1930年代初,靳以因擅写充满“异国情调”的白俄叙事而享誉于文坛,并由此完成了一次穿越“异国情调”的文学旅程。具言之,在其白俄叙事的初期,靳以习惯于借助“听来的故事”讲述浪漫传奇。不过随着对白俄生活的深入了解,靳以开始走进白俄的内心世界,并完成了更为深刻和成功的白俄书写。遗憾的是,在裹挟着左翼文学话语禁忌的现实主义文学规范之下,已然站上全新艺术起点之上的靳以突然选择了放弃,并以此奔向更具“现实”意义的文学样式。这种穿越“放弃”与“奔向”的姿态勾连着1930年代初的文学生态,值得深入思考。 In the early 1930s, Jin was well-known in the literary world for his good at writing “exotic” white narrative, and thus completed a literary journey through “exotic ”. In short, at the beginning of his White Russian narrative, Jin used to tell romances and legends through “The Story to Hear”. However, with the in-depth understanding of Belarusian life, Jin began to walk into the inner world of Belarus and completed a more profound and successful White Russian writing. Unfortunately, under the normative norms of realism that harbor the taboo of left-wing literary discourse, Jin, who has already stood on the starting point of a new art, has suddenly chosen to give up and run toward more “literal” literature style. This gesture of crossing the “give up” and “toward” hooks with the literary ecology of the early 1930s is worth pondering deeply.