毋庸讳言,这是一个散文的时代。凡操笔为文者,大都写过散文。散文仿佛成了写作者迈向文学殿堂的“入场券”。随便走进一个文学场所,都能看见手里握着“散文门票”的人在叫嚣,像极了街头卖报的小贩,高举着报纸在烈日酷暑下或寒风苦雨中奔跑。而当你走近了看,却又发现叫嚣者的额头上,至少有半数人贴着诗人或者小说家的标签。于是乎,散文便成了文学舞台上招徕看客的杂耍道具,就像戏剧开场前的锣声,暴雨来临前的雷鸣和闪电。照理说,从事写作的人多是好事。文学的繁荣需要质量,也需要数量。但问题的严重性在于,文学一旦降低了入场的门槛,势必导致泛滥。泛滥带来的后果,是文学品质的下滑和生态的混乱。 Needless to say, this is an era of prose. Where the pen for the writer, most have written prose. Prose seems to have become the writer “entrance ticket ”. Just walked into a literary place, can see “Prose Call” in their hands clamoring, like the streets selling newspaper hawkers, holding high the newspaper running in the hot summer sun or bitter rain. And as you approach, you find that at least half of the forehead who are on the clamor are close to the label of a poet or novelist. Ever since, the essay has become a juggling prop on the literary arena, like gongs before the opening of the drama, thunder and lightning before the storm. It is reasonable to say that many people engaged in writing are good. The prosperity of literature needs quality and quantity. However, the seriousness of the problem lies in the fact that once literature has lowered the threshold for admission, it is bound to lead to flooding. The consequences of flooding are the decline of literary quality and the confusion of ecology.