motives: "All we wanted to do was to give up power." 9 However, he had difficulty in finding 'folk figures' who practiced his literary claims. Although he thought that Index and Wang Xiaobo could serve as such representatives, Wang Xiaobo, who had studied abroad and was known for his belief in "rationality" and his love of reading translated novels, was obviously not the right person to fight against the Western discourse, while Index's simple sincerity was too weak to resist the powerful ideology. Nonetheless, there are still those who believe that "rupture is a revolutionary act of some kind",10 because the act of "rupture" at least demonstrates the conscience and courage of intellectuals to reject unreasonable interests. Han Dong found that it was the existing literary order and the residual forms of the original planned economy - such as the authoritative magazines and the writers' associations at all levels - that controlled and alienated the backbone of the intelligentsia. Only by breaking through this material net could the intellectuals maintain their spiritual independence. Of course, Han Dong's vision of "civil society" and his act of "rupture" have a strong idealistic coloring, which makes it difficult to realize the spirit of "rupture" in reality, and thus its power to fight against the system is very limited.

Three: The Shift of the Core Problems of Literature: From Formal Experimentation to Moral Adventure

As mentioned earlier, the promotion of "modernization" in the literature of the 1980s gave birth to the local practice of modernism in China. In the mid-to-late 1980s, the modernizing impulse in literature was manifested in a constant search for literary independence. The concept of "pure literature", which was detached from politics, history and reality, was gradually formed, and the pioneering writers were typical of this, as they experimented with new forms. As early as 1984, Ma Yuan published his The Goddess of the Lhasa River, in which he separated the individual from reality, history, and the collective, and emphasized the ability of the self to know the world through the narrator's exaggerated skillful performances, in order to overcome the ideological constraints on literature. In his essay "False Works", Yu Hua claims that "life is not real, only the human spirit is real". The original purpose of the pioneering writers' questioning of "truth" was to expose the falsehood of historical determinism. However, whether it was Ma Yuan's Fiction or Ge Fei's Green and Yellow, not only did they negate the "inevitable how" of understanding, but also the "truth" itself was reduced to nothing, and the individual's search for "meaning" was only left to a hesitant gesture of wandering and the value judgment naturally fell into nothingness. Since neither "meaning" nor "value" exists, the uniqueness of personal experience boasted by the pioneering writers can only be confined to the daydreams of the geniuses, and it loses its connection with the reality, and the tension between the two ceases to exist.

In the early 1990s, many writers still hoped to use the "pure literature" concept of the 1980s to resist the impact of the commercial tide. However, in the ideological vacuum of the 1990s, the detachment from politics boasted by "pure literature" has gradually lost its relevance; moreover, with the introduction of the theory of "non-controversy" in ideology, the function of literature in interpreting the reality has been further restricted. In this special historical and economic environment, the self-defense posture of "pure literature" retreating to the sanctuary of art has not strengthened the reality-criticism function of literature, but has made it more and more inferior to materialism, and the "literary crisis" is inevitable.

The "literary crisis" of the early 1990s indicated, on the one hand, the disintegration of the literary order of the 1980s, which was centered on "modernization", and on the other hand, the emergence of a new literary concept. In particular, it should be pointed out that the review of the literary crisis in the early 1990s was carried out in the context of the discussion of "humanism", and therefore, the thinking on literary issues in the 1990s inevitably shifted from the avoidance of value judgments to a renewed focus on the moral responsibility of intellectuals. For those writers who caused controversy, such as Wang Shuo, Chen Yian, Zhu Wen, Wei Hui, and Cotton, their greatest impact on the concept of literature began with the "moral issue".

Of course, the shift in the core issues of literature in the 1980s and 1990s was not sudden. In the late 1980s, with the development of the commodity economy, the "contradiction between human beings and material things" gradually came to the forefront, and a crisis of values began to appear. Su Tong's sensitivity to the theme of "the siege of material desires on human beings" made him a very important transitional figure in the literary transformation of the 1980s and 1990s. In Su Tong's novels, "material desire" is always synonymous with "evil". From his "Tales of Maple and Poplar Tree" in the 80s to "Tales of Toon Tree Street" in the 90s, Su Tong's severe condemnation of materialistic desires has always permeated his literary world. His characters always hate each other because of very simple material desires, either for a pair of shoes (《回力牌球鞋》), or two pieces of gears (《稻草人》), or a basket of osmanthus blossoms (《桂花树之歌》, 《桂花连锁集团》). In his works, the rich are often born in abject poverty, and their material possessions are particularly difficult to satisfy. In The House of Poppies, the idiot son of the landlord Liu Laowan, Yanyi, inherits the good appetite of his hungry ancestors and keeps stealing buns to eat, saying as he eats, "I'm hungry and I'll kill you." At the end of Rice, Su Tong clearly expresses his obsession and hatred for material things. Five Dragons, full of hatred for the city, drags his broken body and returns home with a whole wagonload of rice. "But what do I have left besides this rice?" This is Dragon's final sentiment and question, and a critique of the value of the "commodity society" in agrarian China.

Under the packaging of avant-garde forms, Su Tong's rejection of materialistic desires has not transgressed the traditional value of emphasizing righteousness over profit. However, in the 1990s, this value system was severely impacted. "Materialistic desires" took the place of ultimate concern and ideological centrality, and a kind of pragmatic values premised on the satisfaction of personal desires and the realization of personal happiness rapidly took shape.

