2005-02-17
If someone were to compile a list of the 10 top hot words in the Chinese literary arena, "post-80s writers" would certainly be on it.
Last February, Chun Sue, a Chinese woman in her early 20s, who had just published her book, "Beijing Doll" appeared on the cover of Time magazine. The US editor referred to her as the mouthpiece of post-80s writers in China, thus giving rise to a year-long, inconclusive debate nationwide about this special group of writers.
During the last year, books by several young writers identified with this controversial genre appeared on the bestseller list.
Until recently, I hadn't developed an interest in this group. Then it suddenly occurred to me that most of my friends were talking about their books. It triggered my curiosity about the magical charm that was attracting such a large number of readers, especially those of their age group.
These young writers are outspoken in exposing themselves to the readers. We can see a vivid individual ego through the lines of the story. And most of their stories are about personal subjects with frank descriptions of inner emotions and explicit accounts of "love affairs" In describing the loneliness and alienation of life in large cities full of desire and insatiable drive for wealth, the books echo the sentiments of many people.
No wonder their works are popular among young people, from teenagers to those in their early 30s. Reading post-80s writers has become a way for this age group, showing their independence and rebellious attitude to real life, just like listening to hip-hop or doing cos-play. For many, these writers represent them and express their craving for freedom from the burdens of daily life.
The post-80s writers have done very well financially, as more publishing companies become willing to help them shift their work from websites to printed form. This also encourages the flourishing of the post-80s generation.
However, not everyone is optimistic about the situation. Many critics and writers consistently express their concern in newspapers, books and TV programmes. One of the major concerns is that the cynical attitudes towards life expressed by the post-80s writers might have negative effects on young readers. Some critics predict that it could ultimately create a "lost generation" in China in the near future. They also opine that the vulgar language in the books could overshadow the formal Chinese language and result in a cultural gap between the younger generation and the literary classics.
Despite these growing worries and doubts, the post-80s writers have stepped into the new year with a large group of readers and supporters. After reading some of their works, I find myself becoming tolerant and understanding their success. In literary areas, there could also exist an invisible hand. If there is a market, there must be some need unsatisfied. The appealing story and thrilling writing style has to some extent contributed to an awareness that transcends everyday trivia. Just like other refreshments, it should be served before or after the formal dinner, but should not replace the formal dinner.
One of the leading post-80s writers has said he writes for fun. He never had any ambition to make it big in Chinese literary circles, nor had he any interest in dealing with "profound" social issues.
If the writers themselves are doing it for fun, why can't we stop the debate and also read for enjoyment? Like it or not, it should not be a question we feel troubled about.
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Director: Liu Chi