论陈忠实对柳青的“剥离”

A View of Chen Zhongshi's Division Away from Liu Qing

陈忠实深受柳青影响,但他在新时期的创作道路却是一个如他自己所说的与柳青深刻"剥离"的过程,并且在此过程中建立起自己的叙事个性。创作语境的不同是陈忠实与柳青"剥离"的原动力,但给他印象太深刻的《创业史》还是让他的这种"剥离"步履艰难。《白鹿原》是他的创作高峰,在那里他发现了能够调动他丰厚艺术库存的独特视角,完成了他写一本"死时可以垫棺作枕"巨著的夙愿,但其间也有一些不难发现的叙述漏洞。他的史诗情结,他对政治事件和乡村文化传统的重视,以及对传奇和神秘文化的兴趣,可以看做革命时代和后革命时代的角力在他叙述中的投影,这种写作既完成了他最后可以区别于他人的叙述模式,也暴露出一种宏大构思与有限手段间的紧张。

Chen Zhongshi, who was deeply influenced by Liu Qing, experienced a process of ＂dividing pro- foundly away＂ from the latter in his writing in the new era, as he claimed himself, and developed a narrative per- sonality of his own in this process. A different context of writing offered Chen an impulse for ＂dividing away＂, but the impressive Builder of New Life made his pace of ＂dividing away＂ slow and hard. The White Deer Plain marked the summit of his writing, in which he found an individual angle to drain his profound artistic stock and fulfilled his desire to have a great work as ＂the pillow to lie in the coffin＂. However, it is not difficult to find some leaks in nar- ration of the work. His epic complex, concern with political events and traditions of folk culture, and interest in legendary and mysterious cultures can be regarded as a projection of his wrestle in revolutionary and post-revolution- ary times, with which he completed his distinct mode of narration but exposed the tension between grand narration and limited devices.