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当今,低龄化写作已成为我国文坛的一大特色。自从郁秀出版了长篇小说《花季雨季》成为第一个吃螃蟹的人,随后出现的韩寒、郭敬明又掀起了一轮又一轮的高潮。此外,一批年纪更小的少年作家,像蒋方舟、窦蔻、古立坤接踵而至,这些涉世不深的少年,用他们稚嫩的手书写着令人惊叹的文字。少年作家的队伍正在不断壮大,甚至有人惊呼,我们的文学进入了“80年后”时代。正如白烨认为80后这批少年作家以这样一种姿态坚持下去,成为主流文学的后备作家是完全可能的。但从文学的角度来看,“80后”写作从整体上说还不是文学写作,充其量只能算是文学的“票友”写作。所谓“票友”是个借用词,“80后”这批写手实际上不能看作真正的作家,而主要是以一种“玩票”姿态出现在文坛上的文学创作的爱好者。
Nowadays, writing at an early age has become a major feature of our literary world. Since Yu Xiu published the novel “Season of the Rainy Season” as the first person to eat crabs, the subsequent appearance of Han Han, Guo Jingming set off another round of upsurge. In addition, a group of youngest young writers, such as Jiang Fangzhou, Dou Kou and Ku Lih-kun came one after another, and these inexperienced teenagers wrote amazing words in their tender hands. The ranks of young writers are growing, and some even exclaimed, our literature entered the era of “80 years later.” Just as Bai Ye believes that after 80 these young writers persevered in such a manner, becoming a reserve writer of mainstream literature is entirely possible. However, from a literary point of view, the writing after 1980s is not yet a literary writing as a whole, at best, it can only be regarded as “farewell” writing for literature. The so-called “farewell friend” is a borrowed word. The post-1980 writers can not actually be regarded as real writers, but mainly as fans of literary creation appearing in the literary arena with a “play ticket” attitude.