《种谷记》与《创业史》分别是柳青实践毛泽东《在延安文艺座谈会上的讲话》的起点之作与标高之作，对其创作得失，接受者曾出现不周的分野，即：在写什么与怎样写上，柳青认同接受者的判断，成为柳青《创业史》写作实现突破的思想起点；在写得怎样与为什么这样写上，柳青等与严家炎的视界明显分歧，严家炎的着力点是“写得怎样”，柳青回答的是“怎样写”和“为什么这样写”，这一度成为“十七年”时期一桩重要的公案。在上世纪80年代后，严家炎的视野生成为既定视野，柳青的维护悄然淡出。实际上，《种谷记》与《创业史》接受视野间的“定”与“出”是“十七年”文学接受中极为普遍的接受现象，它反映出特定历史时期文学接受所遭遇的尴尬与历史的沉重，也彰显出朴素的文学道理。%Notes of Grain Growing and Builders of A New Life are respectively the starting point and the peak point of Liu Qing＇ s literary creation in line with the spirit of Mao Zedong＇ s Speech at Yan＇ an Forum on Literature of Builders of A New Life; on the other hand, there are different views between Liu Qing and Yah Jiayan on how it should be written and why it is written, for Yan Jiayan focuses on ＂how it is written＂, while Liu Qing aims to center upon ＂how to write＂ and ＂why it is written in this manner＂, which was once an important legal case in the ＂17 - year＂ period. After the 1980s, Yan Jiayan＇ s view has come to be a fixed one whereas Liu Qing＇ s insistence has quietly faded out. As a matter of fact, the phenomenon of ＂fixation＂ and ＂disappearance＂ in the reception studies on Notes of Grain Growing and Builders of A New Life is very common in the 17 -years period, which not only re- flects the embarrassment and historical heaviness in the specific period but also mirrors simple truths of literature.
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