中国知青文学——非主流倾向的现状表述

李剑的《醉入花丛》是知青文学另类写作的逻辑起点。阿城的《棋王》从另一向度呈现知青文学的另类延展。而史铁生《我的遥远的清平湾》,则是主流知青文学与非主流知青文学亦即知青文学另类书写合流的结合点。王小波的《黄金时代》,刘醒龙的《大树还小》和池莉的《怀念声名狼藉的日子》,也各以强烈的非主流倾向,对知青文学的不同哲学时段,进行另类表述。知青文学发展中这种由弱而强的态势,加速了20世纪80年代主流知青作家在90年代的集体溃败,终于让位于知青文学的另类书写,他们曾经建树的以宏大叙事为基础的知青文学悲剧,已然为另一种风格和基调的文学叙事所代替,知青文学创作因此总体上走向人本,逼近历史真相,从而成为中国当代文学史的重要组成部分。

China's Literature of Intellectual Youth :Present Situation of Non-mainstream Tendency

Lijian's Intoxicated in Flowers is the logical starting point of the literature of intellectual youth with distinctive style, while A'Cheng's King of Chess shows the distinctive development of the literature of intellectual youth from another dimension. Shi Tiesheng's My Remote Qingpingwan is the end of the convergence of the mainstream literature of intellectual youth and the non-mainstream literature of intellectual youth with distinctive style. Wang Xiaobo's Golden Tunes, Liu Xinglong's The Big Tree Is Young, and Chi Li's In Memory of the Infamous Days assert their voices of distinctive style in describing different philosophical phases of the literature of intellectual youth by assuming strong non-mainstream tendency. The tendency accelerates the collective retreat of the mainstream writers of intellectual youth in 1990s, and with the advent of the 21" century, the mainstream writers, at last, give way to the distinctive writing in the literature of intellectual youth. The tragic literature on the basis of grand narrative they have ever established is replaced by literary narrative of different style and tenor. The literature of intellectual youth, thus, head for historical truths and become an important component of the contemporary Chinese literature.