Chapter 22 Section 3 García Márquez and the Avant-Garde Novel

In 1982, García Márquez won the Nobel Prize in Literature. The awarding speech given to him by the Swedish Academy of Letters said: García Márquez "created a unique world, that is, the world around Macondo, which is composed of His fictional town. Since the end of the 50s, his novels have led us into this strange place. There are incredible miracles and the purest reality of life. The author's imagination soars: the absurd legends, specific village life, comparisons and insinuations, and detailed scene descriptions are all reproduced with the accuracy of news reports. In this world created by Marquez, death may be the most important behind-the-scenes director. However, this The pathos conveyed by this author through his work, while being creepy and feeling vivid and real, shows a kind of vitality." (48) This award speech points out one of the most important aspects of García-Márquez's novel. The distinctive feature, and one of the main features of the Latin American literature that attracted worldwide attention in the 1960s, is magical realism.

The term "magic realism" was first used in the field of plastic arts. In 1925, the German critic Franz Roh used the term "magic realism" in his paper "Post-Expressionism-Magic Realism". Describe the characteristics of a group of painters in Germany.This group of painters was later called "New Objectivism" rather than "Magic Realism". In 1927, Franz Rowe's article was translated into Spanish, but the main and subtitles of the title were replaced, so the word "magic realism" had a strong visual impact. When the Italian poet, novelist, dramatist and The critic Massimo Buntempelli also adopted the term Franz Rowe when he wanted to go beyond Futurism. In 1948, the Venezuelan novelist and literary critic Arturo Uslar Pietri (Arturo Uslar Pietri, 1906-) used the term for the first time to describe American literature. The view that wrote the short story and left its imprint forever is the view of man as the secret in the material of realism, a poetic conjecture or denial of reality. Since there is no other term for it, let's call it magic realism "(49) Although this term appeared in the oral or written comments of Latin American writers in the 1940s, how to find a good way to express the magic of America or the magic of America is the goal that many Latin American writers strive to explore.Miguel Angel Asturias (1899-1974), Alejo Carpentier (1904-1980), Aduro Usral Petri, etc. representative figures.

García Márquez skillfully blends reality and fantasy in the novel. Readers will feel that this is a purely fictional world when they first read the novel, but the deeper the reading, the stronger the sense of reality. Behind the fiction and magic are rooted The Latin American national process in the real soil of Latin America.In Latin America, anything is possible.Combining magical and absurd fantasy with news report-like realism, this method seems to be a kind of magic in creative methods on the surface, but in fact it reflects the Latin American way of thinking about reality.In the ancient Aztec culture, the world of ghosts and the world of the living are intermingled. They believe in the cycle of life and death, but reincarnation requires waiting, and these waiting souls wander the earth.Every year on November 2nd, Mexicans celebrate the Day of the Dead to comfort the lonely ghosts who are still wandering.The Mexican author Juan Rulfo, who is highly regarded by García Márquez, created a ghost world familiar to Mexicans in Comala with his 1955 book Pedro Paramo (1955).The ghosts in Komala Village have the same personality and thoughts as living people, laughing and cursing, and they are lifelike.In fact, this ghost world is a true portrayal of the real life in rural Mexico.This novel has given García Márquez a lot of inspiration. This novel has made bold explorations in writing techniques, techniques and the structure of the novel. Events that happened to different characters are depicted on the same screen, as if the camera lens is changing at any time.The omniscient narrator is eliminated, and dialogues, monologues, memories, etc. are widely used to connect the characters and events described with the readers.There are a lot of blank spaces in the works, and the works are concise and concise.Juan Rulfo's creative pursuits laid the foundation for Latin American writers to seek an American road in creation, and also accumulated the earliest practical experience in dealing with magical plots.

