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小说主要是探索自我跟其他自我的关系,以及他们周围的社会种种问题的艺术。如果严肃的小说还可以严肃地对待的话,就得撇开旧小说走过的路,从头做起。在目前剧烈变动的时代,小说如果想名副其实,就得革新。“新小说”的作者采用并发展了普鲁斯特、乔艾斯的内心独白的手法,沿用了里尔克和卡夫卡的神秘和恐怖。他们常常变换小说中的叙述观点,时间顺序也错乱颠倒,运一点很象康拉德,但却更象沙特,更象近代电影。这些新小说家有时被称为新现实主义者。萨洛特认为小说中的人物只是晾衣杆;莫里亚克的《餐会》中的人物都可以相互替代;在格里叶的《黑板擦子》里,日常事物的神秘超过了犯罪案的曲折情节;他的另一部小说《嫉妒》,全部故事写的就是房间内部椅子的排列,栏杆油漆退色和剥落,屋柱阴影投射的角度等等。这一切或许沉闷枯燥,但可能有它的理由。这在他的最后一部小说《在迷宫中》更有了发展,在那里,事物更多地具有人物的重要性,而人物只不过是一些事物而已。新作家们常常把政治和国际关系、商业和工业世界的地位降得很低,而自我和个人切身的利益则如实地反映出来。新小说的做法初看起来似乎很奇怪,但在布托尔看来,这些做法并没有离开写实主义,相反却构成了“更深刻的写实主义”的必然条件。新小说并非一切皆新。崇拜日常琐碎事物也并非自新小说家开始。不过新作家的那股劲头是令人振奋的。
The novel is mainly about exploring the relationship between self and other self and the art of various social problems around them. If serious novels can be taken seriously, you have to put aside the road that old novels took and start from scratch. In the current era of drastic change, the novel needs to be renovated if it is to be worthy of the name. The author of “New Novels” adopted and developed Proust and Joyce’s inner soliloquy, following the mystery and horror of Rilke and Kafka. They often change the narrative point of view in the novel, the timing of the order is also upside down, and shipped a little like Conrad, but more like Saudi Arabia, more like a modern movie. These new novelists are sometimes called neo-realists. Salot said the characters in the novels were only clothespins; the figures in Mauriac’s “meal” could all be substituted for each other; in Greer’s “blackboard eraser” the mystery of everyday things outweighed the crime Twists and turns plot; his other novel “jealous”, all the story is written in the room interior arrangement of the chair, railings paint fade and peeling, the angle of the roof shadow projection and so on. All this may be boring, but there may be reasons for it. This was further developed in his last novel, The Labyrinth, where things are more about the importance of the characters and the characters are nothing more than a few things. New writers often place a very low profile on the political and international relations, the business and industrial world, while the self and personal interests are faithfully reflected. The novel’s approach may at first glance seem strange, but to Butler’s view, these practices did not leave realism, but on the contrary they constituted the necessary conditions of “deeper realism.” New fiction is not everything new. Worship daily trivial things are not the beginning of a new novelist. However, the momentum of the new writer is exhilarating.