先锋文学刊物《作家》先后于1999年4月号、5月号刊发十三位作家的“后先锋”小说与创作谈，提出“后先锋”概念。本文采用布尔迪厄的文化生产场域理论，从当代文学的生产传播体制角度出发研究此次文学期刊策划事件，意图通过政治、经济与文学三者之间的相互关系来还原《作家》“后先锋”专号的诞生始末。

九十年代，市场经济繁荣发展，政策资金“断奶”，文学失去轰动效应，文学期刊迫于生存开始市场化改革，当代“文学场”进入改革过渡阶段，期刊编辑获得“场域准入权”，以商业利益为目的的期刊策划行为成为重要改革手段。“后先锋”概念先由部分作家提出，后受《作家》主编宗仁发支持，最终成为极具目的性的期刊策划行为和文学事件，显示出这一时代文学作者、编辑对市场与商业社会的妥协。

政治不再直接干预文学，但仍居幕后引导文学评奖、文化及文学氛围。曾经的先锋作家“功成名就”纷纷“后撤”，新锐作家继承失落的先锋精神宣称自身与文学史的“断裂”，试图于几近完成的“文学场”开辟立身之地。“后先锋”成为“断裂”运动的延续，是“政治场”与“文学场”激烈碰撞的体现。

《作家》刊物及时任主编宗仁发均有很强的先锋文学趣味，他在接手刊物后强调读者意识并较多培养新锐作家，“后先锋”专号亦可视为是刊物“性格”惯性“滑动”的结果。

In April and May 1999, the avant-garde literary journal Writer successively published 13 novelists’ novels and review articles under the name of “post-avant-garde” — a new concept proposed by the editors of Writer. In this research article, this literary journal editing event is studied through Bourdieu’s cultural production field theory from the perspective of contemporary literature’s production and dissemination system, intending to restore the birth of the “post-avant-garde” special issue of Writer through the interrelationship between politics, economy and literature.

In the 1990s, the market economy was booming. Policy funds were “weaned”. Literature lost its sensational effect. In order to survive from the cruel competition, literary journals were forced to begin market-oriented reforms. The contemporary “literary field” entered the transitional stage of reforms, and journal editors gained the power to determine whether a new writer can enter the field. Journal editing for commercial interests also became an important means of reform. The concept of “post-avant-garde” was first put forward by some writers, and later supported by Zong Renfa, editor-in-chief of Writer, eventually became a very purposeful journal editing and literary event, showing the compromise of literary authors and editors to the market and business society in this era.

Politics no longer interfered with literature directly. But behind the scenes, it still guided the culture, literary awards and literary atmosphere. The former avant-garde pioneers retreated one after another, and the new writers inherited the lost pioneering spirit, proclaiming the break between them and the history of modern Chinese literature, trying to establish a new space in the nearly completed “literary field” for themselves. “Post-avant-garde” became the continuation of the “break” movement, and it was a manifestation of the fierce collision between the “political field” and the “literary field” in the late 1990s.

The Writer journal itself used to have a strong pioneering temperament. However, the editor-in-chief Zong Renfa also had a strong avant-garde literary interest. After he took over the journal, he emphasized that literary journal should be more aware of readers’ reading tastes and cultivate more cutting-edge writers. The “post-avant-garde” special issue can also be regarded as the result of the inertial sliding of the publication’s personality.