García Márquez's history of the rise and fall of the Buendía family reflects the historical changes of Colombia in the past century: the development and entrepreneurship of immigrants, partisan civil wars, banana fever, plantation workers' strikes, government massacres, Military dictatorship and more.The civil war, "banana fever", massacres and other events in the book are all based on historical facts.The history of Macondo is not only the historical trajectory of Colombia, but also the epitome of the history of Latin America in the past century.The author reflects his views on American history through some absurd plots.Through the description of the rise and fall of Macondo town and the spiritual emptiness and loneliness of each character in the novel, it analyzes the reasons for poverty and backwardness in Latin America.Macondo is a magical place where the real world and the imagined world both intersect and overlap.The ghost of Prudentio Aguilar, who was speared to death by José Arcadio Buendia for sarcasm, followed the Buendias until they ran away from home and came to Macondo was able to get rid of it by rebuilding his homeland.The magic of the gypsy Medoquiades is also easy to explain with modern scientific concepts.Glass, magnets, etc., these magical things both deceived the residents of Macondo and opened the windows of their hearts.The miraculous things we see in fiction are almost their reality in rural Colombia, only a little exaggerated.García Márquez once said: "What appears to be miraculous, illusory, or magical is actually nothing more than a feature of Latin American reality." In the face of magical reality, the conventional weapon that Latin American writers lack is not fantasy, but the courage and skill to express this kind of reality that is almost fantasy.” “Reality is the greatest writer, and I am astonished.” (50) The key One point is that the fundamental purpose of García Márquez's creation of magical realism novels is to try to express reality by means of magic, rather than writing magic as reality.Magic is a means, a method of expressing reality, and reality is the destination.Different from traditional realistic novels, the author puts the above-mentioned historical facts in a mythical and epic atmosphere, breaks the boundary between the subjective world and the objective world with rich imagination and wonderful conception, and makes the characters live in a wider world. Soaring freely, thus getting rid of the techniques of traditional novels, especially when describing the character and psychological activities of the characters, it makes the characters' thoughts surpass the specific daily life and obtain sublimation, thus deepening the theme of the work.The author is good at combining reality and fantasy, direct description and metaphor, realism and exaggeration, seriousness and irony. Through twists and turns and changeable plots, repeated structures, and interspersed with ghosts and ghosts in folklore and mythology, he creates a novel. A "myth" world that is not distorted.

Pioneering writers also tried many magical writing methods, such as the legless man seen by the father of "6" in Yu Hua's "The World Is Like Smoke", fishing at night, and jumping into the water at dawn without a trace; the midwife delivered the dead woman; The mysterious death of the woman in gray and so on.In Ge Fei's "Brown Birds", "I" chased a woman wearing maroon boots on a bicycle, and there was a bicycle in front of "I"; the woman crossed the bridge, and the bicycle also crossed the bridge, but when "I" "When I got to the bridge, I couldn't cross it. An old man told "me" that the bridge was washed away by a flood 20 years ago.Then, in the dark, "I" who couldn't cross the bridge actually found a bicycle crooked on the side of the road.The woman in the sorrel boots killed her husband." At the moment of closing the coffin - and the men who nailed the coffin came around the coffin to nail it to death - I saw the body move in the coffin. I believe there is no Misunderstanding, if the dead man's facial muscles twitched or his knees trembled or something, it might be due to some kind of nervous reaction that people often say. However, I actually saw the dead man raise his right hand and undo a button on the collar of his coat—— He may feel too hot in his stiff serge uniform." (51) In Can Xue's "The Cabin on the Mountain", the father will become one of the wolves every night, running around the house, howling terribly; The left eye of "I" will turn green, and the little sister's gaze "stabs" "me" with a small red rash on the neck; my mother's foot was bitten by the longhorn hidden in the shoe, The whole leg is swollen like a lead post, and so on.

