【摘 要】
：
上学期,张悦然老师带着我们在课上聊小说,其中有一周读的是贝克特的戏剧《等待戈多》《美好的日子》《终局》,那节课我们聊的主要是“荒诞”.rn我记得,张悦然老师问我们:“如何将荒诞和你们当下的作品结合?”曹畅洲回答:“余华的很多小说都有荒诞成分,尤其是那几个中篇,我非常喜欢,比如把尸体扛在肩头晃来晃去等细节.”我说:“这可能是一种诗性,算不上荒诞吧.”他想了想,说:“是的,诗性更加准确.”
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上学期,张悦然老师带着我们在课上聊小说,其中有一周读的是贝克特的戏剧《等待戈多》《美好的日子》《终局》,那节课我们聊的主要是“荒诞”.rn我记得,张悦然老师问我们:“如何将荒诞和你们当下的作品结合?”曹畅洲回答:“余华的很多小说都有荒诞成分,尤其是那几个中篇,我非常喜欢,比如把尸体扛在肩头晃来晃去等细节.”我说:“这可能是一种诗性,算不上荒诞吧.”他想了想,说:“是的,诗性更加准确.”
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