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与老一代的军旅作家不同,卢一萍是一位有清醒的理论自觉和厚实的理论储备的小说家,甚至不妨说,是一位完成了“学者化”转型的小说家。这一初步印象是在阅读了中短篇小说选《帕米尔情歌》的《自序》之后形成的,待到读完全书,我觉得这一判断大体是可以成立的。在《写作需要沉寂的力量》这篇篇幅不短的自序中,作者首先回顾了中国当代文学直至新时期文学的历程,尖锐批评了“早在20世纪90年代初期,我们的小说内在的锋芒就已不复存在”的现实,声言“他们没有完成文学的探索,严格地说,他们的探索刚刚开始就中断了。这是我要重新开始的原因”;“只有少数人还在思考汉语小说的多种可能性”。
Different from the military writers of the older generation, Lu Yiping is a novelist who has a clear theoretical consciousness and a solid theoretical reserve. He even said that he is a novelist who has completed the transformation of “scholarly”. This initial impression was formed after reading the “Preface” of the “Pamir Love Song” in short and medium-length novels, and I think this judgment can be generally established. In the lengthy essay “The Power of Writing Requires Silence,” the author first reviews the history of Chinese contemporary literature up to the new era and sharply criticizes “the intrinsic edge of our novels as early as the early 1990s They no longer exist. ”“ They did not finish the literary exploration. Strictly speaking, their exploration was interrupted at the very beginning. This is the reason why I want to start over again. ”“ Only a few people In thinking about the many possibilities of Chinese fiction ”.