Originally, magic was rejected by our materialistic concepts, but due to the legalization of García Márquez, writers also confidently began to write about these weird legends or imaginations in Chinese folklore. So that these folk customs also boarded the Hall of Elegance. The impact of the writing method on the contemporary literary world, Ye Weilian's point of view on obscurity poetry in the article "The Rationale of Crisis Literature--The Changes of Continental Misty Poetry" may inspire us.As soon as obscurity poetry appeared, difficult names followed.Words such as incomprehensible and hazy and weird were originally used to criticize this type of poetry, and the name "misty poetry" comes from this.But as early as the early 1980s, Ye Weilian pointed out, "The so-called 'obscure' and the so-called 'difficult to understand' do not exist at all for ordinary readers outside the mainland." It is not a problem of strategy, but a problem of reading and interpretation habits.” (53) It is because “authors and readers have repeatedly moved towards a way of observing reality and a way of expressing reality” in mainland China for a long time. (54) This kind of problem did not exist for readers trained to read before 1949. "In their habit of reading Chinese classical poems or Western poems, multiple hints and unlimited meanings are one of the indispensable elements of poetry; poetry is inherently hidden and showy, secretive and bypassing, implicit and rich. Except for some poems devoted to personal private symbols, the intention of radioactive referential function has always been regarded as an advantage rather than a disadvantage." (55)

After the banner of ideological emancipation was raised in 1978, many people found that the value system that had been strengthened and affirmed repeatedly for thirty years had collapsed.The poet loses the value support of the external world, and naturally abandons the external world and turns to the inner world to pursue new values ​​and meanings.The process of reconstructing the value of personal existence must be preceded by the creation of art and the reproduction of culture, and the choice of new ways of expression is the inevitable result of breaking the limits of thinking.García Márquez's literary practice, especially the fact that he is recognized by world literature, also prompts contemporary Chinese writers to rethink literature itself, and imitation and research are the only way to go.Magical realism has brought the creation of contemporary Chinese writers to a new latitude, not only fascinated writers in the 1980s, but there are still writers who continue to use this technique since the beginning of the new century, but Alejo, who is also a master of magic realism - This passage from Carpentier (56) may be what we need to keep in mind: "The magic is the product of a mutation of reality (that is, the miracle), a special manifestation of reality, a remarkable and ingenious execution of its richness. Revealing is an exaggeration of the state and scale of reality." (57) Magic for the sake of magic will only lead to a dead end.

Behind the magic of García Márquez is a huge revealing implication, which makes us think about what happened to Angel Asturias, who is also a master of avant-garde novels.For a long time Angel-Asturias was presented as a realist writer.When we read more and more works of Asturias, we find that Angel Asturias is actually the originator of magic realism.As early as in "Guatemala Mythology" (1930), he was already collecting and arranging the original ecological things in the historical memory of the Latin American nation. religious beliefs, worldviews and cultural traditions.The author depicts the magical and magical atmosphere of Indian life with poetic brushstrokes. "Mr. President" (1946) and "Corn Man" (1949) both reflect the hard road that Latin American countries have gone through, but the artistic expression techniques used by the author are rooted in the soil of Latin American national culture, with distinct Latin characteristics. American colors.When Chinese readers in the 1980s cheered for the magic of García Márquez, they ignored a visible fact, that is, after more than 300 years of colonization in Latin America, it is difficult to pursue an independent nation-state. The history of the country confirms this change, and Latin American writers are also participating in this historical process with their pens.The shaping of the image of the president is broadly representative and universal, not only for Guatemala, but also for the typical image of an autocratic tyrant in Latin America.The author explained after the novel was published: "This is people's worship of ancient magical powers that seem to be real. The president is a kind of god-man, superman. He represents the function of the tribal chief in primitive society, and has divine power invisible to the naked eye. ”(58) The author used various artistic techniques when shaping the image of this character.He is good at inserting the mythological conception of the Indian nation into real life. He uses artistic techniques such as dreams, illusions, associations, metaphors, and psychological rendering to portray the characters involved in multiple aspects, especially the main characters.Toyle in Chapter 37 "Toyle's Dance" is the god of fire in the Mayan-Kicche mythology. The author puts Mr. President's life and death to seize power and the fire god's manipulation of people's fate in the same background Below, the two contrast, magic and reality complement each other.In "Corn Man", the author uses the illusory artistic conception of myths and legends to describe the real life of farmers in mountainous areas, and uses the conflict between Indians and native whites on the issue of planting corn as a clue to reveal the relationship between traditional ideas and modern ideas. contradiction.In this work, Asturias strives for a new literary language, a Native American language, sweeping away the polished, obscure, and flowery language of the novels of the past.

