我一直固执地认为,乡村是一种文学想象的方式。当我们试图用炊烟、石磨、燕子、稻子、小河、池塘、棉花、蒲公英、鸡鸭、孩童等词语描绘乡村时,乡村的面貌事实上已经不可避免地被选择和提纯了。这些坚固的词展现的是一种纸上的虚构的乡村,它们无非是作家们想象乡村的一种经验和策略。在现实世界中,当我拖着沉重的步子从城市回到故乡,乡村的面貌也发生了很多变化, I have always stubbornly assumed that the countryside is a way of imagining literature. When we try to portray villages in the words of smoke, stone, swallows, rice, streams, ponds, cotton, dandelions, chickens and ducks, children, the face of the village has in fact been inevitably chosen and refined. These solid words show a kind of fictional village on paper, which is nothing more than a writer’s experience of imagining a village. In the real world, when I dragged a heavy step back from my hometown to my hometown, many changes have taken place in the face of the country.