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夏衍同志的《包身工》,是我国现代文学史上一篇优秀的报告文学。一九六三年,作者在《报告文学的几个要求》中说:“我自己,除了诗以外,差不多的文学形式都写过,但都和草木俱朽了,只有《包身工》,在读者中还在起作用。”这虽然是作者的自谦之词,但清楚地说明了这篇作品在他自己创作中的突出地位。《包身工》最初发表于一九三六年六月《光明》创刊号。解放后,一九五九年《中国工人》杂志重新发表了这篇作品,并展开了群众性的学习和讨论。粉碎“四人帮”以后,一九七八年《十月》文艺丛书又发表这篇作品,并刊载了评价文章。另外,建国以来所写的现代文学史和系统研究报告文学的文章,几乎没有不提及这篇作品的。大家一直认为,《包身工》是“报告文学的杰作”,标志着我国的报告文学“达到了一个新的水平”,“是我国报告文学发展的里程碑”。
Comrade Xia Yan’s “Baosteel” is an excellent reportage in the history of modern Chinese literature. In 1963, in “Several Requirements for Reportage,” the author said: “I myself, except for poetry, wrote almost the same literary forms. However, they all fell into ruin with the grass and trees. Only the” crafting workers “ Is still working. ”Although this is the author’s modesty, it clearly illustrates the prominent position of this work in his own creation. “Baosteel” was first published in June 1936 “Light” first issue. After the liberation, the “Chinese Workers” magazine republished this work in 1959 and started mass learning and discussion. After the smashing of the “gang of four,” this work was published again in the “October” literary series in 1978, and the evaluation article was published. In addition, since the founding of the modern history of literature and systematic research reportage written articles, almost no mention of this work. Everyone has always believed that “Baosteel” is “the masterpiece of reportage”, which shows that our reportage has “reached a new level” and “it is a milestone in the development of our country’s reportage.”