摘要
阎连科不满于现实主义对想象力和表现力的束缚而举出了超现实写作的大旗。他的超现实写作分为两个方面:一、以《年月日》等为代表,表现劳苦人与自然抗争过程中的生存绝境;二、以《受活》等为代表,表现劳苦人在现代化过程中被侮辱被损害的社会绝境。它们揭示了劳苦人苦难命运的生存、社会、个人因素。贯穿其中的轮回观念既是阎连科对劳苦人命运的绝望,也是对当下粉饰现实写作的对抗。
Yah Lian-ke is not satisfied with the Realism limited to imagination and expression of writers and puts forward a watchword： transcending the Realism. His post-realism writing can be divided into two aspects： First, describing the existence of farmers in resisting the nature; second, describing the social place of farmers who are humiliated or injured in modernization. His works disclose the reasons for farmers＇ misery destiny. The idea of samsara in his works embodies the despair of Yan lian-ke to farmers＇ life, and also his resistance to the writing covering up reality.
