在春风吹拂的日子里,我忙里偷闲地拜读了刘元举已经出版的大多数散文作品,它们是散文集《黄河悲歌》、《西部生命》、《上帝广场》、《表述空间》,以及可以称之为广义散文或大散文的长篇纪实文学《爸爸的心就这么高——钢琴天才郎朗和他的父亲》(以下简称《爸爸的心就这么高》)等等。应当承认,这些作品对我的吸引和打动是持久的、多方面的,它们常常让我产生联翩的浮想和久久的回味。而在所有这些吸引和打动中,最让我感到激赏不已的,则是作家贯穿于大部分作品字里行间的那种很是个性化的古典情怀与浪漫笔致,以及由此二者相互映照补充而成的一种沉郁而不失高蹈,宁静且兼有灵动的审美风度。它们把元举的散文和当下 During the spring breeze, I read most of the essayist works that Liu Yuanju has published, and they are the essays “The Yellow River”, “The Western Life”, “God’s Plaza”, “Expressive Space”, and what can be called General Prose or a long essay of the long documentary literature “Dad’s heart is so high - piano genius Lang Lang and his father” (hereinafter referred to as “dad’s heart is so high”) and so on. It should be acknowledged that the work I have been attracted to and impressed by these works is long-lasting and multi-faceted. They often give me an imaginative imagination and a long time aftertaste. Among all these attractions and impressions, what most excites me most is the classic, romantic and romantic writing of the writers running through most of the works, and their complementing each other A kind of gloomy yet high dance, quiet and both smart aesthetic style. They put the Yuan cited prose and the moment