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无可否认,当代文学在总体上已发生了根本性的嬗变与进步,然而,人们却总还感到有这样那样的缺憾和不满。我们会有这样一种疑惑:在十多年前,如果说我们文学的贫弱和欠缺是由于它的陈旧和僵化、缺少新鲜的艺术观念与审美手段的话,那么,在十几年后的今天,当代世界的各种新异的文学思潮、艺术手法已次第引入,而且已轮番实验,按照某种“新潮”的说法,我们的文学已经进入了“后××主义时代”。那么又是什么原因仍使我们感到不满和欠缺呢?问题显然已不在于观念、手法和技术层面,而在于一个更朴素和更原始的问题上,这就是作家的人格素质问题,因为最终艺术作品的质量和境界取决于作家的人格精神的气度与境界的高下。这是一个看似浅显、实际上却是根本性的问题。本期王光东和谭好哲两位理论家的文章,分別从作家人格建设的期待与方向,以及当下文学界写作者人格精神的欠缺两方面做了富有启示性的论述,触及到了内在和本质的问题。我们期待着理论界、评论界和创作界对这一问题进行更加深入的讨论。
Admittedly, contemporary literature has undergone fundamental changes and progress in general. However, people always feel such regret and dissatisfaction. We would have the doubt that over a decade ago, if we say that the weakness and lack of our literature are due to its obsolescence and inflexibility and the lack of fresh artistic concepts and aesthetic means, then more than a dozen years later, All sorts of new and unusual literary thoughts and techniques of the contemporary world have been introduced in the first place, and experiments have been carried out in turns. According to some “trendy” theory, our literature has entered the “post-Boxian era.” Then why do we still feel dissatisfied and lacking? The issue obviously lies not in concepts, techniques and technical aspects, but on a simpler and more primitive issue, which is the writer’s personality quality problem because the final piece of art The quality and realm depend on the tolerance and realm of the writer’s personality. This is a seemingly simple but actually fundamental issue. In the current issue, Wang Guangdong and Tan Haozhe two theorists’ articles have made enlightening discourse on the expectation and direction of the writer’s personality construction and on the current lack of personality of writers in the literary world, which touched on the intrinsic and essential issues. We expect theorists, critics and writers to discuss this issue in more depth.