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重写实、轻幻想是20世纪以来中国现当代文学的主要特征。当“20世纪中国文学”已然逝去,21世纪文学到来之后,文学创作的这一特征依然没有改变。虽然现实主义文学创作的文学史意义功德无量,特别是对于悲情的“20世纪中国文学”而言,对现实的关怀,可谓一个民族特定的精神心理的呈现。但如果一个民族的文学史忽视或漠视幻想叙事,则很难说是一个健康的文学生态,因为文学的本质即幻想。从这个意义上讲,曹文轩的系列长篇小说《大王书》的幻想叙事,超出了叙事学,乃至文本本身的意义,而具有探索审美新格局的文学史意义。
Rewriting realism and thinking lightly are the main characteristics of Chinese modern literature since the 20th century. When “20th Century Chinese Literature” is already gone and 21st century literature has come, this feature of literary creation has not changed. Although the meaning of literary history in realist literary creation is immeasurable, especially for the tragic “20th century Chinese literature,” the concern for reality can be described as the manifestation of a particular national mentality. However, if a nation’s literature history ignores or disregards fantasy narratives, it is hard to say that it is a healthy literary ecology because the essence of literature is illusion. In this sense, the fantasy narration of Cao Wenxuan’s novel “King of the Book” goes beyond the meaning of narratology and even the text itself, and has the significance of exploring the new aesthetic pattern in the history of literature.