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余华早期小说创作是指包括其1991年发表的《在细雨中呼喊》之前的小说创作,它们以先锋小说为主,共同体现为一种在潮湿、阴郁、空旷、黑暗的世界里呼喊、叩问的面貌;中期主要以1992年发表的《活着》及其后的《许三观卖血记》这两部所谓“回归传统”的长篇小说为代表,它们共同体现为一种在温暖、明朗、充沛的人间气息中对苦难人生的安慰与救赎的面貌,是对其早期呼喊、叩问的一种应答。这种文本面貌由呼喊到应答的变化,是与余华这一创作主体与现实关系由紧张、矛盾到放松、和谐的变化紧密相关的。但无论紧张、矛盾还是放松和谐,就其为创作提供了强劲的内驱力来说是一致的。
Yu Hua’s early fiction creation refers to the creation of fiction before her “shouts in the drizzle” published in 1991, which are mainly based on avant-garde novels, which together embody a shout in damp, gloomy, open and dark world, The mid-term is mainly represented by the two so-called “return to tradition” novels published in 1992, “Alive” and the subsequent “Xu Sanguan Selling Blood”, all of which embody a warmth Clear and abundant atmosphere of human comfort and redemption of misery in the face of its early cry, asked a response. The change of this text from shouting to answering is closely related to the change of the main body of Yu Hua and the reality from tension, contradiction to relaxation and harmony. However, whether tension, contradiction or relaxation of harmony, it provides a strong driving force for the creation is consistent.