自改革开放以来的30多年间，中国儿童文学取得了****的蓬勃发展，创造了一个****的“黄金时代”。作者朱自强是集儿童文学理论家、文学史家、批评家于一身的学者。在本书中，他运用这三重目光看取“黄金时代”，选择成为儿童文学的主体构成的、也是成绩*为显著的幻想儿童文学、写实儿童小说作**论述，同时论及特色显著的儿童诗歌以及新兴的图画书创作这两个门类，共提及作家120余位，作品340余部（篇），**评介了其中的50余位作家、120余部作品。通过本书，读者可以了解改革开放以来中国儿童文学发展的主要脉络，并领略“黄金时代”儿童文学作家作品的多彩风貌。 黄金时代的中国儿童文学__中国少年儿童出版社_

一．
高洪波是一位思想和艺术感受都十分敏锐的儿童文学作家。在思想上他以《发现儿童》等文章致力于儿童的“再发现”；在艺术上，他推动动物小说创作，倡导快乐、幽默文学，促进了中国儿童文学在这些领域的艺术自觉。
Gao Hongbo is a writer of
children’s literature who is very sensitive to ideas and artistic feelings. As
a theorist, he contributed to the rediscovery of children with articles such as
“Discovering Children.” In art, he promoted animal fiction writing, advocated
merry and humorous literature, and thereby helped the growth of artistic self-consciousness
in children’s literature.

高洪波是一个以儿童本位立场看待儿童生命世界的儿童诗人。他曾说过：“偷西瓜是一种有益身心的顽童游戏，需要一系列准军事动作，如观察敌情、匍匐前进、果断接敌等，一旦被看瓜人发现，又需要迅速撤退、隐蔽等待，这是一门大学问……”我把这句话看作是高洪波“儿童本位”立场的儿童诗创作的原点。把儿童的“偷西瓜”看成“有益身心”，看成“大学问”，高洪波就凭着这种价值立场获得了进入儿童世界的口令，成为了儿童的自己人。有这样的价值观，才有了那首有名又有实的《我喜欢你，狐狸》：
As a writer of children’s poems,
however, Gao Hongbo is particularly good at looking at the child’s world
through a child’s perspective. He once said, “Stealing melons is a very healthy
game for naughty children. It calls for some military skills, such as surveillance,
crawling forward, resolutely engaging with the enemy. And once you are spotted
by the guard, you need to seek shelter or fall back quickly. This is indeed an art...”1
I interpret this view as the starting point of the child-oriented standpoint exhibited
in Gao’s works for children. To view stealing melons as an “art” is his
password into the children’s world, identifying him as the children’s friend.
It is his evaluation of childhood that gave birth to his well-known “I like
you, Mr. Fox,” which reads as follows:

你是一只小狐狸，
聪明有心计。
从乌鸦嘴里骗肉吃，
多么可爱的主意！
活该，谁叫乌鸦爱唱歌，
“呱呱呱”自我吹嘘!
再说肉是他偷的，
你吃他吃都可以。

也许你吃了这块肉
会变得漂亮无比！
尾巴像红红的火苗
风一样掠过绿草地。
我崇拜你，狐狸，
你的狡猾是机智，
你的欺骗是才气。
不管大人怎么说，
我，喜欢你。

You are a little fox,
clever and tricky.
To cheat the meat out
of the crow’s mouth,
What a clever idea!
It served the crow
right,
As the crow was fond
of singing,
Bragging about
himself.
And the meat was not
his in the first place
He had stolen it
somewhere
Everyboby could eat
it.

You might look smart
after eating the meat.
Your tail will look
like a red flame,
Skimming over the
grassland like wind.
I worship you, Mr.
Fox!
Your cunning is
actually wisdom.
Your cheating is a
sign of talent.
Whatever the adults
say about you,
I like you, dear Mr.
Fox.


