（代序）

中国西部文学地理学，是借助文化地理学的视角和方法，来系统研究西部作家、作品的地理分布及其迁移，地区景观对作家风格和区域文学风格的影响，方言与地域文学的关系，民族融合对民族文学的相互影响等问题的跨学科课题，其核心问题是研究文学中的人地关系。西部文学之所以能够成为一个相对独立的研究对象，在很大程度上取决于西部文学赖以产生的独特地理环境。套用一句俗语来说，就是“一方水土养一方文学”，这是有道理的。西部文学赖以生存的这块土地，是“高迥沉寂空旷恒大”的内陆（昌耀《内陆高迥》），它雄奇、辽阔、神性，然而又干旱、寒冷、贫穷，它以博大包容一切，以坚毅忍耐一切。西部养育了它的本土作家，也吸纳那些败北的“失道者”，赋予他们灵感、素材，塑造了他们卓绝的人格和西部文学的独异秉性。

尽管对西部文学之“西部”的界定存在分歧，但考虑自然环境、生产方式、文化传统等综合因素，我认同将西部文学的“西部”界定为陕、甘、宁、青、新西北五省区加西藏和内蒙古中西部。这个西部，既是一个地理的概念，也是一个文化的概念。

一 研究的历史回顾

从地理学的角度研究中国文学，从先秦以后的《诗经》《楚辞》研究中已见端倪。此后，从地域文化角度评论作家与作品，在历代的文集、诗话中时有出现。近代以来，在西学东渐的背景下，出现了以地理为本位的文化地理研究和以文学为本位的文学地理研究，前者以梁启超《地理与文明之关系》（1902年）为代表，后者以刘师培《南北文学不同论》（1905年）为代表。在20世纪中间时段，由于各种原因，中国文学的地理学研究成果甚少。

金克木1986年发表于《读书》第4期《文艺的地域学研究设想》一文，是新时期最早系统性地提出文学地理研究构想的论文。他认为我们的文艺研究习惯于历史的线性探索而缺乏以面为主、立体的和时空合一的多维研究。他提出的文艺地理学研究包括四个方面：一是分布，二是轨迹，三是定点，四是播散——文艺的地理分布，作家作品及文体、风格的流传道路，文学艺术流派的集中发展地点，不同艺术流派的传播情况。

21世纪以来，杨义在《重绘中国文学地图与中国文学的民族学、地理学问题》（《文学评论》2005年第3期）提出了关于文学地理学的四个主要问题：一是地域文化的问题，二是作家的出生地、宦游地和流放地，三是大家族的迁移，四是文化中心的转移。2006年，梅新林在《中国文学地理形态与演变》导论中对中国文学的地理学研究提出了具体的理论构想、体系建构和研究方法。邹建军是从事比较文学与世界文学研究的学者，他在《文学地理学研究的主要领域》（《世界文学评论》2009年第1期）和《文学地理学批评的十个关键词》（《安徽大学学报》2010年第2期）中分别提出了文学地理学研究的八个问题和十个关键词，并将与文学地理学相关同时又容易混淆的几个概念进行了区分和界定。比如，文学地理学研究和地域文化研究、空间批评、生态环境批评等的联系和区别。

中国文学地理学在古代文学研究中已经取得了比较可观的成绩，但中国现当代文学的地理学研究还处在探索阶段。20世纪90年代中后期，由严家炎主编的“二十世纪中国文学与区域文化丛书”、樊星《当代文学与地域文化》（华中师范大学出版社，1997年），主要是从地域文化的角度研究中国现当代文学，但其中已经涉及文学地理学的问题。

20世纪80年代中期提出的“西部文学”概念，本身包含着文学地理（地区）意识的觉醒，但早期的西部文学研究，主要是从地域文化的角度切入的，强调的是西部文学的“文化”特征而非“地理”特征。

20世纪80年代以来的几部研究西部文学的专著，在部分章节中涉及西部文学的地理问题，尤其是肖云儒在《中国西部文学论》第二章《中国西部自然和人文地理特色及其对文化艺术的影响》和李兴阳在《中国西部当代小说史论》第二、三章对作者身份的界定和自然景观的描述。

余斌是较早在宏观层面从地理角度界定西部文学的学者，他在《论中国西部文学》（《当代文艺思潮》1986年第5期）从民族地理、自然地理和文化地理三个方面，对西部文学的地理范围作了界定。