Asturias advocates the creation of "protest" literature. He said: "Latin American literature is by no means cheap literature, it is literature of fighting, and it has always been like this." (59) He believes that it is those who have obvious Socially inclined writer who pioneered Latin American literature.He publicly declared his view of art as "the mouthpiece of the people", and his words still ring true: "For me, a writer is someone who speaks out for the silent. Among the indigenous Mayan-Quiche people in Guatemala there is a group called A person who is a 'great mouthpiece', in the indigenous communes and tribes, the 'mouthpiece' is a very important person, because he is responsible for expressing the wishes, grievances and legal demands of all the indigenous residents of the village or township." "'Mouthpiece' is the tribal The spokesperson, in a sense, I am also such a person: the spokesperson of my tribe." (60) Asturias is another standard-bearer who took the lead in revolutionizing Latin American literature.The development of the times and the new trend of social contradictions require writers to use new techniques of expression.He absorbs and draws lessons from the artistic ideas of the French surrealist literary movement and the spiritual traditions of Latin American Indian culture, and seeks theoretical basis and artistic techniques that can be used for reference in order to fully express the spiritual world and psychological characteristics of Latin Americans.He abandons surrealist literature and regards human instinct and irrationality as the only reality. He writes about subconsciousness and dreams, but he does not think that this is the whole and essence of life, but regards it as an important part of the spiritual life of Latin Americans. side.He always insisted that literary works should be the echo of the times and nations.On this basis, he put forward the method of magic realism, arguing that the magical and magical factors in real life come from the peculiar way Latin Americans perceive the world, and the task of writers is to discover them, and apply them in literary creation after processing and refining. .

Teng Wei pointed out in "Latin American Literary Translation and Chinese Contemporary Literature": "The 'Latin American Literature Craze' centered on 'Literary Explosion' and 'Magic Realism' directly affects the exploration and creation of Chinese contemporary literature, especially root-seeking Literature and avant-garde literature are the most deeply affected. The formation of the "Latin American Literature Fever" is not only closely related to the Nobel Prize in Literature, "Going Global", "Modernization", "Nationalization", "Pure Literature" and many other literature and society in the 1980s. important topic, and deeply involved in the literary revolution in the 1980s." "Latin American writers who were invited to visit China in the 1950s and 1960s and whose works were translated and introduced, such as Neruda and Asturias, were all regarded as As 'fighters against American imperialism'. In the Chinese context at that time, their identities as left-wing politicians were more concerned. In the 1980s, Chinese writers learned that these two were originally modernists by learning about the Nobel Prize for Literature. (It is called 'the avant-garde' in Latin America)." (61) In the process of continuous understanding and deepening of Latin American literary translation, we gradually realized that these writers are world-recognized masters of modern literature on the one hand, and on the other hand they are left-wing politician.Although the introduction process inevitably has a tendency to choose the times, the literary achievements of these writers are indisputable facts, and the close relationship between these achievements and the social reality of Latin America is also indisputable.The García Márquez craze in the 1980s and the misreading of Asturias actually reflected the biased and utilitarian nature of contemporary literature in accepting foreign literature, which is also one of the reasons why contemporary avant-garde literature failed to produce masterpieces. deeper reason.Asturias is one of the pioneers of Latin American new novels. His literary creations, literary thoughts, and great artistic achievements have had an immeasurable impact on Latin American literary circles, especially for the "literary explosion" of the 1960s. A solid foundation has been laid.Looking at the great contribution of Asturias in Latin American literature, why does our acceptance ignore him?Asturias has been introduced in translation since the 1950s, but we have always regarded him as a realist writer.When everyone gradually realizes the identity of the pioneering writer in Asturias, looking back at his creation, he finds that there are many things worth mentioning.In the 1980s, when the form was changing, contemporary avant-garde novels focused on magic while ignoring reality. The neglect of Asturias was due to the specific context of China at that time and the avant-garde writers’ own understanding.Mr. Radar talked about the