Me entero por The Literary Saloon que los medios literarios en China están preocupados, según una nota del China Daily. Al parecer, la época dorada de su literatura (los años 80, dicen), con grandes obras y millones de lectores, ha pasado de largo y ahora la literatura seria y comprometida está cediendo a una versión intimista y privada de la realidad, que buscaría solo entretener. Dice la nota:
Xu Chunping, editor of Literature Journal, maintains that Chinese culture as a whole is moving in the direction of entertainment. There are new genres like "cellphone literature, online literature and movie fiction" that did not exist before. "Literature as we know it gets purer and contends with only the ultimate issues, and new literature tends to provide solace rather than soul-searching capabilities." She faults the mainstream media for the decline. "Belles-lettres are shriveling to an elitist enclave," she laments.
Sin embargo, no todos están descontentos. Para algunos, la retirada a mundos interiores, con personajes que hablan de sí mismos con desconcierto y no para pontificar como los anteriores protagonistas, es señal de la pluralidad de la literatura china. Dicen:
As literature recedes from the public limelight towards inner self, writers mount a feeble but heroic attempt to rationalize the withdrawal. Li Jingze, a critic, points out that fiction of the old days was devoid of individuality. "The characters did not open their mouths except to pontificate. Everyone of them talked like that," says the editor of People's Literature, who interprets the "withdrawal" more as "a great achievement in opening up and creating personal space in the arena". Nan Fan, a Fujian-based essayist, sees the phenomenon as "the private inserting itself into the public and changing the latter's core values". Literature of old times dealt in sweeping generalities. The epics told of exploits by giants and mythological characters. Morality plays did not even give unique names to their characters. "The richness of the private space has made literature more diverse and added to its value," he contends. (...) In the end, many advocate pluralism for literature. While literature, they believe, should refrain from striving to be topical, it should not retreat from hot issues of the day. The key is to raise questions, but not to attempt to solve them; to provoke thinking rather than to hand out clear-cut nuggets of wisdom. "It's always about how, not if," elaborates Li Jingze, the critic, who was reading Raymond Chandler on the flight to Guangzhou. "Finding truth for literature is like finding the criminal in a detective story. The vociferous ones are on the surface. We should look for the vastness between public and personal spaces. It's like the silent majority within ourselves. If you look at it this way, our best writing is yet to come."
Es decir, exactamente igual que en casa.