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scroll 0 1 那是浩浩荡荡五四运动一般地冲了来，把每一个人的声音都变了它的声音，前后左右呼啸嘁嚓的都是自己的声音，人一开口就震惊于自己的声音的深宏远大；又像在初睡醒的时候听见人向你说话，不大知道是自己说的还是人家说的，感到模糊的恐怖。
早在民国时代，有人问张爱玲，能否写无产阶级的故事，她甚是不屑，说自己不熟悉，“不会。要末只有阿妈她们的事，我稍微知道一点。”后来明白这些旧家庭的老妈子也不能算作无产阶级，她也就不打算写“无产阶级”的事了。
上世纪40年代左翼文学风行时，张爱玲曾对朋友说，她感到一种压力，一种非要她写什么的压力。那是当时作家都面临的必须趋同的政治压力。
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不穿呆板的衣服
1949年以后，张爱玲以往的作品被归入小资产阶级类，不过，她也被列为可以“争取”的对象。
1950年，她不得不开始尝试写“无产阶级”的故事，她写出长篇小说《十八春》。小说结尾，男女主人公投身了革命，在延安再度相逢，此书在上海引起轰动。尽管她生硬地努力向新政权靠拢，书中的一句话还是透漏了她的敏锐与清醒：“政治决定一切。你不管政治，政治要找上你。”
半年后，张爱玲写出了《小艾》。她原本构思的小艾，为了脱离底层的卑微身份，曾主动挑逗席家少爷。与排字工人结婚后，小艾一心想发财，待到“解放”后，小艾才发现，发财是没有指望的。
张爱玲很清楚，在当时的“新中国”，现实中真实的人性，是不能写的。所以后来她改出了一个“无产阶级故事”：“旧社会”的婢女小艾，被席家老爷强奸，又被姨太太毒打至流产，最后与排字工人结了婚，苦苦挣扎之后，小艾才等来了好世道：一个被“解放了”的“新中国”。小艾幻想着，自己将来的孩子，会处于“不知道是怎样一个幸福的世界”。
1950年，年轻的张爱玲被礼遇，应上海宣传部长夏衍之邀，她参加了上海第一届文艺代表大会。张爱玲身穿深灰色旗袍，外罩网眼绒线衫，虽然坐在后排，也未发言，但在五百多人几乎统一的蓝色和灰色海洋里，这副旧上海女人的普通打扮，还是使她成为“异数”。那时“新中国”最时髦的装束，男士皆着中山装，女士皆着列宁服。
不久，张爱玲被安排随上海文艺代表团到苏北农村参加“土 地改 革”。两个月的“深入生活”，使她非常苦恼，因为所闻所见，使她觉得自己无法“写英雄”：“一般所说时代‘纪念碑’式的作品，我是写不来的，也不打算尝试。”
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张爱玲：1952年的惊险一逃，保住了旗袍
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