以王朔为代表的“颓废文学”既是对高举“载道”、“代言”大旗的“伤痕文学”的嘲笑,又是对追求“民主”、“现代化”征兆的“朦胧诗”潮的反戈;既是对“重建乌托邦神话”的“寻根文学”之叛逆,又是对“先抑后扬”、“入世”和“转轨”的“先锋小说”之变脸。在此基础上,主创者们再佐以“新写实”中“甘为卑贱”、“粗痞”和“反禁忌”的人生原汁,就做成了一道“颓废”十足的世纪末之文化快餐。这一股文学思潮极大地迎合了广大市民不要信仰、及时行乐和对金钱占有之世纪末“颓废情绪”,是市场经济发展到一定阶段所必然出现的文学过程。 The “decadent literature” represented by Wang Shuo laughed at both the “scar literature” which held the banner of “carrying” and “endorsement” as well as the tide of “misty poetry” which is a sign of “democracy” and “modernization” It is not only a rebellion against the “root-seeking literature” of “reconstruction of the myth of Utopia”, but also a “vanguard novel” of “Xianyanyangyang”, “joining the WTO” and “transition”. On the basis of this, the creative people make a “decadent” full-fledged cultural snack at the end of the century with the addition of “sweet for humbleness,” “ruffian” and “anti-taboo” in “New Realism.” . This ideological trend of literature has greatly catered to the “decadent sentiment” of the general public not believing in, exercising in a timely manner and endowing possession of money at the end of the century. It is a literary process that inevitably occurs when the market economy reaches a certain stage.