There are always endless literary trends surging out of new vitality When it comes to literary innovation, we have to mention the topic of "historical literary concept". "Historical literary concept" is not only the fundamental viewpoint of the May 4th literary revolution, but also an important tradition left to us by the May 4th new literary movement. That is, it emphasizes the significance of contemporary literature and current creation, and emphasizes that literature changes with the times, "people in what era speak what era". Only by constantly seeking innovation and change can literature have a fresh and vigorous life. The writer should use the contemporary language to express truly; You can learn from tradition, but you don't have to be old-fashioned; You can borrow Shita mountain, but you can't follow suit. Looking back on the new literature of the May 4th movement, and even looking into the long river of history, it is not difficult to find that seeking innovation and change is the mainstream of the development of Chinese literature, and there are always endless literary trends surging out of new vitality. Take the 1980s as an example, "hazy poetry" can be regarded as a kind of avant-garde literature at that time. It sacrificed the clarity and clarity of poetry, and expressed the strong emotion of that era in the ambiguity and uncertainty of meaning. This emotion includes human awakening, including the call for human dignity and value. In the middle and late 1980s, avant-garde novels led the trend. Writers learn from western modernism and postmodernism literature since the 20th century, carry out narrative revolution, and express unique and real experience by means of exaggeration and deformation. They began to "turn inward" and turn to the tracking and exploration of the inner world. As literary critic Lu Shuyuan said, "their authors are trying to change their artistic perspective and look at the external world from the characters' internal feelings and experiences... The new novels have sacrificed some external things in exchange for more internal freedom." "Pioneer literature" is the new writing method of that generation. It interacts with that era, with experimental, strange style and pioneer challenge spirit. Since the 1990s, avant-garde novels have shown a trend of decline, but the avant-garde spirit of breaking through rigid ideas and skills in Contemporary Chinese literature has always existed. Literary innovation is not an excuse for empty content, hasty structure and random language The impulse to seek innovation and change has always been the driving force of literary development. However, the problem in literary creation in recent years is that with the new changes in the context of the times, the narrative skills of "pioneer" and "experiment" tend to replace the content as the main body of novels. Some novels become empty in content, hasty in structure and random in language. They claim that this is caused by literary innovation. When imitating the western "post fiction", some writers complain that they lose control and initiative in the process of novel creation, are unable to tell stories, and blindly look for poor reasons for laziness and lack of exquisite artistic ideas. This kind of creation lacks the corresponding literary tradition and the context of the times, leaving only messy and disorderly, tuneful and harmonious words. The skill of Western modernist novels itself becomes an expression, which has its profound philosophical origin and ideological background. According to the British writer Woolf, the modernist stream of consciousness novels pursue to "fix the ultimate or internal truth captured", and the Irish writer Joyce even believes that "the novel is more real than reality". Its ideological background is that it cancels the existence of objective reality and believes that authenticity exists in the subjective world, which is largely influenced by irrational philosophical thoughts such as Schopenhauer, Nietzsche, Freud and Jung. The collage and subversion that the avant-garde of Chinese novels are keen on, regard writing only as performance, and pursue unconscious writing and absurd structure are influenced by Western postmodern philosophy and literature. Nowadays, collage, unconsciousness and other avant-garde techniques are easy to flow into the carelessness of creation and the absence of artistry. "Understanding our culture" has become an internal demand and sacred mission The 1980s and the present are facing a different proposition of the times. In the context of globalization, when the reform and opening up is advancing in depth, we certainly need to exchange, learn from and learn from each other - in a sense, without comparison and confrontation, there will be no culture and no progress. At the same time, facing the world of multi-cultural coexistence, the problem of cultural identity is unprecedented in front of people. "Understanding our culture" has become the internal demand and sacred mission of a generation. *** Chinese culture has always advocated "collecting the missing words of a hundred generations and adopting the legacy of a thousand years". We should tap the ideological concepts, humanistic spirit and moral norms of Chinese excellent traditional culture, integrate artistic creativity with Chinese cultural values, combine Chinese aesthetic spirit with contemporary aesthetic pursuit, and activate the vitality of Chinese culture. Complacency and complacency are not about inheritance. Cutting off blood and fabricating out of thin air can not be regarded as innovation. We should grasp the relationship between inheritance and innovation, learn from the ancients and break the law, so as to make the excellent traditional Chinese culture an important source of literary and artistic innovation. The fact is that from the experience of the development of modern novels in the past century, those works that appropriately combine China's aesthetic tradition with real modern experience, those works that give consideration to "integrity" and "innovation" and organically blend, and those works that make modern thinking on traditional culture are the most vitality and value, and can find bosom friends and resonate in different times. Is it necessary to return to chapter novels and dialect writing to promote the development of Chinese aesthetic tradition? Since the translation in the late Qing Dynasty and the early Republic of China, the novel translators at that time have explored a more free, flexible, rich and diverse novel structure. It is not necessary for contemporary writers to return to the chapter style with storytelling population kiss and residual "words". Some ancient Chinese novels are written in dialects. The rational use of dialects can enhance the vitality of language, but using too much is counterproductive. It is the responsibility of every Chinese writer to strive to write concise, elegant, vivid and expressive Chinese. For some time, there has been a lot of discussion about what is good vernacular writing. Zhou Zhiping, a professor at Princeton University in the United States, believes that "the life and death of words is reflected in 'reaching' and 'not reaching'. Even if the words of 'reaching' are old and written again, they are still alive; and even if the words of 'not reaching' are new and white again, they are still dead." This is not only the language of literary works, but also the standard to judge the quality of the whole literary works. "Every era of literature has a new way of writing." The avant-garde literature in the 1980s is essentially to reach the internal freedom through literature. "Pioneer" can not become "performance" and can not become a synonym for emptiness and vagueness. We call for a "new writing method" with both traditional character and modern fashion, and look forward to a more sincere and sincere new expression. (Xinhua News Agency)