现象如今,文学少年的脱颖而出已成中国文坛引人瞩目的现象。前几年,郁秀、韩寒、张天天的名字炙手可热,这两年,刘冬阳、刘倩、尹珊珊、金今、龙艳、杨哲、蒋方舟等纷纷跳上舞台,玩起了自己的“套路”。各出版社也盯住商机,不断推出校园才子们的“大作”,海天出版社的“青春点击”丛书、陕西师范大学出版社的“小花生”丛书、东方出版中心的“大都市青春”丛书,在推出少年作家的同时,都在市场上走俏。期发行量稳居全国同类期刊前列的《初中生》杂志,一直关注文学少年的成长。从2001年第1期开始,《初中生》以大量篇幅集中报道少年作家的成才之路,是综合性学生期刊的首创。至今,已有四十多位少年作家在《初中生》中登台亮相,吴丹、赵萱等人更因此而引起出版社注目,得以有作品集出版。最近,《初中生》编辑部又花很大心血,搜集了在当今文坛走红的45名少年作家的代表作,编成了“展翅鸟”丛书(《无法悲伤》《再等十五秒》《我们不是垃圾》《拟态虫子》《谁把流年暗偷换》)。五本书一上市,即引起巨大反响,把“少年作家出书热”再推向了一个新的浪尖。面对如此日益汹涌的“少年作家出书热”,不少人在表示赞同与关注的同时有着隐隐的担忧：这批少年作家是否能成为中国文坛未来的希望?这样的“精包装”是否有利于他们的成长?方仲永的故事是否会在他们身上重演? Phenomenon Today, the emergence of literary youth has become a phenomenal phenomenon in Chinese literary circles. In the past few years, Yu Xiu, Han Han, and Zhang Tiantian’s names were very hot. In the past two years, Liu Dongyang, Liu Qian, Yin Shanshan, Jin Jin, Long Yan, Yang Zhe, Jiang Fangzhou, etc. all jumped onto the stage and played their own “routines”. “. The publishers are also looking at business opportunities, and constantly launch the “big masterpieces” of the school talents, the “Youth Hits” series of Haitian Publishing House, the “Little Peanuts” series of Shaanxi Normal University Press, and “The Metropolitan Youth” series of the Oriental Publishing Center. At the same time when young writers were introduced, they all became popular in the market. The periodical circulation has consistently ranked among the top journals of similar journals in the country. It has always been concerned about the growth of literary youth. Starting from the first period of 2001, ”Junior High School“ focused on the road to success for young writers, and was the first of a series of comprehensive student journals. To date, more than forty young writers have appeared on the stage of “Junior High School Students”. Wu Dan, Zhao Wei, and others have even attracted the attention of the publishing houses and have published their works. Recently, the ”Junior High School“ editorial department has also made great efforts to collect the representative works of 45 young writers who have become popular in the modern literature. They have compiled the ”Wings of Birds“ series (”Unable to Sad“, ”Five More Seconds“, ”We“ Not rubbish ”immicidal insects“ ”who secretly changed the fleeting year“). When the five books were listed, they evoked great repercussions and pushed the ”boyfriend’s publishing fever" to a new wave. In the face of this increasingly raging “publishing of books by young writers”, many people have expressed their concern and fascination with faint concerns: Will these young writers become hopes for the future of the Chinese literary world? Is there such a “precise packaging”? Is it conducive to their growth? Will Fang Zhongyong’s story repeat itself in them?