《多谢不阅》图书市场越发繁荣，装帧越发精致，书店越发引人驻足，作家也从未像现在这样红遍全球，但真正的文学却近乎绝迹。杜布拉夫卡假借一个被英美文学市场冷落的东欧人之口，一一吐槽当今文学世界的诸多乱象：

　　隔三差五就会横空出世的文学新星；被反反复复“重新定义”的文学；各显神通的身份政治书写；本末倒置的版权运营模式；宛如超市与咖啡馆结合体的书店；本质上与图书无关的书展；做派与作家无二的网红编辑；认为伊万娜·特朗普比布罗茨基更能“对祖国的政治形势做出鞭辟入里的分析”的媒体书评……文学失去了它的准入机制与评判标准，任何明星都可以在任何地方宣传他们的新书，任何一种负面评价都能被狡黠的市场拿来营利。

　　然而，最诡异的一点还是：在这个无比“民主”的全球化大市场上，其文化“商品”及创作要求，却总能让人想起我们的老朋友“社会主义现实主义”……

　　杜布拉夫卡·乌格雷西奇（DubravkaUgrešić，1949—2023），克罗地亚裔荷兰籍作家，出生于前南斯拉夫，在萨格勒布大学就读期间，主修俄语文学及比较文学，并开始文学创作，毕业后留校从事文学理论研究工作，于1981年开始发表文学作品。1991年，南斯拉夫内战爆发，杜布拉夫卡因公开反对战争及民族主义，遭到国内舆论的猛烈攻击，于1993年被迫离开克罗地亚。此后，杜布拉夫卡先后在哈佛大学、哥伦比亚大学和柏林自由大学等多所大学任教。1996年定居荷兰阿姆斯特丹，从事小说创作、文化评论、翻译、文学研究及编辑出版等工作，致力于推动母语的开放性，维护文化的连续性。

　　著有《渡过意识之流》《谎言文化》《无条件投降博物馆》《多谢不阅》《疼痛部》《BabaYaga下了一个蛋》《狐狸》等作品，已被翻译为三十多种语言，获南斯拉夫NIN奖、奥地利国家欧洲文学奖、纽斯塔特国际文学奖，获国际布克奖提名，入围美国国家书评人协会奖短名单。

　　杜布拉夫卡坚持用塞尔维亚-克罗地亚语写作，但拒绝承认自己是克罗地亚作家，她将自己定义为“跨国界”或“后-国家”的写作者，并于2017年参与签署克罗地亚、塞尔维亚、波黑及黑山知识分子及公众人物联合发起的《共同语言宣言》。

　　何静芝，自由译者，译作有《暗笑》《鲸鱼之歌》《你走以后》《记忆小屋》等。

"Thanks for not reading" The book market is booming, the binding is more sophisticated, the bookstore is more attractive, the author has never been so popular in the world, but the real literature is almost extinct. Dubravka, in the guise of an Eastern European who has been left out of the literary market in the United States and Britain, makes fun of the many chaos in today's literary world:

Literary stars who pop up every once in a while; Literature that has been "redefined" over and over again; The writing of identity politics; Inverted copyright operation mode; A bookstore that looks like a supermarket and a cafe; Book fairs that are not essentially about books; Be an online celebrity editor who is no different from a writer; The media review that thinks Ivana Trump is better than Brodsky at "providing a penetrating analysis of the political situation in her home country"... Literature has lost its entry mechanism and criteria, any star can promote their new book anywhere, and any negative review can be profited by the sly market.

The weirdest thing, however, is that the cultural "goods" and creative requirements of this incredibly "democratic" global market are always reminiscent of our old friend "socialist realism"...

DubravkaUgre? IC (1949-2023), Croatian-Dutch writer, born in the former Yugoslavia, studied at the University of Zagreb, majored in Russian literature and comparative literature, and began to write literature, after graduation to engage in literary theory research work. He began publishing literary works in 1981. When the Yugoslav civil war broke out in 1991, DuBravka was forced to leave Croatia in 1993 due to a fierce domestic backlash for his outspoken opposition to the war and nationalism. Dubravka has since taught at Harvard University, Columbia University, and the Free University of Berlin. In 1996, he settled in Amsterdam, the Netherlands, where he is engaged in novel writing, cultural criticism, translation, literary research, editing and publishing, and is committed to promoting the openness of mother tongue and maintaining cultural continuity.

The author of "Through the Stream of Consciousness", "Culture of Lies", "Museum of Unconditional Surrender", "Thanks for not reading", "Department of Pain", "BabaYaga laid an egg", "Fox" and other works, has been translated into more than 30 languages, won the Yugoslav NIN Award, the Austrian National European Prize for Literature, the Neustadt International Prize for Literature, nominated for the International Booker Prize, Shortlisted for the National Society of Book Critics Award.

Dubravka insists on writing in Serbo-Croatian, but refuses to identify herself as a Croatian writer, defining herself as a "cross-border" or "post-national" writer, and in 2017 co-signed the "Common Language Declaration" jointly launched by Croatian, Serbian, Bosnia-Herzegovina and Montenegro-based intellectuals and public figures.

He Jingzhi is a freelance translator whose translations include "Laughter", "Whale Song", "After You Are Gone" and "Memory House".