necessity and inevitability of returning to the political perspective in his article "A Preliminary Discussion on Literature in the New Century--The Trend of Chinese Literature since the New Century" (62).He discussed this issue carefully, and believed that although the relationship between literature and politics has always been difficult to clarify, literature is ultimately an ideology, an aesthetic ideology.Since the 1980s, as a kind of backlash, the dominant tendency of literature has been to stay away from or even dissociate from politics.However, extremes lead to opposites, and now some writers increasingly feel that the lack of political perspective is partial to literature.Mr. Radar believes that the word "politics" here is not a narrow practical concept, but a big concept, which focuses more on political culture and political civilization, which is not only characterized as the center of power, the concentrated expression of economic relations, but also based on human-centered The intersection of core social forces.Political consciousness is always historically deposited in the cultural and psychological structure of a nation and plays a deep controlling role. It is difficult to escape as a social person, and it is also difficult to escape from literature as a expression of a social person.Neglecting, evading, and downplaying the political power level and its cultural psychological structure will inevitably damage the social and historical value of the work and greatly weaken the appeal of the work.Judging from the creative practice in Asturias, the political perspective is the lifeline of his works.Focusing on the reality of Latin America and the interests of the silent majority in Latin America, his mouthpiece claims are a powerful counterattack to the ivory tower literature.The development of Latin American literature also proves the historical inevitability of this literary claim.At the beginning of the 20th century, Latin American writers with obvious social tendencies began to betray the writers who followed the European romantic literary tradition since the 19th century. The Mexican modernist poet Enrique Gonzales-Martínez wrote a song "The Twist of the Swan" The Neck played a role in backwashing the rough romanticism. Latin American writers no longer followed the European romantic literary trend, no longer fascinated by romantic literature, but put the problems faced by the New World in the first place.This literary incident was once jokingly called "a slap in the face to romantic literature".The subsequent glory of Latin American literature is obviously related to this incident. Does it inspire contemporary Chinese literature?Latin American avant-garde novels were produced under the influence of European and American modernist literature.Faced with various problems in modern society, Latin American writers realized the importance of being based on their own country, and no longer blindly imitated, but combined new literary techniques with the social reality of Latin America.This has formed the unique social perspective of Latin American literature and the enthusiasm for experimenting with literary forms.It is this combination that makes Latin American writers invincible.

Why does our literary reception ignore the intensity of the realistic concerns of Asturias and his like?This is a question worth thinking about.The creative tendency of Asturias calibrates the boundless nature of "magic" and closely combines magic with the unique reality of Latin America.His efforts show that no matter how detached literature is, it is impossible to transcend the realistic foundation of one's own life.The perspective of socio-historical criticism is a wing of literature in which any desire to stand up is impossible.The Spanish writer Camilo José Serra said in "Ode to Fiction" that literature as a fictional machine relies on two pillars, which are the essential supports that make literary works valuable, namely aesthetic pillars and moral attitudes.The aesthetic pillar requires that the story (or poetry, tragedy, comedy) must be kept above a minimum standard of quality, because below that standard lies a sub-literary world, where it is difficult for the creation to resonate emotionally with the reader.The moral attitude is a supplement to the aesthetic quality, and he believes that the moral premise is the element that makes the literary work truly correspond to the function of fiction.Literary fiction is destined to hit both moral intuition and aesthetic responsibility, because only in this way can literature have an acceptable meaning, and will not become a passing fad or a hodgepodge that changes rapidly. "Because human history is twists and turns, it is difficult for either moral intuition or aesthetic consciousness to be ahead of history. Some authors are quite keen to capture collective emotions, so they become outstanding representatives of popular trends. These authors endow their works with certain conditions. Unlike the reflexive character, there are other writers who have taken on the laborious and often unpopular task of furthering