早期从地理角度研究西部文学的多为西部作家论和作品论，李镜如《张贤亮小说创作中的地方特色》（《固原师专学报》1985年第2期），认为张贤亮小说的鲜明地方特色，表现在他善于抒写自己熟悉和热爱的自然景物、地方风光等地理环境，也得力于富有大西北浓郁乡土生活气息的语言（方言）。颜纯钧在《张承志和他的地理学文学》（《文学评论》1987年第1期）敏锐地捕捉到张承志创作中的“地理学”问题，并对他的作品中各种“地理”因素做了细致的分析。姑丽娜尔·吾甫力在《维吾尔文学研究的人文地理学视角》（《喀什师范学院学报》2007年第5期）以艾合买提·孜亚依叙事长诗《热比亚与赛丁》为例，分析了作者对喀什的地域文化意识赋予作品的地域文化色彩。

梁璐以人文地理学者的视野和研究方法，对当代陕西文学空间分布和地域差异的特点、成因及其变化做了相当细致的考察和分析，3954760由于她跨学科的视野和图表、统计方法的运用，给我们从地理学的角度研究西部文学提供了很多方法论的启示。

通过以上对研究现状的梳理可以看出，运用文学地理学的视角和方法研究中国西部文学，尽管已有二十多年的历史，但还处在探索的阶段。把产生于具有地理相似性的西部区域文学作为一个整体，运用文学地理学的理论与研究方法，进行全面系统的研究，有助于我们重新审视被文学史忽视的空间维度，在文学史的线性时间之外，拓展和丰富文学研究的内容。所以这一课题的研究意义，不仅在于对中国当代文学研究的对象和内容的拓展上，而且也给我们提供了一种可供尝试的全新的理论视角和研究方法。

二 西部文学地理学的主要内容和基本观点

文学地理作为文学研究的空间维度，是研究文学史必不可少的一个方面；中国西部独特的地理状况（包括自然地理和人文地理）是影响西部文学整体风貌的一个重要因素；作家地理分布的历时变迁，会带来文学中心的转移。新中国成立以后，大量作家和知识分子的西进，使得20世纪中国文学的东西差距缩小，从而为新时期西部文学的崛起准备了人才队伍；民族特色和方言特色，也是西部地理赋予西部文学的独特要素。

（一）西部地理大发现与西部文学的崛起

古代中国的西部，虽有过源远流长的民间文学和辉煌灿烂的边塞诗，但与中原地区相比，西部文学的发展呈现出历时的不均衡性。回顾西部文学的历史，其中一条重要的规律是，西部文学的繁荣期往往伴随着西部地理的大发现，这在唐代的边塞诗中表现得尤为明显。对于20世纪中国西部文学来说，它的四个具有划时代意义的发展阶段都与西部地理大发现有关。一是19世纪末外国探险家如斯文·赫定、兰登·华尔纳、科兹洛夫等的探险和考察，他们的考察游记，呈现给世人一个神秘而充满异域情调的西部，从而吸引着此后一批又一批的中外人士前来汲取文学的灵感。二是20世纪三四十年代抗日战争和解放战争期间，一大批作家和知识分子因躲避战乱或工作需要来到西部，写下了为数不多但脍炙人口的西部游记、日记，如范长江《中国的西北角》《塞上行》、茅盾《西北行》、顾颉刚《西北考察日记》等。三是20世纪50年代经国家分配或志愿支边来到西部的作家，呈献给我们一个辽阔而富饶的西部，如闻捷《天山牧歌》、李季《玉门诗抄》等。四是20世纪50年代后期因“反右运动”而流落西部的“右派”和“文化大革命”期间因“上山下乡运动”来西部插队的知青，他们长期生活在西部，西部的自然景观和人文景观，构成了他们80年代以来取之不尽，用之不竭的文学源泉；而80年代中期以后的“文化热”，再次使人们发现贫穷而又神奇的西部。

（二）西部作家的地理分布

文学地理学是文学、地理学的融合，作家是人地关系、文学世界与现实世界的中介和纽带，所以研究一个区域的文学地理，首先要考察它的作家的地理分布状况。这里我们要考查两个问题：

