“想象”这个概念,一度曾被许多作家认为是“最重要的”。经由拉美“爆炸文学”、“魔幻现实主义”的代表马尔克斯的《百年孤独》以及“幻想美学”的代表博尔赫斯的作品在中国的盛行,“想象力”则被尤以“先锋派”为主的一代作家视作“第一素质”。一时间,“神奇”、“好玩”、“有意思”成为评判作品的重要标准。于是,作为二十世纪世界文学的标志性主题,“荒诞”总是吸引着一代又一代的读者;哪怕这些读者由于他们的生存文化背景的“殖民化”而只是盲目跟从。 一个人一觉醒来,发现自己变成了一只大甲虫;土地测量员千方百计想进入城堡,但他绕来绕去,始终就是不能如愿;号称“饥饿艺术家”的人坐在笼子里,让观众参观他的“饥饿表演”,……这 The concept of “imagination” was once considered by many writers to be “the most important.” Through the “hundred years of loneliness” represented by Latin American “Explosive Literature” and “Magic Realism”, and Borges’ representative of “aesthetics of fantasy” prevailing in China, “Imagination” A generation of writers dominated by the generation of writers regarded as “the first quality.” For a time, “magic”, “fun”, “interesting” as an important criterion for judging the work. Thus, as the iconic theme of world literature in the twentieth century, “absurdity” always attracts generations of readers; even if these readers simply blindly follow the “colonization” of their living and cultural backgrounds. When one woke up and found himself a large beetle, the land surveyor tried every means to enter the castle, but he was always unable to do so; people called “hungry artists” sat in cages and let the audience Visit his “starvation show”, ... this