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本期邀请了马中才,他所提出的关键词是:情感。这个命题可能有些陈旧,但在我看来,并不过时,当越来越多的写作指向一种虚幻性的空间,对情感的重新定位与理性沉思,就显得尤为重要。马中才的文章形象、明白,此与他的写作态度有关。马中才的小说定位是情感小说,但跟时下泛滥的爱情小说、言情小说亦有很大的区别。他所写的是一种情感的状态,且带那么一点点美好想象。单是此之严肃、深刻的态度,就需仔细品读。文章的情感,当没有任何的拘束,不加刻意的修饰,没有刻意的深沉,乃为一种优雅的内心抒发。这篇文章告诉我们,并非是技巧的圆熟与训练的结果,而是源自生活的自然:原来,什么时候,我们早已被感动。
Ma Zhongcai was invited in this issue. The key word he proposed was: emotion. This proposition may be somewhat old, but it seems to me that it is not always time when more and more writing points to an illusory space, and the repositioning and rational contemplation of emotions is particularly important. Ma Zhongcai’s article image and understand that this is related to his writing attitude. Ma Zhongcai’s fiction is positioned as an emotional novel, but it is also very different from the love novels and romance novels that are now spreading. What he wrote was an emotional state with a little bit of imagination. Only this serious and profound attitude requires careful reading. The emotion of the article, when there is no restraint, no deliberate modification, no deliberate deepness, is an elegant heart burst. This article tells us that it is not the result of skillful training and training but the nature of life. When we were, we were already touched.