今天的中国人,必须面对一个只讲“包装”和“时尚”的商品社会。这个商品社会又充满了“中国特色”,极不成熟,极其无序,偶遭不测,生活立刻就会陷入混乱、紧张与无奈。而且,这股商风还不断地向着文坛劲吹,并得到了某些有影响的文人助阵。在为当今的文学指点迷津时,这些人往往只强调一般意义上的商品性,不提或者很少提本质意义上的特殊性;于是,所谓文坛,便半自愿地沦为商场的公关小姐和推销员了。 当然,说文艺界已经变得和商界完全一佯,那也不尽准确。它毕竟多少还保留了自己的某些传统——可惜的是,似乎都是些坏传统。比如,表面上作“学术讨论”状,骨子里却在编排人,而且是编排名人,借以自抬身价。这种行径,诚然是鲁迅时代早就登台表演,且都被鲁迅本人一一识破过的,称不上什么新发明。可悲的 Today’s Chinese people must face a commodity society that only speaks of “packaging” and “fashion.” This commodity society is full of “Chinese characteristics,” extremely immature, extremely disorderly and even unexpectedly. Life will immediately fall into turmoil, tension and helplessness. Moreover, this share of business wind constantly blow to the literary world, and get some influential literati help out. In the midst of pointing to contemporary literature, these people tend to emphasize only the commercial nature in the general sense, failing to mention or seldom mentioning the particularity in the essential sense. Thus, the so-called literary world is semi-voluntarily reduced to a maid of PR Salesman. Of course, it is not accurate to say that literary and art circles have become totally different from the business community. After all, it still retains some of its own traditions - unfortunately, they all seem to be bad traditions. For example, ostensibly “academic discussion” shape, but in the bones of the arrangement of people, and is the arrangement of celebrities, in order to lift prices. This act, it is true that Lu Xun era as long as the stage performance, and Lu Xun I have seen through one by one, can not be called any new invention. Lamentable