以“非虚构”虚构中国——何伟“中国三部曲”的文类特征

Inventing China with Non-fictional Writing:The Genre's Characteristic in Peter Hessler's “China Trilogy”

何伟的"中国三部曲"抛弃了平面化的情节叙事,转而强调书写"普通人自发构成的历史",意欲打开主体性的历史空间。"中国三部曲"以美式非虚构技法呈现出"中国"过去和现在的多重面向,以不同的结构方式讲述"中国"的故事,不论是"历史装置"本身无可避免的文学性,还是"普通人"作为"内面风景"的想象性颠倒的概念本身,都指向了由碎片化个体拼贴出的"真实中国"的某种"虚构"或"创意",名为"中国"的广大地域和其间的"历史"和"真实"被赋予了新的讲述形式。对于中国文坛刚刚兴起的非虚构写作风潮,何伟探求当代中国深层真实的写作方式为局限于社会学及人类学调查报告和知识分子文化乡愁的"中国式"非虚构创作提供了反思的维度和方向。

Peter Hessler’s“China Trilogy”emphasizes the writing about the history of ordinary people and opens the subjective historical space.Hessler has made China a diverse subject instead of an unchanged object.His writings represented the non-fictional writings’trend in today’s China,and can also be taken as a good example to review the non-fictional writings in China.The trilogy told stories about contemporary China with different structural ways.Although history as a device itself has its unavoidable literariness,and ordinary people as inner landscape being the reversed definition,they all pointed to the fiction or invention of real China which was collaged by fragmented individuals.And the vast space and the historical reality in the space have been presented in new narratives.