一是作家的籍贯问题。从个体来说，考查作家的籍贯可以了解一个作家文学气质的最初形成，以及与其居留地的整体文学风格之间的关系，并进而说明地理空间的改变对作家风格的影响，比如我们可以考虑王蒙、张贤亮、昌耀这些作家的西部经历对其创作风格的影响；而作家群体的籍贯，则可以说明文学风气因时间的推移而产生的空间移动和变化，比如20世纪中国西部文学，本土作家和移民作家的比例发生了很大变化。移民作家的增加，给本土文学带来的变化是属于空间地理范畴的。

二是作家群体的移动和文学中心的转移问题。抗日战争爆发前，现代文学史上有名有姓的西部本土作家可谓凤毛麟角，抗日战争期间，延安作为一个文化中心，吸引了一个庞大的作家群落，对战后西部文学的发展起了很大的辐射带动作用。新中国成立后，众多作家通过国家分配、支援西部、劳改流放、知青插队等方式来到西部，为80年代西部文学的崛起奠定了人才基础。更为重要的是，在移民作家的带动下，本土作家的成长，使得西部文学能够长期延续和保持活力，从而形成了与新中国成立前迥异的中国文学版图。

（三）西部地理景观对西部文学的影响

地理对文学的影响，是通过作家这个中介环节来实现。它直接表现为地理给文学提供了一种表现的对象和材料，间接地表现为对作家审美风格和作品风格的影响，并进而影响一个区域的文学整体风格和面貌。

要说明西部特殊的地理环境对西部文学的影响，首先要明了西部独特的地理环境。

西部地处中国地形中的第一阶梯（青藏高原）和第二阶梯中的大部（内蒙古高原、黄土高原的西部、北部以及辽阔的新疆腹地），概括来说，西部自然环境和人文环境具有如下特点：地势高迥，气候干旱寒冷，地形多为高原大山、戈壁荒漠；生产落后，物质匮乏；民族众多，人口稀少；文化多元共生，多远古遗风。

这独特的地理景观，首先赋予西部文学独特的意象：冰山、黄土、草原、羊群、森林、戈壁、骏马、飞鹰、长河……试想张承志、张贤亮、贾平凹、路遥、昌耀、周涛，他们的作品无不以其鲜明的西部景观擦亮人们的眼睛；其次，它又是作家灵感的源泉。且不谈西部地理对生于斯长于斯的本土作家的心灵哺育，即使那些作为过客的流放或劳改作家，他们无不感慨西部这块神奇的土地给予他们魂牵梦萦的灵感。王蒙在谈到《夜的眼》的创作时说，“至于新疆，那里的高山湖泊给了我这样写的动机，但也许边疆有另外的风景，辽阔微茫，寂寥如铁……柔和的韦哈尔，使我对边疆的想象变得亲切了”，“新疆的生活，伊利的生活是我的宝贵财富，对比它与北京，是本作者小说灵感的一个重要源泉与特色。我不会放过我的独一无二的创作本钱”3954761。

西部地理景观对西部文学整体风格的影响，是通过对作家个体风格的塑造实现的。这里我们要考察的，一是本土作家的风格特色，二是移民作家迁入以后的风格变化。西部文学的风格是在对比中发现的，明代诗人唐顺之就说过“西北之音慷慨，东南之音柔婉”（《东川子诗集序》）的话。近代学者刘师培在《南北诸子学不同论》中不仅区分南北文学的不同风格，而且还分析了这种不同风格与地方风土之间的关系：“山国之地，地土瘠，阻于交通，故民之生其间者崇尚实际，修身力行，有坚忍不拔之风。泽国之地，土壤膏腴，便于交通，故民之生其间者，崇尚虚无，活泼进取，有遗世特立之风。”3954762西部文学的整体风格，简而言之就是阳刚之气或“悲壮”，它包含了诸如苍凉、粗犷、浑厚、悲怆、雄奇等要素。这种风格的形成，既跟西部严酷的自然环境有关，又是西部神奇的传统文化和绚烂多彩的各民族风习共同熏染的结果。

（四）多民族人口地理对西部文学的影响

西部地区是我国少数民族最多的地区，民族和人口作为人文地理的要素，它对西部文学的影响主要体现在：一是在艺术风格上，西部各民族文学间的交融互渗导致文学的混杂性和多样性；二是在作品内容上，民族风情和异域情调的表现。对西部的本土作家而言，各民族文学之间的相互影响是潜移默化而不易觉察的，但对那些到西部流放或劳改的作家而言，这种影响则是显而易见的。王蒙在新疆生活将近二十年，新疆各少数民族的生活、习俗、文化、语言，对他的影响是多方面的。尤为重要的是，王蒙刻苦学习维语，并对他的创作产生了直接影响，他在《在伊利》系列小说《哦，穆罕默德·阿麦德》里写到，有一次酒过三巡，小说主人公穆罕默德·阿麦德大声唱道：

