自从八十年代初期,海峡两岸开始结束完全隔离的状态以来,就出现了一个话题:两岸的文学创作,哪边更好一些? 大陆这边很计较、很执著于这个问题并且生怕没有一个有利于自己方面的答案的人似乎并不怎么常见。大陆的“大”不知“大”凡几,恐怕不好意思对海峡对岸搞什么“老王卖瓜自卖自夸”,即使说这一边更好也毫不光荣,这是一。第二,自从文革结束以来,作家们对于大陆的文学环境与文学运动的反思与自我批评相当深入认真,人们宁愿意多谈过往的失误,表示一种改弦更张的热情与决心。为什么还要喋喋不休地吹嘘自己乃至压人一头呢?我们过去吹得还不够吗?一直吹下去能吹出点新意来吗?第三,即使说你这边好也不等于你好,因为文学毕竟是非常个人化的作业。 Since the early 1980s, when the two sides of the strait began to put an end to its completely isolation, a topic appeared: Which side of the Taiwan Strait is better literary creation? The mainland has taken care of it and is afraid that none of it will be conducive People who do not seem to see how common their answers are. The mainland’s “big” I do not know “big” where a few, I am afraid I am sorry about what the other side of the Straits “Lao Wang sell melon sell boast”, even if this side is better and not honor, this is one. Second, since the Cultural Revolution ended, writers have been quite serious about their reflection on and self-criticism of the literary environment and literary movement in the Mainland. People would rather talk more about the mistakes of the past and express their enthusiasm and determination to change their mind. Why do we still brag about ourselves and even pressure on people? We used to blow enough? Have been blowing to blow out something new? Third, even if you say good does not mean hello, because after all, is the literature Very personal homework.