数年前,坊间的散文小品一类突然盛行起来,至今其势未减。论客蜂起,或云中产阶级人数剧增,所以有闲;或云现代生活节奏加快,所以无暇。诸如此类,教人想起评论界制造的种种神话来,总之,无论何种新名词,只要到得这班论客手中,都一样被料理得头头是道,煞有介事。 一种题材,一种风格,以往得以流行,几乎全藉了行政手段的推广;所谓“样板戏”,不过极端的例子而已。直到七十年代末,随同大批冤案的平反,一种特殊的文体——回忆录,及其孪生姊妹,另行结构的报告文学,几十年来才首次以暴露和控告的形式,正式侵入官方出版物。作为死者与生者关于人类生存 A few years ago, a series of essay essays suddenly prevailed, so far the trend has not diminished. On the subject of bee-earing, or the rapid increase of the number of middle-class people in the cloud, there is leisure; And so on, teaching people to think of all the myths made by the critics, in short, no matter what kind of new term, as long as the hands of those who are in the class, are equally accustomed to take the lead, funeral. A theme, a style, has been popular in the past, borrowing almost all administrative means of promotion; the so-called “model opera”, but an extreme example. It was not until the late 1970s that, in the last decades, it was the first time in decades to formally invade official publications in the form of exposure and accusation, along with the massacre of vindication, a special style of memoir, its twin sisters and a separate structure of reportage. As the dead and living on human existence