THE FUNCTIONS OF FICTION | Chapter Ten

Lyricist Lin Xi, in an interview, speaks of the levels to writing a love song. Level one is when you are at least writing Chinese; level two is when you want people to weep and they do; level three: Not only do your words bring tears they also bring back memories; level four: When the weepers have done weeping they are philosophical, able to see the unhappy past in a happier light; then there is what Mr Lin terms the Huang Yaoshi level, when a love song is also about the world, politics – going beyond “one couple, two systems” to “one country, two systems” and back, as it were.

Coming to the Huang Yaoshi ref in the interview – thanks Ms O for posting parts of it – I felt a flicker of satisfaction. Hey, I thought, Mr Lin reads Louis Cha too. The master lyricist is reading the same master novelist as me. Then I thought, hey, everyone in Hong Kong, in China, reads Mr Cha or learns him by osmosis: Mr Lin is making the ref to Huang Yaoshi (an exceptionally multitalented man in Legend of the Eagle-Shooting Heroes, a genius) without a second thought and everyone there gets the ref without a second thought. So in mere seconds I went from feeling I wasn’t quite alone to feeling I was quite alone. I am a shorthand typist using signs that few of my friends here know. Worse, I thought, we don’t have our own similarly resonant shorthand. We don’t have our own Louis Cha stories, our own rich (if a bit middlebrow) mythology. We are poorer for it.