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在我看来,八十年代后期出现的先锋小说,可能会成为中国小说界最后一个文学流派。虽然在此之后,文坛也有什么“新状态”、“新体验”之类,但这些更多的是办刊策略,是人为地把一些作家集结在一起。这些作家没有在严格意义上构成文学流派,因为他们并没有什么内在的共同特征,艺术水平也很不整齐。先锋小说家余华、格非、苏童、北村、叶兆言等人一露面就出手不凡的情景,并没有在新一代作家身上出现。象张旻的中篇《艺术摄影》,只有一些浅薄的情绪,其中的对话是中国小说史上最差的段落之一,到了让人愤怒的地步,这样的小说作者会成为一个假想的文学群体(“新状态”)中有代表性的一位,是不可思议的。
In my opinion, the avant-garde novels that appeared in the late 1980s may become the last school of literature in Chinese fiction. Although after that, the literary world also has some “new state” and “new experience” and the like, but these are more about the strategy of running a newspaper and artificially bringing together some writers. These writers did not constitute literary genres in the strict sense because they did not share any intrinsic characteristics and artistic level. Pioneer novelists Yu Hua, Ge Fei, Su Tong, Kitamura, Ye Zhaoyan et al. Appeared on the extraordinary scene, and no body appeared in a new generation of writers. Like Zhang Min’s middle-length “art photography”, there are only a few superficial emotions. Dialogue among them is one of the worst passages in the history of Chinese fiction. To an anger, the writer of such a novel can become an imaginary literary group “New State”) is a miraculous one.