杨卫:我去年都在思考编一个60后的散文集,现在已经拿到十几篇文章。后来朋友推荐给了天涯,看了我这个选题,觉得太有意思了,想问我能不能做一年的连载。所以很有意思,天涯的编辑也是一个年轻的编辑,为什么他感兴趣呢?就是因为有深度,我们这个时代太缺深度,不是说没有深度,太缺乏60后那种遭遇的深度。之前老崔说到了几点,这种经验是特别独特的,全世界都没有,不光是说70-80后没有,全人类都没有,只有中国的50-60后有,在他们童年的那样一种阶级的斗争,绝对化的立场,现在的人就是缺立场。还有一个就是立场,我们从小都在受阶级斗争,不是黑的就是白的,不是西风压东方就是东方压倒西风,这都是一个做艺术做文化的资源。可以完全把它利用起来从事一些创造性的活动,而不像今天那些年轻人的艺术,我们看不到什么,不知道他们要干什么。当然他们很真实,他们没有资源,不能怪他们。那么60年代出现的这些人,曾经的遭际,曾经的过程,都可以成为未来的产品。最后有一点非常重要的就是60 Yang Wei: I was thinking about making a collection of essays after 60 last year and now I have got a dozen articles. Later, a friend recommended to the End of the World, read this topic, I feel so interesting, and would like to ask if I can do a year of serialization. So it is very interesting that Tianya’s editor is also a young editor. Why is he interested? Because of the depth, the depth of our era is too deep, not to say that there is no depth and too much lack of depth after 60s. Before the old Cui said a few points, this experience is particularly unique, there is no world, not only after 70-80 did not have all of humanity, only China after 50-60 there, in their childhood as a The struggle of the class and the position of absoluteness make people lack the position now. There is another position. Since childhood, we were all subject to class struggle. It was neither black nor white. Instead of westerly pressure on the East and the East overwhelming the West, it was a resource for art to do culture. It can be used exclusively for creative activities. Unlike the arts of young people today, we can not see anything and do not know what they want to do. Of course they are real, they have no resources, can not blame them. Then those who appeared in the 1960s, once suffered, had the process, can become the future product. Last but not least, 60