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先說小說。小說不是模仿著生活的世界。它自己就是生活，就是世界。
得過諾貝爾文學獎的帕慕克新近在哈佛大學著名的諾頓講座授課，他說“小說是第二生活”。讓讀者覺著“遇到並樂此不疲的虛構世界比現實世界還真實”，有一種“幻真的體驗”。這話有道理但不新鮮，《紅樓夢》太虛幻境那副有名的對聯就是這個意思，“假作真時真亦假，無為有處有還無”，曹雪芹說我這個《紅樓夢》就是虛構世界和現實世界的混淆，是我自個兒筆下造就的，因此“賈雨村（假語存）”而“甄士隱（真事隱）”——換言之，小說就是一個“假語”的世界，假語為虛，世界為構，所以我們常說小說是虛構的藝術。
不過我尤其喜歡“第二生活”這個講法。憑什麼貓有九命，人卻生死一線？上帝於是公平，說人命既脆弱，那就靠體驗多活幾回吧。體驗就是要造環境，你到江南看“山寺月中尋桂子，郡亭枕上看潮頭”是一種體驗，到漠北看“北風卷地白草折，胡天八月即飛雪”又是一種體驗；你“少年不識愁滋味，愛上層樓。愛上層樓，為賦新詞強說愁”是一種體驗，“而今識盡愁滋味，欲說還休。欲說還休，卻道天涼好個秋”又是一種體驗。