论刘震云90年代以来长篇小说创作风格的嬗变

On the Evolution of Liu Zhenyun′s Novel Writing Style since the 1990s

刘震云20世纪90年代以来的长篇小说创作始终聚焦于底层个体的生存境遇,“民间”底色是他所有长篇小说的底色,但他的长篇小说创作跨域很大,小说的创作风格也在不断发生着变化。“故乡系列”长篇小说和《一腔废话》,结构庞杂、技巧多变、语言繁复,刘震云从早期的新写实书写走向了先锋式实验;从2003年的《手机》开始到2017年的《吃瓜时代的儿女们》,刘震云又表现出对现实生活的观照和对社会大事件的叙述热情,小说创作回归写实的同时又彰显出大众文化特质;2021年的新作《一日三秋》充满了魔幻色彩,刘震云在魔幻与现实的结合中又走向了魔幻现实主义。

Since the 1990s, Liu Zhenyun′s novels have always focused on the living conditions of the bottom individuals.The "folk" background is the background of all his novels, but his novel creation spans a wide range, and the writing style of his novels is constantly changing.The "Hometown Series" novels and One Tune of Nonsense are complex in structure, varied in skills and complex in language.Liu Zhenyun has moved from early neo-realistic writing to avantgarde experiment;From Mobile Phone in 2003 to Children in the Age of Eating Melons in 2017,Liu Zhenyun showed his concern for real life and his passion for describing major social events, and his novel creation returned to realism while highlighting the characteristics of popular culture;The new work One Day, Three Autumn in 2021 is full of magic, and Liu Zhenyun has moved towards realistic magic in the combination of magic and reality.