从《哦,香雪》到《秀色》,铁凝淡化了其笔下优美的诗意,而追求某种理性的思考。当众多女作家都在涌向“女性写作”,热衷所谓“私人写作”时,铁凝的《秀色》似乎给人一种别样的新鲜感受。但事实上,《秀色》并不新鲜。回顾几十年当代中国文学的发展,正是《秀色》式的作品,曾经几乎让我们的情感枯萎了。 有评论者讨论小说中故事的真实性,并以故事的“虚假”为根据而对作品的价值表示否定。其实这个并不重要。虚构是小说家的特权,放弃了虚构也就放弃了小说,小说所建构的只 From “Oh, Fragrant Snow” to “Beauty,” Tie Ning has played down his beautiful poetry and pursued some rational thinking. When many women writers are flocking to “female writing,” keen on the so-called “private writing,” Tie Ning’s “beauty” seems to give people a different kind of fresh feeling. But in fact, “Beauty” is not new. Looking back at the development of contemporary Chinese literature for decades, it is the “beauty” style of works that used to almost wither our emotions. Some commentators discuss the authenticity of the story in the novel, and denied the value of the work on the basis of the “falseness” of the story. In fact, this is not important. Fiction is a novelist’s privilege, give up the fictional also gave up the novel, the novel constructed only