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先锋派小说在90年代的回归,已经是一个颇为古老的话题,而人们也总会于有意无意中把它看成是失败的象征,这其实凸显了另一问题:即向谁回归?能否回到从前?换一个角度来看的话,这其实是先锋小说形式主义实验反抗性被耗尽后的必然和无奈的选择,而其作为一个范畴自出现之日起就若隐若现呈现出的实用性目的及其对艺术远离生活的反叛倾向,都使得先锋派小说在形式主义耗尽后向日常生活实践的倾斜成为可能和必然。这时的“日常生活”(甚至包括先锋派早期作品)已经不再是本质化、整体化的存在形态,其表现出的对以往意识形态的拒绝使得这种存在只能以一种破碎的、平面化的形态漂浮在小说的叙述中。因而一定意义上说,先锋的“回归”其实即是日常生活实践的某种胜利。
The return of avant-garde novels in the 90s is already a rather ancient topic, and people always consciously or unconsciously see it as a symbol of failure. This actually highlights the question of who to return to Whether or not to return to the past? From another perspective, this is actually a necessary and helpless choice after the experimental anti-resistance of the avant-cratic novels has been exhausted. As a category, however, Its purpose and its rebellious tendency to distract from the arts all make it possible and inevitable for the avant-garde novels to tilt toward the practice of daily life after the formalism is exhausted. The “daily life” (and even the avant-garde early works) at this time is no longer an essential and integral existential form, but its rejection of past ideologies makes such existence only possible in a fragmented way The planar shape floats in the novel’s narrative. Therefore, in a sense, “vanguard” “return” is actually a triumph in the practice of daily life.