The transmutation of values was an important part of the literary transformation of the 1980s and 1990s. The fierce denial of social morality and values began with Wang Shuo. He used cynicism to expose the hypocrisy of the sacred concepts of revolution, authority, knowledge, love, youth, life and ideals. However, Wang Shuo, who started his career in popular literature and mass culture, would not offend the common people, nor would he be so scornful as to ridicule the old cadres and openly clash with the ideology. He aimed his criticism at the Enlightenment intellectuals because, like them, he was a victim of the current system. Although Wang Shuo seriously undermined the Enlightenment intellectuals' efforts to rebuild their values, his appearance removed the moral veil that had been placed over the authoritative discourse of revolution, modernization, and enlightenment.

In the literature of the 1990s, women writers joined the moral adventure in a more dramatic way. In Chen Dye's boldly dissecting of women's private lives, she attempted to escape the control of public morality over individuals, especially women, through such idiosyncratic behaviors as "black clothes," "baldness," "seclusion," and "homosexuality. In the novel "Private Life", the heroine Ni Diao Diao finally hides in the bathtub, and she tries to achieve physical and spiritual freedom by means of self-imposed isolation in the company of a mirror. However, by giving up women's right to have a say in history and politics, the excessively "personalized" "women's writing" soon ran out of its power to criticize public morality and was gradually reduced to a commercial bargaining chip.

In the late 1990s, the commercialization of women's writing was pushed to a climax by a group of younger "beautiful writers". Wei Hui and Cotton, with their "body writing" signboards, quickly attracted widespread social attention with their chic language and hedonistic values. Although Wei Hui and Cotton also exposed a great deal of women's private lives, they did not fight for a particular gender, but rather for the preservation of the lifestyle of the "new generation". In their writings, apart from the "father" who represents the moral order and is often repulsive, men as objects of love are not the embodiment of oppressors. On the contrary, men are the companions of their beautiful bodies, the witnesses of their cruel youth and the tickets to the world. Moreover, they have no illusions about love, youth, or the world. Wei Hui says, "Daily life is meaningless drudgery." (Crazy Like Wei Hui) Cotton said, "Some people like to confuse youth with happiness, but on that day I confused youth with losing control, and I felt that my youth was a cruel one." She even said, "I want to fuck the present and fuck the future in the most boring way." (Nine Targets of Wish) Wei Hui and Cotton hope to realize themselves by breaking through the taboo of "sex". Unfortunately, writing for them is nothing more than an avant-garde, gaudy costume, with obvious implications of self-aggrandizement. For this reason, Wei Hui would often refer to her writing attire: "Many times I sit in front of the computer wearing my beautiful sunglasses and stare at it." 11 Although their writing has been largely consumed by commercial culture, their rebellious behavior, like that of Wang Shuo and Chen Yen, reflects the adventures of young people searching for new moral benchmarks in an era of drifting values.

The most valuable exploration of moral boundaries comes from a young writer, Zhu Wen. His cry of "I love dollars", in the guise of a gold-digger, is the first naked expression of Chinese people's passionate desire for money and sex in the 1990s. Although we have already seen the terrible power of desire in Su Tong's novels, it does not destroy the dichotomy of good and evil, and therefore does not dissolve ethical values. On the other hand, Zhu Wen is different, he openly declares that "money" is the medium of purity, which helps us to exchange for freedom and dignity; "sex" is the necessity of life, which allows people to keep their body and mind calm and healthy. Sex is a necessity of life, which keeps people's body and mind calm and healthy. "Material fulfillment" is the basic stage of spiritual freedom. "Desire" is a reasonable requirement of human beings, we must face it honestly and solve it positively, "repression" will only lead to madness and perversion. Therefore, in "I Love Dollars", "I", the son, creates various opportunities for his father, hoping that he will recognize that "sex" is natural and reasonable. However, no matter how much the son instigates, the father always stops at the critical moment. In this story, "sex" becomes a detector of the different values of the two generations. "Both the father and I recognize sex as a reality in the adult world, except that the father sees it as a sin that should be strictly limited, while the I sees it as a need that should be fully satisfied. The absurd thing is that in the end, I was not able to fulfill my desire honestly, and my father did not really destroy his decency, not out of the so-called "good" stubbornness, but because of the limitations of poverty: my father and I couldn't raise enough money to pay for the prostitutes' services, and we had to choose to give them up.

Ju Wenzheng is exposing the lies behind public morality through the control of money over human behavior. Unlike Wang Shuo, Zhu does not believe that the lower classes are morally superior. In <>, "poverty" no longer naturally produces virtue, and the competition between passengers and conductors for fares only implies greed; in <>, the honest instructor's "endurance" of his destiny no longer carries the sense of nobility that Yu Hua called it, and the suppression of desire inspires the insanity of incest. In the literature of the 1990s, Zhu Wen's denial of morality really touches the cornerstone of traditional ethics. He not only recognizes the rationality of "material desire", but also tears down the moral myth of the "poor". In his view, "a man who does not face up to sex is a dishonest man." 12 This is the moral bottom line that Juvenile has set for our times.

Excerpted from Baidu.com, thanks.