从个人哀痛走向公共伤怀——论迟子建《世界上所有的夜晚》在艺术上的拓展

From Private Pathos to Public Sorrow: About the Aesthetic Characters of Chi Zijian's All the Nighst of the World

《世界上所有的夜晚》具有双重突围的效果。在文本之内,主人公突破了私人庭院的限制,在旅途之中将丧夫之痛融入到矿区小镇这一开阔空间中的公共伤痛之中,增强了情感的批判力量;在文本之外,迟子建突破了近些年来"女性文学"的私人化、身体化写作倾向,为女性写作注入了更具活力的公共性内涵。第一人称的叙述模式使得这两种突围具有了一种相互阐释、彼此促生的关系。但这双重突围还不彻底,作品在艺术上的许多断裂之处与此相关。

All the Nights of the Worlddemonstrates its double effects of breakthrough.Within of the text,the protagonist breaks down the limit of her private courtyard and fuses her bereavement of her husband into the public sorrows of the immense space of the small mining town,thus offering the novel more critical power of sentiments.Without the text,the author breaks through the private tendency of feminism writing,and breathes more public meanings into feminism writing.But the double breakthrough is not yet thorough and complete enough,and that is why there do exist many a fracture and split so as artistry is concerned.