At present, cities have become the major living space in China. They provide writers with fresh inspiration. This has given rise to the genre “urban literature,” which is drawing significant attention in literary circles.

Yang Jianlong, a professor from the School of Humanities and Communication at Shanghai Normal University, said that the accelerating rate of urbanization indicates that there is a bright future for urban literature. People continue to flock from the countryside to cities, which has brought about major changes to Chinese culture and its past emphasis on agrarian lifestyles.

Yang added that though urban literature has developed rapidly, it is still unlikely to become a mainstream form of literature in the short term. Although China has accelerated its pace of urbanization, Chinese society is still basically an agricultural society. Most literature still emphasizes rural living. For instance, most writers that are currently active in the literary world were born in the 1950s in rural areas. Many urban writers were educated in the countryside during their youth and their works contain a lot of influences from the countryside. These writers occupy great positions in the literary world. Many of the writers born in the 1960s, 70s and 80s came from the countryside as well. Their works also express that close relationship with the countryside. Among all the works to be considered for the Mao Dun Literature Prize, the vast majority have had a rural focus.

Li Danmeng, a professor from the Department of Chinese Language and Literature at East China Normal University, said the writing and design of literature involve urban experiences, which is an inevitable reflection of the times. However, it is worth asking whether works containing merely descriptions of cities can be considered urban literature. Although there are quite a few urban literary works, a large part of them are “about the city” or “involving the city.” Cities here are the places where stories occur, and there is few works that touch upon and show the inner spirit of cities. Strictly speaking, these works are not urban literature. Urban literature emphasizes the provision of new modern experiences and spiritual support. Works without this can only be seen to contain urban subjects.

Xu Gang, an associate research fellow from the Institute of Literature at the Chinese Academy of Social Sciences, said that based on current literary trends, urban literature may become the mainstream form of writing. As the main creative force of contemporary literature are those born in the 1970s and 80s, the majority of whom have grown up and lived in cities. They will create contemporary literature based on their experiences, having gradually drifted away from the rural world. In contemporary literature, in terms of creative inertia and sources of life, writers born in the 1950s are still the mainstay of rural writing, but it is almost certain that they will be the last rural writers and that the growth of urban literature is inevitable.

Some scholars argue that the current approaches to literary narration on cities cannot provide authentic urban spiritual experiences and emotional expression. There is also homogenization, modular expression and a strong rural psychology and values. Li said that cities and the countryside have always depended on each other in literature. It is neither possible nor necessary to try to leave out the country when writing about cities. The reason why current urban literature is not as colorful as rural literature is that, to a large extent, writers have not really integrated into the cities. Their vision will be more open and tolerant if they can regard cities as their hometowns. Only in this way can the multifaceted appearance of cities, and the elasticity and tension of this narration be brought out.

Yang said that the changes in urban life will inevitably be reflected in literature. The grasping and presenting of urban experiences must be premised on the familiarity and consideration of urban life. Writers can only grasp city experiences by immersing themselves in urban life, not “experiencing life” at a glance. Urban literature needs the author’s unique perspectives.

Li said that “localization” is essential for writers to find their unique approach to urban storytelling. Every city has its own personality and local character. If the writers can connect this “local flavor” with local history, they will create outstanding urban literature. Xu said there should be a gradual process for literature to capture urban experiences: Starting with the description on materials, followed by penetration into culture and understanding the human city relationship, and then finally come to the spiritual world of the city. In the past 40 years, Chinese urban literature has generally been carried out in this sequence.

(Edited and translated by SUI JINGJING)