新生代作家持續(xù)發(fā)力，在中國(guó)文壇一石激起千層浪。他們那些富有創(chuàng)新性的作品正代表了時(shí)下年輕人的理想與風(fēng)格，同時(shí)也提出一份前所未有的對(duì)于世界的獨(dú)到見解。 New waves of authors continue making a splash in China's literary scene. The innovative work represents the ideals and styles of younger generations, offering insight into a world often unseen by those of different times.

    雖然人們更愿意將尊重與信賴獻(xiàn)給那些已經(jīng)功成名就的文壇泰斗，但新生代作家的出現(xiàn)，顯然已成為出版業(yè)一道不可或缺的亮麗風(fēng)景線。 While most respect and credit is often given to older writers who have consistently been at the leading edge of literary accomplishment, the presence of younger authors is seen as an integral part of the publishing tapestry.

    現(xiàn)在，文學(xué)創(chuàng)作已不再僅局限于那些靠政府發(fā)工資的職業(yè)作家。一些年輕的寫作者，例如韓寒，其本人目前并未供職于任何作家機(jī)構(gòu)，但他們已經(jīng)開始吸引媒體關(guān)注。曾經(jīng)，一夜成名為某些年輕作家?guī)�來了�?cái)富，反過來，這又使他們成為了今日之星。 Literary creation is no longer restricted to career writers who live off the government coffer. Some young writers such as Han Han, who is not associated with any writers` agency, have begun to receive media attention. Instant fame has brought wealth to some of these young writers in turn transforming them into modern day pop stars.

    這群年輕作家，像郭敬明和張悅?cè)�，其成功之處在于，他們能直擊同齡人的心底。郭敬明已經(jīng)寫了好幾本暢銷書，包括《幻城》和《悲傷逆流成河》。張悅?cè)坏臅充N書則有《櫻桃之遠(yuǎn)》、《紅鞋》、《誓鳥》以及《葵花走失在1890》，這些作品已在青少年讀者中形成了"悅?cè)滑F(xiàn)象". What makes authors like Guo Jingming and Zhang Yueran so successful is their ability to connect directly with their peers. Jingming has written several best sellers including: City of Fantasy and River of Sorrow. Yueran`s top books, Far Away Peaches, Red Shoes, Bird Under Oath and Lost in 1890, have also become a phenomenon among young readers.

    2000年，自從韓寒出版《三重門》一書以來，這部著作至今已加印了數(shù)十次，銷量約在210萬冊(cè)。此書講述了高中生的生活，其之所以能廣受歡迎，歸因于作者對(duì)當(dāng)今教育體制的批判。 Since Three Layers of Doors, written by Han was released in 2000, it has been reprinted dozens of times and about 2.1 million copies have been sold. The popularity of Han`s novel, which describes the life of middle school students, has been attributed to his criticism of the education system.

    2004年，在"福布斯年度中國(guó)名人排行榜" 中，郭敬明名列第一百位，這足以反映出其所擁有的超高人氣以及無可限量的商業(yè)潛能。當(dāng)《幻城》在北京各書店開始發(fā)售時(shí)，郭敬明一夜成名，這本書同時(shí)創(chuàng)下了超過150萬冊(cè)的銷量�！痘贸恰访枋隽艘粋�(gè)幻想中的世界，在那里人物的感情無關(guān)世俗，簡(jiǎn)單而純凈。郭敬明試圖借此傳達(dá)自己對(duì)人性的看法，而他感情充沛的情節(jié)描述也在讀者中廣受好評(píng)。 Guo was ranked 100th on the 2004 Forbes Chinese Celebrity list, reflecting his popularity and the immense commercial potential he possesses. He gained success overnight when his City of Fantasy book hit Beijing`s book stores, having sold more than 1.5 million copies. City of Fantasy depicts a fanciful world, where the affections of the characters are simple and pure, with no worldly obstacles. Guo has tried to convey his thoughts on human nature, and his portrayal of rich emotions has been widely appreciated by the readers.

    對(duì)于郭敬明來說，寫作"就像是打羽毛球，只是我的一項(xiàng)愛好，"他說："我通過寫作來記錄一年的變化。也許未來這種變化會(huì)變得稀缺，那時(shí)我將停止寫作。" For Guo writing is "like playing badminton. It`s one of my hobbies,", he says. "I write to record the annual changes. Maybe there won`t be enough changes in future. Then I will stop writing," he said.

    不是所有的作家都愿意成為公眾焦點(diǎn)。張悅?cè)辉诓┛椭袑懙搅艘恍┧�的顧慮："我們永遠(yuǎn)都是如此輕易地忽略、原諒、甚至放縱自己的錯(cuò)誤，就好比奔向邪惡的烏托邦。我們中是否真的有人意識(shí)到這條路不會(huì)帶我們實(shí)現(xiàn)真正的文學(xué)之夢(mèng)？我們是被用來賺錢的商業(yè)工具；我們是被媒體及輿論所擺布的娛樂工具。" Not all authors are pleased about being thrown into the spotlight. Zhang writes of her concerns in her blog: "It`s always so easy for us to ignore or forgive or even indulge our faults, as if running towards an evil utopia. Did any one of us really realize that this road would never lead us to true literature and, hence, our dreams? … We are commercial instruments exploited by some people to make money; we are entertainment tools used and played by media and critics…"

    "我們?yōu)樽陨砣〉迷S多毫無意義的榮譽(yù)并且操縱著與文學(xué)無關(guān)的游戲。" "We make up more meaningless honors for ourselves and play games that have nothing to do with literature."

    正如一句古老的英國(guó)諺語(yǔ)所說，"天真無知者每每能道破真理",它寓意著之所以兒童口中往往能吐出真話，是因?yàn)樗麄冞�未接觸到大人們用謊言堆積起來的世界。接納年輕人所表達(dá)的真實(shí)、新鮮的觀點(diǎn)與意見，這對(duì)于任何國(guó)家避免其文學(xué)遺產(chǎn)陷入無人問津的困境都意義重大。 An old English saying, "from the mouth of babes,", signifying the truth that is often spoken by children not yet exposed to the world of lies created by adults takes on particular relevance in this light. Allowing fresher viewpoints and opinions, which can only truly be expressed by younger people, is essential for any nation`s literary heritage to avoid dwindling into irrelevant obscurity.

    對(duì)于青年作家們的今后寫作生涯，法國(guó)作家勒納爾？J.提供了最好的建議，他寫道："文學(xué)是一份終身職業(yè)，你要不斷地向那些頭腦空空的人證明你的智慧。" The best advice to young writers for their future writing may have been given by French author Jules Renard when he wrote: "Literature is an occupation in which you have to keep proving your talent to people who have none."