中国作家似乎从不缺乏时代感甚至是时尚感,从上世纪80年代热衷于谈及加缪、普鲁斯特、马尔克斯,到后来言必称库切、帕慕克,很是学了一些收藏家、鉴赏家的本事。但是,潘家园淘得小把件,却淘不来石窟的大佛和飞天。中国作家学得多学得勤奋,这是好事,就怕摊子多了,眼花缭乱得了零碎而失了真宝器。当一些作家一门心思地望着库切的方向,或是跟着帕慕克一路小跑,是否还记得有个叫托尔斯泰的俄国人;当作家们趋同式地为当下种种寻找使之坦然的借口,是否还记得钢轨上那个矛盾并痛苦着的灵魂? It seems that Chinese writers never lack the sense of the time or even the fashion sense. From the 1980s, they were keen to talk about Camus, Proust, and Marquez, and later it was said that Coetzee and Pamuk were very learned. Some collectors, connoisseurs of the ability. However, Panjiayuan Amoy little pieces, but Amoy to the Giant Buddha Buddha and flying. Chinese writers learn more hard-working, this is a good thing, afraid of more stalls, dazzled in pieces and lost the true treasure. When some writers contemplate in the direction of Coetzee, or trot along Pamuk, remember the Tolstoy’s Russians; as writers converge on the excuse of looking for the present Do you still remember the contradictory and agonizing soul on the rail?