在研究中国当代作家时,曾有一个发现:对于一个作家,他想写什么并不是他写出什么的主要原因,主要原因应该是他能写什么。就如散文大家杨朔,他走的“把散文当诗写”的路子,不但是因为他爱那样写,而且还因为他早年是研究古典诗词的;而另一位散文大家秦牧,他从小爱研究接近大自然、动植物,爱看各种博物知识,所以他能把散文写成“谈天说地式”的。杨、秦的风格不能互换,不仅是他们不愿意,其实更是他们不能。作家的风格缘于他的美学追求,其实更缘于他的知识结构的局限。现在评论新生代或“后先锋文学”的论者,称赞他们饱读西方哲学、美学、文学著 When studying contemporary Chinese writers, I found one thing: what he wanted to write for a writer was not the main reason for what he wrote. The main reason should be what he could write. Just like the essay Yang Shuo, he follows the path of “writing essays as poems” not only because he likes to write that way, but also because he studied classical poetry in his early years; while another essay, Qin Mu, Love studies close to nature, flora and fauna, love to see all kinds of knowledge of the museum, so he can write essays as “talkative”. Yang, Qin’s style can not be interchangeable, not only they do not want, in fact, they can not. The writer’s style is due to the pursuit of his aesthetics, in fact, due to the limitations of his knowledge structure. Now comment on the neo-Cenozoic or “post-avant-garde literature,” who praised them for reading Western philosophy, aesthetics and literature