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法国文学社会家埃斯卡皮在谈到作家的文学史地位时曾说,一位作家不论他身处当代还是身处“历史”,其地位总是不确定的,他会被人遗忘,又会被人提起,其前提取决于谈论者所处的文学语境。如果以此来看待和观察中国新时期小说对域外小说家的接受就会更加感到埃斯卡皮的话确实是不刊之论。从海明威到博尔赫斯,到昆德拉……,仅以短篇小说而言,就反映出创作界艺术观念的嬗变。现在介绍的雷蒙德·卡弗又是一位我们在小说艺术复归的旅程中积极认同的美国短篇小说家,九十年代以来,卡弗及其作品是中国小说家们经常提及的话题。
Speaking of the literary history of the writer, the French literary sociologist Escappi once said that a writer whose position is always uncertain whether he is in the present age or living in “history” will be forgotten, and Will be mentioned, the premise depends on the literary context in which the speaker is. If we treat and observe the acceptance of non-fiction novelists outside China in this new era, we will feel more of Escuppy’s remark. From Hemingway to Borges, to Kundera ..., the mere passage of short stories reflects the evolution of artistic ideas in the creative world. Raymond Carver, now introduced, is another American short story novelist who we positively identify with the return journey of the novel art. Since the1990s, Carver and his works have been frequently mentioned by Chinese novelists.