萧红、迟子建这两位东北女性作家虽然存在于不同的历史时空语境中，但她们同样以深深扎根于东北大地的创作实践承传着萨满文化精神，“和而不同”地显现出独具风貌的地缘文化特色，可堪“对话”：在创作视野上，她们共同关注万物有灵的黑土地，但萧红是“审丑”式的祛魅批判，迟子建则是审美式的附魅讴歌；在审美风格上，她们都展现出一种复归原始自然的野性悲壮的生命强力，但萧红世界洋溢着一种酒神式个体毁灭的痛楚快感，迟子建世界则充溢着一种纵情地编织迷人梦境的日神式光明；在文本叙事上，她们都运用双声话语进行表达，但萧红以女性眼光与智性眼光相结合去透视，而迟子建则将母性眼光和生态眼光融合一起去展望；在创作思维上，她们都无法摆脱缘自原始惧感思维的死亡情结，但萧红秉持着一种“向死而生”的佛家式苦难意识，迟子建则汲取了“生死齐一”的道家式超然哲学。%As two women writers of Northeast China, Xiao Hong and Chi Zijian, though in different eras, both root in a writing practice about Chinese northeast culture in order to carry on the spirit of Shamanism. They show the unique geo-cultural characteristics with”heterogeneous isomorphism”, which can be called‘dialogue’ . In terms of creative vision, their common concern lies in the animism of the “black land”, however, Xiao Hong criticizes ugliness and Chi Zijian eulogizes goodness;in terms of the aesthetics style, they show a wild tragic vitality reverted to nature, but the former is filled with dionysian pain pleasure from individual destruction and the later is imbued with brightness of Sun God arbitrarily weaving fascinating dreams;in terms of the text narra-tive, it is expressed in the use of alliteration discourse by both, but Xiao Hong sees it through in the perspective of female childlike innocence and Chi Zijian of maternal one;and in terms of the creative ideas, they can not get rid of death complex from the original thinking, however, the former holds a Buddhist ‘Being-towards-death’ suffering consciousness and the later absorbs a Taoist ‘Being-with-death’transcendental philosophy.
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