《极花》发表不久便招来劈头盖脸的批评。为趋于没落的乡村唱挽歌和为拐卖妇女的犯罪行为辩护,是批评者为它罗织的主要的两大“罪状”。没有问题,这两大“罪状”既有言证,即作家在《极花》的“后记”中有关城市残酷压榨乡村的清晰表白,也有物证,即作家在《极花》中对圪梁村人买囚媳妇、“性侵”胡蝶、诋毁城市而同情乡村之类的情节精致稠密的描写。我的问题不在这里,也不在批评者的动机何在、动力何来,而 Shortly after the publication of Extreme Flowers, it attracted criticisms of shamelessness. It is the two main “guilt” for critics to loot for the dying countryside and to justify the criminal acts of trafficking in women. There are no problems. Both of these two “guilt” states that both the writer’s explicit confession of the cruelty of the city in the “epic” of the “extreme flower” and the material evidence that the writer is in the “polar flower” The purchase of prisoners of law on Beiliang village, “Sexual aggression” Hu Die, slander the city and sympathy for the plot of the village such as the delicate description of the plot. My question is not here, nor what the motivations of critics, motivation, but