[———《老生》(贾平凹)——《日头》(关仁山)——《闷与狂》(王蒙)——《远去的人》(薛舒)——《滾钩》(陈应松)——《室友卢爱华》(陈蔚文)——]从题材的意义上说,中国当代大多数作家的用力方向,不是历史便是现实。最近一个时期中国作家的关注点,也约略都集中在这两个方向上。如果说贾平凹与王蒙的用力方向是纷纭复杂的既往历史,那么,关仁山与薛舒就是更多地关注思考变动不居的现实生活。首先进入我们讨论视野的,是艺术创造力格外惊人的贾平凹,是他的长篇小说老生载当代杂志年第期在老生中贾 [--- “Lao Sheng” (Jia Pingwa) - “Sun” (Guan Renshan) - “Stuff and Madness” (Wang Meng) - “Distant Man” (Xue Shu) - “ ) - ”Roommate Lo Wai Wah" (Chan Wai Man) -] From the point of view of the theme, most Chinese contemporary writers’ forceful direction is not history is reality. In the recent period, the focus of Chinese writers has also been roughly concentrated in these two directions. If Jia Pingwa and Wang Meng’s direction of force is a complex history of the past, then Guanren Shan and Xue Shu is more concerned about the changing real life thinking. First of all, to enter our discussion field of vision, Jia Pingwa, whose artistic creativity is exceptionally amazing, is the novel of his novels,