徐訏晚年的一篇文章＜我的馬克思主義時代＞，提及他二十歲曾為共產黨信徒，到了二十七歲便真正?脫共產主義的枷鎖，結束了他的馬克思主義時代，走過馬克思主義時代的徐訏，在1954年以筆名「東方即白」出版《在文藝思想與文化政策中》一書，該書為徐訏最具代表性的文學批評論 ，對當時海外文藝產生重要影響。他以馬克思主義信徒過來人的背景，從文學和哲學的角度，以縝密的邏輯思維，批判毛澤東詞作＜沁園春＞的統治階級意識，及以＜在延安文藝座談會上的講話＞為中心的文藝政策，並且鑑於當時大陸文學的歌功頌德，和反共文學的幼稚貧乏，而以反共與文化為思想根基，立足於藝術創作的本體，建構「新個性主義」文學觀，強調創作者應有人格尊嚴的覺醒，認清文藝使命和工作尊嚴，並以人性與愛為出發點，創作反映時代真相的大眾文學。

　　　　　This paper is based on Xu Yu's important literary criticism "Between the Literature and Art Thought and the Literature and Art Policy" (Hong Kong: 1964). In this book, Xu Yu criticized the way the Communism controlled literators and literature. First, he showed the feudal thought in both Mao Tse-tung's traditional poem "Qin Yuan Chun", and Mao's talk at the literary and art symposium in Yan-an. Then he built up his literary theory of the New-personalism, step by step. Xu Yu though the base of his New-personalism is humanity and love what is literature and art could move people. So he emphasized literators must have independent individual, understand the honor and responsibility of themselves, and refused to be used by the politicians. Xu Yu's anti-communism literary opinions influenced overseas Chinese literators deeply then.