这歌词就是王蒙翻译的。他还这样说：

我在此特别强调的是王蒙说他这些小说中的对话，是先用维语构思，再用汉语翻译写出这一特殊的写作方式，充分说明各民族文学的相互影响有时是特别微观的，但又是确实存在的，这仅是语言之间相互影响的一个例子。

（五）语言地理与西部文学

文学语言具有独特的地域性，词汇、语音有着明显的地域差别。

文学的地域特色和语言尤其是方言的地理分布关系密切，尽管在此界定的“西部”并不具有统一的方言，但该地域的大部分地区属于北方方言区的西北官话区，再加上该地区的蒙、藏、维等少数民族语言及其各民族语言之间的相互影响，使得西部文学的语言具有鲜明的地域特色和民族特色。

Literary geography of western China is an interdisciplinary topic that systematically studies the geographical distribution and migration of writers and works in the west, the influence of regional landscape on writers' styles and regional literary styles, the relationship between dialects and regional literature, and the mutual influence of ethnic integration on national literature. The reason why Western literature can become a relatively independent research object depends to a large extent on the unique geographical environment in which Western literature is based. To paraphrase a common saying, it is "one side of water and soil and one side of literature", which makes sense. The land on which western literature depends is the inland of "high and silent and empty evergrande" (Changyao's "Inland Gao Yuan"), which is majestic, vast, and divine, but also arid, cold, and poor, and it embraces everything with breadth and perseverance. The West nurtured its native writers, and also absorbed those who had lost the "lost way", giving them inspiration, materials, and shaping their outstanding personalities and the unique nature of Western literature. Although there are differences in the definition of the "west" of western literature, taking into account the natural environment, production methods, cultural traditions and other comprehensive factors, I agree that the "west" of western literature is defined as the five provinces and regions of Shaanxi, Gansu, Ningxia, Qinghai, and New Northwest plus Tibet and the central and western parts of Inner Mongolia. This west is both a geographical concept and a cultural concept. I. The historical review of the study studies Chinese literature from the perspective of geography, and the clues have been seen from the study of the "Book of Poetry" and "Chu Ci" after the pre-Qin period. Since then, commentaries on writers and works from the perspective of regional culture have appeared frequently in anthologies and poems of previous dynasties. Since modern times, in the context of the gradual study of the West and the East, there have been cultural geography studies based on geography and literature-based literary geography research, the former represented by Liang Qichao's "The Relationship between Geography and Civilization" (1902), and the latter represented by Liu Shipei's "The Difference between Northern and Southern Literature" (1905). In the middle of the 20th century, for various reasons, the geographical study of Chinese literature produced very little results. Jin Kemu's article "The Geographical Research Assumption of Literature and Art" published in the 4th issue of "Reading" in 1986 is the earliest paper that systematically puts forward the concept of literary geography research in the new period. He believes that our literary and art research is accustomed to the linear exploration of history and lacks multi-dimensional research that is mainly aspect-based, three-dimensional, and time-space-integrated. The study of literary and artistic geography proposed by him includes four aspects: one is distribution, the second is the trajectory, the third is the fixed point, and the fourth is the dissemination - the geographical distribution of literature and art, the circulation path of writers' works, genres and styles, the concentrated development location of literary and artistic genres, and the spread of different art genres. Since the beginning of the 21st century, Yang Yi has put forward four main questions about literary geography in "Redrawing the Map of Chinese Literature and the Ethnological and Geographical Issues of Chinese Literature" (Literary Review, No. 3, 2005): first, the problem of regional culture, second, the birthplace, eunuch and exile of writers, third, the migration of large families, and fourth, the transfer of cultural centers. In 2006, Mei Xinlin put forward specific theoretical concepts, system construction and research methods for the geographical research of Chinese literature in the introduction to the geographical form and evolution of Chinese literature. Zou Jianjun, a scholar engaged in the study of comparative literature and world literature, proposed eight questions and ten keywords in the study of literary geography in "Main Areas of Literary Geography Research" (World Literature Review, No. 1, 2009) and "Ten Keywords of Literary Geography Criticism" (Journal of Anhui University, No. 2, 2010), respectively, and distinguished and defined several concepts related to literary geography that are also easily confused. For example, the connection and difference between literary geography and regional culture research, spatial criticism, ecological environment criticism, etc. Chinese literary geography has made considerable achievements in the study of ancient literature, but the geographical research of modern and contemporary Chinese literature is still in the exploratory stage. In the mid-to-late 90s of the 20th century, Yan Jiayan's "Twentieth Century Chinese Literature and Regional Culture Series" and Fan Xing's "Contemporary Literature and Regional Culture" (Central China Normal University Press, 