freedom and human creativity along that perhaps equally inaccessible path." "Only in the latter case does literature fulfill its function—a function fully in tune with its humanly stamped responsibility." "If we must judge this with absolute rigor, it may be said that Only this latter kind of literature is the real literature worthy of the name." (63) Remaining Discussion: After the 1990s, Ma Yuanfeng wrote, Yu Hua turned to realistic narrative, Can Xue insisted, Su Tong confessed, Ge Fei visualized creation, why did the writers turn?I remember that Beckett, the representative of the theater of the absurd, once said distressedly that writing was always repetitive. Although he won the Nobel Prize for Literature, he never created outstanding works except for the representative works of theater of the absurd.This shows the limitations of modernist literary practice.The transformation of avant-garde writers in the 1990s should be a welcome phenomenon.Chen Sihe's article "Between the Pioneer and the Masses" discussed the changes between the vanguard and the masses from the perspective of the development of modern literature. The May Fourth New Literature Movement was the vanguard literature of the 1920s. Literature became normal, so in the 1930s, May Fourth literature was no longer avant-garde literature.The avant-garde literature in the 1930s was the new sensory school and the psychoanalytic school.The development of our contemporary avant-garde also has this problem. In the 1980s, the literary experiments of avant-garde novelists were avant-garde. In the 1990s, this avant-garde changed. The transformation of avant-garde novelists illustrates this point. . After 1988, Su Tong and Yu Hua successively published novels such as , , , etc. These works weakened formal experiments and textual games, and began to pay attention to the fate of characters, showing their understanding of human survival and soul. Many commentators believe that this is a pioneer. Writers tend to popularize in order to cater to the masses, and this turn marks the return of avant-garde literature to the tradition of realism.The avant-garde writers returned from the extreme emphasis on form to the focus on meaning. This repetition is not a simple return. Although there are many elements of realism in these works, the treatment of subjects and themes is still very different from traditional realism. .The avant-garde writers have drawn spiritual energy from the works of existentialist philosophy and Borges and other masters to embark on the journey of exploration. The avant-garde has shown with a radical attitude that only subverting the old tradition can open up a new battlefield. There are overkill factors in the middle, but it also has its historical inevitability and rationality.Stepping into the 1990s, with the reform of the economic system and the establishment of a market economy, China wanted to complete the two hundred years of industrialization in the West in a short period of time, which constituted an extremely complicated social development relationship. The main body of the pioneer writers The spirit starts to get lost.The avant-garde literary ideas that were once clamoring for a while began to disintegrate under the harsh reality of the market economy. Adhering to niche experiments means starvation. This is undoubtedly a disaster for writers who have just debuted. A larger readership market is inevitable.The avant-garde writers won the name of "pioneer" by their rebellion against the deep mode of social history in the form of narrative. symptoms of postmodernism.However, the emergence of postmodern narrative theory and its practice in China is not the natural result of the development of Chinese local society and culture, but the result of Chinese avant-garde writers imitating the narrative skills of foreign writers and rebelling against literary tradition. In the works of Hughes, Faulkner, Heller, etc., he realized that novels can still be written in this way, so he put it into practice.If the efforts of the avant-garde writers in the 1980s were novelty-seeking, then the social transformation in the 1990s brought about changes in social life, aesthetic objects, and aesthetic feelings. It is obviously inappropriate for avant-garde literature to insist on the so-called "high quality and low quality".Existing literary resources cannot support them to go on, so it is necessary to absorb nutrients from the powerful soil of traditional realism.Since the beginning of the new century, re-understanding and resolving the contradictory contradiction between "how to write" and "what to write" in literary creation is still an urgent task for avant-garde writers. Chinese contemporary avant-garde novels are technically based on Latin America, and narrative traps are a kind of exploration that writers are willing to explore.Because Chinese literature has been too much influenced by political factors for a long time, we accept the magical techniques of Latin American literature more than Latin American literature's earnest attention to reality, which makes our avant-garde