In the literary world, youth literature has long stirred considerable debate. The emergence and growth of youth literature writers first gained the recognition of the market and the devotion of teenagers. This commercialized literary production pattern is different from the traditional pattern. Current youth literature writers have direct contact with publishing houses and planners; through market-oriented campaigns, they face their readers directly. This to some extent challenges mainstream literature and in turn intensifies the assessment of youth literature.

In fact, youth literature is not incompatible with mainstream literature. With the prevailing mass consumption culture today, literary publishing can hardly operate without its market. The emergence of youth literature and its development is an established fact. An increasing number of literary critics are paying close attention to such works and 2007 seems to be the reconciliation year between the mainstream literary world and youth literature writers. Many new generation writers have taken leading positions in the Provincial Writers' Association, and the China Writers' Association has accepted membership applications from numerous post-1980s writers, including the well-known youth literature writer Guo Jingming. Meanwhile, a novel called Oath Bird by Zhang Yueran was on the 2006 Annual Chinese Fiction List, which was announced in March 2007. It seems to symbolize the praise of mainstream critics for youth literature writers.

Youth literature simply needed time to develop. As youth literature writers grow older and gain experience and their readers develop new interests, youth literature will inevitably become more refined. Although youth literature books rise with the support of the market, eventually literature has to rely on its content. Therefore, whether youth literature writers or other writers, only by writing works that combine life and art can they win readers' permanent affection.

(Translated LIU CHUNYU)