1997) mainly studied Chinese modern and contemporary literature from the perspective of regional culture, but it already involved the issue of literary geography. The concept of "western literature" proposed in the mid-80s of the 20th century itself contains the awakening of literary geography (region) consciousness, but the early study of western literature mainly cuts from the perspective of regional culture, emphasizing the "cultural" characteristics of western literature rather than "geographical" characteristics. Since the 80s of the 20th century, several monographs on western literature have dealt with the geographical issues of western literature in some chapters, especially Xiao Yunru's definition of authorship and description of natural landscape in the second chapter of "Literature in Western China" "The Characteristics of Natural and Human Geography of Western China and Its Impact on Culture and Art" and Li Xingyang in the second and third chapters of "History of Contemporary Fiction in Western China". Yu Bin was an early scholar who defined western literature from the perspective of geography at the macro level, and he defined the geographical scope of western literature from three aspects: ethnic geography, physical geography and cultural geography in On Western Chinese Literature (Contemporary Literary and Art Trends, No. 5, 1986). Li Jingru "Local Characteristics in the Creation of Zhang Xianliang's Novels" (Journal of Guyuan Teachers' College, No. 2, 1985), believes that the distinctive local characteristics of Zhang Xianliang's novels are reflected in his ability to express the natural scenes, local scenery and other geographical environments that he is familiar with and love, and also thanks to the language (dialect) rich in the rich local life atmosphere of the northwest. Yan Chunjun keenly captures the "geography" problem in Zhang Chengzhi's work in Zhang Chengzhi and His Geographical Literature (Literary Review, No. 1, 1987), and makes a detailed analysis of various "geographical" factors in his works. Gulinar Wufuli, in "The Human Geography Perspective of Uyghur Literary Research" (Journal of Kashgar Normal University, No. 5, 2007), uses Ahmat Ziyi's narrative poem "Rebiya and Saidin" as an example to analyze the regional cultural color that the author's regional cultural awareness of Kashgar gives to his works. Liang Lu has made a very detailed investigation and analysis of the characteristics, causes and changes of the spatial distribution and regional differences of contemporary Shaanxi literature from the perspective and research methods of human geographers, 3954760 due to her interdisciplinary vision and the use of charts and statistical methods, it provides us with a lot of methodological enlightenment for studying western literature from the perspective of geography. Through the above combing of the current research situation, it can be seen that the use of the perspective and method of literary geography to study the literature of western China, although it has a history of more than 20 years, is still in the stage of exploration. Taking the literature of the western region with geographical similarity as a whole, using the theory and research methods of literary geography, and conducting comprehensive and systematic research, it is helpful for us to re-examine the spatial dimension that has been ignored by literary history, and expand and enrich the content of literary research beyond the linear time of literary history. Therefore, the research significance of this topic not only lies in the expansion of the object and content of the study of contemporary Chinese literature, but also provides us with a new theoretical perspective and research method to try. II. The Main Content and Basic Perspectives of Western Literary Geography As the spatial dimension of literary research, literary geography is an indispensable aspect of the study of literary history; The unique geographical situation of western China (including physical geography and human geography) is an important factor affecting the overall style of western literature. The historical change in the geographical distribution of writers will bring about the shift of literary centers. After the founding of New China, the westward expansion of a large number of writers and intellectuals narrowed the gap between Chinese literature in the 20th century, thus preparing a talent team for the rise of western literature in the new period; National characteristics and dialect characteristics are also unique elements endowed by western geography to western literature. (1) The Great Geographical Discoveries of the West and the Rise of Western Literature Although the western part of ancient China had a long history of folk literature and brilliant border poetry, compared with the Central Plains, the development of western literature showed an uneven nature over time. Looking back at the history of Western literature, one of the important laws is that the prosperity of Western literature is often accompanied by the great discoveries of Western geography, which is particularly evident in the Biansai poems of the Tang Dynasty. For Western Chinese literature in the 20th century, its four epoch-making stages of development are all related to the great geographical discoveries of Western China. First, at the end of the 19th century, foreign explorers such as Sven Hedin, Langdon