二．
在原创图画书创作的热潮中，由于中国对图画书的文体自觉较晚，经验较少，向国外**图画书创作借鉴经验十分重要。中国少年儿童新闻出版总社采取的国际化合作创作这一模式值得重视。2013 年，该社出版了由中国作家曹文轩撰文，安徒生奖获得者、巴西**童书画家罗杰·米罗绘画的《羽毛》。两位名家强强联手，打造了一本精美的图画书。《羽毛》讲述的是一根羽毛寻找“我从哪里来”的故事。羽毛非常期待在天空中的飞翔，但是，当“她”历经飞翔的危险，回到地上之后，有了新的感觉：“其实，不飞到天空，就在大地上走着，也很好呀！”故事的结尾，暗示了“她”是一只母鸡翅膀上的羽毛。罗杰·米罗为这个具有哲理性的故事设计了别具匠心的画面。画家将加长的封底折过一部分，与相应切掉一部分的十四幅书页，拼合成一根羽毛，这根固定的羽毛与不断变化的画面形成互动的关系。这种颇为新鲜的艺术表现，令人深深体会到，图画书是一种美术设计的艺术。
As the writing of original
picture books is mushrooming, it is of great importance for China, a latecomer
to the form and thus less experienced with picture books, to learn from other
countries that have rich and successful experience in this genre. In this
regard, it is worth mentioning that China Children’s Press & Publication
Group has launched the creation of picture books with international
cooperation. In 2013, this organization published A Feather, an excellent work of collaboration between the famous
Chinese author Cao Wenxuan and the Winner of H.C. Anderson Award, well-known
Brazilian illustrator Roger Mello. This picture book tells a story about a
feather that tries to find the answer to the question “Where am I from?” The
feather has high hopes for flying in the sky; however, when landing on the
ground after adventures in the sky, “she” comes to a new understanding:
“Actually, walking on the earth is as good as flying in the sky.” The end of
the story suggests that the protagonist is a feather on a hen’s wings. Mello designs
very creative pictures for this philosophical story. He folds up the extended
part of the back cover to make a figure of a feature to put in the hole in the
fourteen right-hand pages. This fixed feather interacts with the ever-changing
pictures, which makes a very innovative form of artistic representation as well
as bringing home to readers the beauty of fine arts design.

1.1目录
绪言INTRODUCTION 005

**部分 幻想儿童文学的演进 007
PART ONE THE
DEVELOPMENT OF CHILDREN’S FANTASY LITERATURE
1.“热闹派童话”和“抒情派童话” 008
“The Hilarious Fairy Tales” versus “the
Lyrical Fairy Tales”
2. 幻想小说的确立 054
The Establishment of Fantasy as a Genre
in China

第二部分 写实儿童小说的收获 099
PART TWO THE
ACHIEVEMENTS OF REALISTIC CHILDREN’S FICTION
1. 1980年代：短篇小说的时代 100
The 1980s: A Decade of Short Stories
2. 1990年代以来：中长篇小说的繁荣 116
The Period Since the 1990s: The
Flourishing of Mid-Length and Long Novels

第三部分 独特的儿童诗歌 175
PART THREE UNIQUE
CHILDREN’S POETRY

第四部分 原创图画书的兴起 198
PART FOUR THE RISE OF ORIGINAL PICTURE BOOKS

结语EPILOGUE 212

作家索引AUTHORS’ INDEX 213
作品索引WORKS’ INDEX 215
作者简介PROFILE OF THE
AUTHOR 220

l 本书呈现了改革开放以来中国儿童文学发展的主要脉络，展示了“黄金时代”儿童文学作家作品的多彩风貌。l 本书提及作家120余位，作品340余部（篇），**评介了其中的50余位作家、120余部作品，几乎囊括了改革开放以来中国儿童文学所有派别的主要作家及其作品。l 作者朱自强，知名学者、作家、翻译家，中国海洋大学教授、博士生导师，儿童文学研究所所长。曾出版儿童文学、儿童文化相关学术著作10余种。l 中英文双语：本书由中国海洋大学徐德荣教授带领的英语专家团队负责翻译，由美国儿童文学学者克劳迪娅·尼尔森负责英文审校。l 本书加入了大量书影及大段引文, 以方便读者阅读、感知。