贾平凹乡土书写的“规范”和“预谋”——兼谈文学的另一种“自由的可能”

On Jia Ping-ao's “Norms”and “Premeditation”in Home-Village Writing: Simultaneously Discussing Another “Possibility of Freedom”in Literature

贾平凹在《秦腔》、《古炉》等乡土小说中延续其一贯客观自然的写实主义风格和追求意境营构的审美倾向。这种"皈依"传统的写作模式在让我们摆脱当下物欲社会现实、获得相对精神自由的同时,也彰显了某种写作的困境和悖论:传统的"规范"和"预谋"会不由自主地使作家丧失对主体的真正自由及其生存活动的真正关切,从而冲淡严肃文学在价值重建中本该具有的积极力量和创造内涵。文学应以一种积极的自由面对世界,在批判中通往世界。

In the Shaanxi Opera, Ancient Furnace and other homevillage novels, Jia Pingao had been always in the continuation of his consistent objective naturerealism style and kept the pursuit of artistic conception aesthetic tenden cy. In the present social reality, this writing mode of beingconvertedtothetradition can let us get rid of material and relatively keep free spirit; meanwhile, it also reveals some writing predicament and paradox ： the real concerns of the traditional ＂norms＂ and ＂premediatation＂ cannot help make a writer lose the concerns of subject＇ s true freedom and its living activities. Therefore it can dilute the positive energy and create meaning of the serious literature in,the value reconstruction. Literature should face the world in an active freedom and goes toward the world in criticism.