At the same time, however, Sanmao's personality and creation show the characteristics of popularization and have a folk position. Sanmao's language is plain, simple and friendly. "My books can be read by primary school students, female workers and shop assistants, and I attach great importance to them", which is very popular. She stressed that she was a "nobody" and wanted to be a simple "countryman". San Mao, on the other hand, was originally a "marginal figure"-except for finishing primary school, he left school automatically in junior high school, went abroad without graduating from college, and almost never engaged in any "decent" career in his life. He likes farming and planting flowers in the countryside best.
Sanmao's works are often on the best-selling list, and his name often plays the role of a cultural star, which seems to be more closely related to popular mass culture. I am afraid that only the magical power of contemporary mass communication can conquer readers in this context. But paradoxically, the more Sanmao wants to be close to the public, the more his elite consciousness is tested. Being too close to the public will inevitably make her fall into the quagmire of mass culture replication. The cultural context in which Sanmao lives should be a "postmodern" society in which popular culture, elite culture and mainstream culture are tripartite confrontation, mutual conflict and mutual integration. Several factors that collide with each other in the cultural context are the deep-seated reasons for the complexity of Sanmao's image in Shuangwen. As one of them, San Mao is out of the mainstream culture, but inevitably influenced by it (his early collection "The rainy season never comes again" is the best example, and popular modern thoughts, existentialism pessimism and nihilism are all over the book). Although Sanmao sticks to her own planet (Sanmao loves the little prince), she can't help falling into the noise of pop culture and fashion. Although San Mao has a great sense of elitism, he can't help but face the fact that he has made great efforts to create works in the consumption of popular culture fast food.
San Mao was deeply influenced by Chinese and western cultures and formed his unique philosophy of life. However, once the life fragments and various influences that once left a mark on Sanmao's life were written, printed and entered the consumer groups, causing a sensation, the original Sanmao image began to be processed and copied by the readers' will and emotions, gradually moving away from the original Sanmao image and becoming more and more like the readers' Sanmao. Sanmao has become a symbol of romance, beauty, affection, chic, curiosity and adventure. The higher the reader's expectation of this "symbol", the more Sanmao has to overdraw his physical strength to play this role. The beautiful qualities cultivated by nature should be shown to the public everywhere. Time and time again unforgettable emotional trauma should be shown to the public. No wonder Sanmao's later image was split: on the one hand, he should continue to play a caring and enthusiastic public image, on the other hand, he should write a random thought of "happiness and sorrow are lonely"; On the one hand, it beautifies and even deifies the deceased lover, "Jose knows me better than anyone", on the other hand, it is disappointed that my family is indifferent to the marriage proposal letter sent to me by others; On the one hand, due to too many interviews and lectures, physical weakness, "sleepless in March, short memory." On the other hand, I fled to the United States to "wait for spring" and handed myself over to forests, lakes, stalls and docks ... The complexity of Sanmao's dual image caused by cultural context is concentrated in the negative effects of popular culture, which ruthlessly separates the most spiritual and shining things in Sanmao's personality and makes Sanmao's life unbearable.