从意识流看王蒙的“沉默”和政治情怀——读《海的梦》兼论王蒙新时期意识流作品

An Interpretation of A Dream of the Sea and A Discussion on Wang Meng's Works of Stream-of-Consciousness

20世纪80年代初,王蒙重回文学界,以意识流的手法在人们眼前一亮。但80年代初的文学场并没有给文学自身留出足够的话语空间,而是处在意识形态纷争的阶段,形成了"伤痕文学"的创作热潮和"去政治化"的文艺思潮。同时占据政治权力的一方又对此充满了警惕和排斥。对于怀有忠诚革命信念的王蒙来说,也不可能完全置身事外。《海的梦》抒发了经受"文革"迫害的知识分子缪可言在新时期的内心感触,意识流的手法将这种感触刻画得浓郁而含混。也就是说,以《海的梦》为代表的意识流作品不只是一种文艺形式,更代表了王蒙的一种政治话语模式——"沉默",他将所有的痛苦揉碎、潜藏在飘荡的文字里,以一种温和、沉闷的态度来表达自己的政治话语,并因此而获得到了文学场的重要位置。

In the early 1980s, Wang Meng was back in the literary world and appeared noticeable due to his use of some stream-of-consciousness techniques in his works. Nevertheless, because of the inadequate space of dis- course for literature itself in the then literary arena, there arose the creative boom of ＂traumatic literature＂ and the ＂de-political＂ literature ideology in the phase of ideological disputes ; while the party in possession of political pow- er was fully alert and repulsive towards such a conduct in the literary world. For Wang Meng, a writer loyal to his revolutionary belief, it is impossible for him to be exclusive from such a trend of literary thought at that time. While A Dream of the Sea portrays the inner feelings of Miao Keyan--an intellectual persecuted during the ＂Great Cultural Revolution＂--in the new era, the feelings are pictured poignantly but ambiguously by virtue of the stream of con- sciousness. That is to say, works of stream-of-consciousness represented by A Dream of the Sea are not only a liter- ary form but also a political discourse pattern of Wang Meng--＂ silence＂, that is, Wang Meng has managed to crumble and conceal all his pain in his words and to express his political discourse in a mild and depressed manner, thereby having occupied an important position in the literary world.