Warner, Kozlov and other expeditions and investigations, their research and travelogues, presented to the world a mysterious and exotic west, thus attracting a group of Chinese and foreign people to draw inspiration from literature. Second, during the War of Resistance Against Japanese Aggression and the War of Liberation in the thirties and forties of the 20th century, a large number of writers and intellectuals came to the west to escape the war or the need for work, and wrote down a small number of popular travelogues and diaries in the west, such as Fan Changjiang's "Northwest Corner of China" and "Plug Upward", Mao Dun's "Northwest Journey", and Gu Jiegang's "Diary of Northwest Investigation". Third, writers who came to the west in the 50s of the 20th century who were assigned by the state or volunteered to support the border presented us with a vast and rich west, such as Wen Jie's "Pastoral Songs of the Tianshan Mountains" and Li Ji's "Yumen Poems". Fourth, the "rightists" who were exiled to the west in the late 50s of the 20th century because of the "anti-rightist movement" and the intellectuals who came to the west during the "Cultural Revolution" because of the "movement to go to the mountains and go to the countryside" to cut the queue, they have lived in the west for a long time, and the natural and cultural landscapes of the west constitute their inexhaustible literary source since the 80s; And the "cultural fever" after the mid-80s once again made people discover the poor and magical west. (2) The geographical distribution of writers in the west Literary geography is the integration of literature and geography, and writers are the intermediaries and links between people and land, the literary world and the real world, so to study the literary geography of a region, we must first examine the geographical distribution of its writers. Here we have to examine two issues: First, the question of the writer's origin. From an individual point of view, examining the origin of a writer can understand the initial formation of a writer's literary temperament and the relationship between it and the overall literary style of his residence, and then explain the impact of changes in geographical space on the writer's style, for example, we can consider the influence of the western experience of writers such as Wang Meng, Zhang Xianliang, and Changyao on their creative style; The origin of the writer group can explain the spatial movement and change of the literary atmosphere due to the passage of time, such as the 20th century Chinese western literature, the proportion of local writers and immigrant writers has changed greatly. The increase in immigrant writers and the changes brought about by local literature belong to the category of spatial geography. The second is the movement of writers and the transfer of literary centers. Before the outbreak of the Anti-Japanese War, there were very few famous and surnamed local writers in the history of modern literature, and during the Anti-Japanese War, Yan'an, as a cultural center, attracted a huge group of writers, which played a great role in the development of western literature after the war. After the founding of New China, many writers came to the west through state distribution, support for the west, labor reform and exile, and the insertion of educated youth, laying a talent foundation for the rise of western literature in the 80s. More importantly, driven by immigrant writers, the growth of local writers has enabled western literature to continue and maintain vitality for a long time, thus forming a Chinese literary map that is completely different from before the founding of New China. (3) The influence of the western geographical landscape on the western literatureThe influence of geography on literature is realized through the intermediary link of the writer. It is directly manifested as geography provides a representation object and material for literature, and indirectly as an influence on the writer's aesthetic style and work style, and then affects the overall style and appearance of literature in a region. To explain the influence of the special geographical environment of the west on the literature of the west, we must first understand the unique geographical environment of the west. The western part is located in the first step (Qinghai-Tibet Plateau) and most of the second ladder in China's topography (the Inner Mongolia Plateau, the west and north of the Loess Plateau and the vast hinterland of Xinjiang), in a nutshell, the natural environment and human environment in the west have the following characteristics: the terrain is high, the climate is arid and cold, and the terrain is mostly plateau mountains and Gobi deserts; backward production and lack of material; There are many ethnic groups and sparse populations; Cultural diversity and symbiosis, how ancient the heritage. This unique geographical landscape first gave Western literature a unique imagery: icebergs, loess, grasslands, flocks, forests, Gobi, horses, flying eagles, long rivers... Imagine Zhang Chengzhi, Zhang Xianliang, Jia Pingwo, Lu Yao, Changyao, Zhou Tao, whose works all illuminate people's eyes with their distinctive western landscapes; Secondly, it is also a source of inspiration for writers. Not to mention the spiritual nurturing of Western geography for native writers born in Sri Lanka, even those exiled or labor camp writers