literature have a congenital deficiency.If we want to explore the subjective reasons and objective conditions for the prosperity of Latin American literature, we must relate to the sense of mission of Latin American writers and their efforts to explore Latin American national style. Our avant-garde that broke out in the 1980s lacked the encounter with the consistent literary tradition, and lacked the fusion of the spirit of the consistent literary tradition.The works of avant-garde writers are more eye-catching from the novelty of literature, rather than discussing the mission of literature from the consideration of major issues in national history. try.Due to the isolation of Chinese literature from world literature in the middle of the twentieth century, readers yearn for fresh literary faces. Therefore, the new faces of avant-garde literature have indeed attracted the attention of many readers and critics who are eager for change, but the necessary and sufficient conditions for the emergence of classics When I came up to investigate, the works of this period seemed too crude, too hasty to write chapters.Avant-garde literature declined immediately after its short-lived appearance in the mid-to-late 1980s. This was due to the lack of academic accomplishment of the avant-garde writers themselves, as well as the restrictions on the level of knowledge in the academic circles in the 1980s.Latin American literature can explode, but contemporary Chinese literature cannot.Because I don’t have such a profound literary accumulation, and I don’t have such a profound and broad literary mission.If we want to talk about the impact of their creations on the development of literature, it is mainly a major impact on literary concepts, changing the 30-year-old single thinking mode that has imprisoned literary creation, and broadening the writer's artistic vision. If we look at the development of contemporary literature in the 1990s, the situation is not so pessimistic.Although it's a bit like a group of demons dancing wildly, but the prosperity has faded, and what has settled down has surprised us a bit.The transformation of Yu Hua and others and their approach to realism show a new aesthetic direction.Although some places are not satisfactory, but the realistic concerns and humanitarian feelings of , are the main aspects that cannot be ignored.The concern for the value of human beings and the detailed display of human sufferings all show the author's efforts to return to human beings after exploring the form.It is a pity that because the original pioneers did it deliberately, rather than the natural manifestation of the spiritual state, not a deep-rooted experience, so they could not fundamentally show the living situation and essence of human beings, so the way back to the tradition is to It seems a bit jerky, and it doesn't melt the modernist formal skills into the writing method of traditional novels.It is worth noting that the writers who are called avant-garde more embody a kind of trek and exploration of the forerunners, and they are inevitably imitative and blunt in terms of thinking about themes and techniques, and are not listed as avant-garde by genre followers. Many of the writers of the Chinese school showed typical avant-garde characteristics, such as Wang Xiaobo, Mo Yan, Xu Xiaobin, Yan Lianke, Zhang Wei and others. The pioneer on the Internet, or the appearance of a pioneer, makes the definition of a pioneer very paradoxical.Excellent literary works can only be produced by combining modernist literary techniques with China's unique realistic practice, which is the same as Latin American literature combining European surrealist art ideas with Latin American reality to produce magic realism, which is operable , there are also experiences that can be used for reference. Looking at the creation of avant-garde fiction writers, we can see that although we have made great efforts and achieved considerable achievements in the practice of more than 20 years, these achievements are the result of the hard work of many writers, but we do not seem to have appeared tome.In particular, the creation of novels is not satisfactory. From my own point of view, I think it is because we lack a sense of quality and a height of cultural thinking.When many trends of thought in the 20th century poured into China, we spent 20 years to prepare and accumulate the way of thinking of modernist literature.If the literature of the first two decades was experimental in nature, then the literary creation since the new century has shown a gratifying situation. We have seen many writers who have worked silently after abandoning this doctrine and that genre, using their own Feel the relationship between literature and life with a deep heart, and modernist literary techniques have become a natural pursuit of their creation, rather than deliberately doing it.The avant-garde literary experiment has established a way of thinking for our contemporary literary world. This way of thinking is not unique, but essential.This may be an important symbol of the maturity of Chinese literature.