In the eyes of more and more people, the word "stand alone" has become a synonym for "preserve yourself first, and don't talk about politics".
In the system, what exactly counts as true independence.
Compromise with the party-state like Schutler did, exchange compromise for salvation, and redeem the soul with salvation, but in such a tortured heart, has the original character and mood really not been destroyed by the outside world? Or, like Hofgen, grovelling in humility to curry favor with the chancellor, helping friends, mistresses, theatre staff with little influence. From this point of view, apart from the difference in quantity, what is the difference in essence between Hofgen and Schutler.
During the Nazi rule, many Germans who did not join the army also participated in the atrocities of the Nazis. They became drummers who cheered the Nazi atrocities, and indirectly persecuted them. For example, the image of Hannah in "The Reader", she just wanted to have a job , can survive. During the Cultural Revolution, I believe that a large part of the people were sober, they chose to rebel in disorder and unreasonable, or they chose to expose their ethics and morality just to get a life in the cracks of survival (so I always feel that the Cultural Revolution is not so much a The moral loss of the whole nation and the madness of destruction, it is better to say that the Cultural Revolution was a moral test and forced choice of the whole nation).
Although literature and art can promote political views in theory, politics should not actively interfere with the development of literature and art. In fact, history has proven time and time again that this is a great underestimation of institutional politics. Many artists in the system, such as Ma Lianliang and even Cheng Dieyi, never tried to participate in politics, but only studied how to carry out artistic reforms in accordance with the Party's requirements, and they could not escape political purges; and those who rejected the political call to remain the same, such as Zheng Nian, Often the end is worse.
The only choices left in the system are the single-choice of those who obey me and those who oppose me die. After magnification, it has become a moral option that tests the personality of art workers, and it is also a common moral option for the whole family.
Of course, there are always some lucky or excellent people who can escape from the system in one way or another, such as xxxxx in the xx incident.
Another example is Sebala and her father who went into exile in France, unable to do anything about the suffering of the motherland, but also blamed the people in the suffering (the Nazis were elected by such people themselves). It's really being alone in the true sense, and then writing a few monographs and publishing a few editorials expressing their vehement condemnation and grief, trying to get back the points they lost on the morality questionnaire on the sidelines.
Of course they can cry out: It's always better than helping the tyrants or being slaughtered, isn't it?
It's a pity that not everyone is lucky or good enough, right?
Hofgen is most accused of losing his position as an artist and refusing to give up his off-stage adoration, and in my opinion his biggest failure is the mistaken underestimation of the horrors of politics and the overestimation of the value of art within the system.
The original book of the novel is a black book, and I probably have some bleached Hofgens in the eyes of some people.
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