who were passers-by all lamented the inspiration that this magical land of the West gave them. Wang Meng said of the creation of "Eye of the Night", "As for Xinjiang, the mountains and lakes there gave me the motivation to write like this, but maybe there is another scenery in the frontier, vast and vast, lonely as iron... The soft Wehar made my imagination of the frontier intimate, "The life in Xinjiang and the life in Yili are my precious treasures, and comparing it with Beijing is an important source and feature of inspiration for this author's novel." I won't let go of my unique creative capital," 3954761. The influence of the geographical landscape of the west on the overall style of western literature is realized through the shaping of the individual style of writers. What we want to investigate here is the style characteristics of local writers, and the style changes after immigrant writers moved in. The style of western literature is found in contrast, and the Ming dynasty poet Tang Shunzhi said that "the voice of the northwest is generous, and the tone of the southeast is gentle" (Preface to the Collected Poems of Dongchuanzi). The modern scholar Liu Shipei not only distinguishes the different styles of literature in the north and the south in "The Difference between the Sons of the North and the South", but also analyzes the relationship between these different styles and local customs: "The land of the mountain country, the land is barren, hindered by traffic, and the people in the middle of the life advocate practicality, cultivate themselves, and have the style of perseverance." The land of Ze country, the soil is oint, convenient for transportation, and the people who live in it advocate nothingness, lively and enterprising, and have a unique style of leaving the world. 3954762 overall style of Western literature, in short, masculinity or "tragic," it contains elements such as desolation, roughness, thickness, pathos, and majesty. The formation of this style is not only related to the harsh natural environment of the west, but also the result of the magical traditional culture of the west and the colorful customs of various ethnic groups. (4) The influence of multi-ethnic population geography on western literatureThe western region is the region with the largest number of ethnic minorities in China, and as the elements of human geography, the influence of ethnicity and population on western literature is mainly reflected in: First, in terms of artistic style, the intermingling and interpenetration of literature among various ethnic groups in the western region leads to the mixing and diversity of literature; The second is the expression of national customs and exotic atmosphere in the content of the work. For the native writers of the west, the mutual influence between the literature of various ethnic groups is subtle and imperceptible, but for those writers who go to the west to be exiled or re-educated through labor, this influence is obvious. Wang Meng has lived in Xinjiang for nearly 20 years, and the life, customs, culture and language of various ethnic minorities in Xinjiang have influenced him in many ways. Most importantly, Wang Meng studied Uighur assiduously and had a direct impact on his creation, and he wrote in the "In Erie" series of novels "Oh, Muhammad Ahmed" that once after three rounds of drinking, the protagonist of the novel, Muhammad Ahmed, sang loudly: After I die, where will you bury me after I die? Buried by the avenue? Oh, I don't want to bury myself on the side of the avenue, where people come and go, how noisy it is. Buried in the Gobi? Oh, I don't want to bury myself in the Gobi, where the sky is high and the earth is wide, how desolate it is. 3954763 this lyric was translated by Wang Meng. He also said this: The protagonist I write is not perfect, and even has indecent nicknames, however, I emotionally write about its kindness, intelligence, helplessness, the encounter in the "Cultural Revolution", I write about the bittersweet and bitter of the little people, write about their yin and yang, their wishes, love and dreams. Especially the dialogue in the novel, I completely conceived it in Uyghur and then translated it into Chinese. I did not cut the soil trowels in vain by the Erie River at the foot of the Tianshan Mountain, I did not eat the naan and vegetables of this land in vain, eight thousand miles apart, and as soon as I grabbed a pen, I walked among them again. 3954764 I would like to emphasize here that Wang Meng's statement that the dialogues in these novels are first conceived in Uighur and then written in Chinese translation, fully illustrating that the mutual influence of various ethnic literature is sometimes particularly microscopic, but it does exist, which is just one example of the mutual influence between languages. (5) Language geography and western literary language have unique regional characteristics, and there are obvious regional differences in vocabulary and phonetics. Although the "west" defined here does not have a unified dialect, most of the area belongs to the northwest official dialect area of the northern dialect area, coupled with the interaction between the Mongolian, Tibetan, Uighur and other minority languages and their various ethnic languages in the region, so that the language of western literature has distinct regional characteristics and national characteristics.（AI翻译）