在公元纪年里,90年代具有特殊的身份,它将收束一个世纪,并去洞开一个新世纪。此时,90年代中期的中国文学正处在文化的转型变动之中,已有的状态不会消逝,而新的状态却早已萌生;或者勿宁说,90年代中国文坛所形成的“新状态”正是一种超越以往的新/旧严重对立的状态。“新”的一切,都是当下生活的鲜活状态,而所谓的“旧”,早已孕含在广泛的层出不穷的新意之中;在这里,“传统”往往很“新”,而“先锋”却时常显得很“旧”;老作家不断遭遇新问题,而新作家则又不时地提起了老话题。无论新与旧,无论中与西,无论老中青,都要真实地面对新的年代、新的生活,中国文坛正以从未有过的宽大胸怀和自然状态跨越着我们的世纪之巅。 一种新的文学走向日渐显露出来,这是90年代中国文化和中国文坛的“新状态”所导致的新的文学现象。当我们读到王蒙的《恋爱的季节》、刘心武的《四牌楼》、王安忆的《纪实与虚构》、朱苏进的《接近于无限透明》等新发表的作品,当我们敏感地注意到 In the Christian era, the 90s had a special identity, it will close a century, and to open a new century. At this point, the Chinese literature of the mid-1990s was in the midst of a change in culture. The existing state will not disappear, but the new state has already sprouted; or rather, the “new state formed by the Chinese literary circles in the 1990s ”It is a state of serious antagonism beyond the old one. Everything that is “new” is a vivid state of present life, and the so-called “old” has long been conceived in a broad and endless stream of new ideas; here, “tradition” is often “new” and “vanguard” Often appear very “old”; old writers continue to encounter new problems, and new writers from time to time raised the old topic. Both new and old, no matter in the middle or the west, no matter who are young or old, have to face the new era and new life truthfully. The Chinese literary world is crossing over the summit of our century with the broad mind and the natural state it has never had . A new trend of literature is gradually revealed. This is a new literary phenomenon caused by the “new state” of Chinese culture and Chinese literary circles in the 1990s. When we read Wang Meng’s “Season of Love”, “Four Pavilions” by Liu Xinwu, “Documentary and Fictional” by Wang Anyi and newly published works such as “Approaching Infinite Transparency” by Zhu Sujin, when we are sensitive to note