日本震灾后文学中的“3·11”书写:川上弘美《神明2011》中的新“日常”

New “Routine” in Kawakami Hiromi’s God 2011

2011年的东日本大地震(即"3·11"大地震)和福岛核泄漏事故催生了以书写核泄漏危机为主的震灾后文学,深刻影响了当代日本文学。作为其开端,川上弘美的作品《神明2011》在并置震灾前后两种"日常"的基础上,以对核泄漏的可视化呈现,实现了对震灾记忆的保存以及对近代以来"人类=神明"这一思维模式的批判。同时,小说关注在新"日常"下,被虚构的日本共同体所遮蔽的灾区留守群体于绝望中探寻自救的现实。《神明2011》不仅是日本文学界抵制官方"3·11"叙事、保存震灾记忆的起点,更是日本文学探寻近代文学功能回归、重返现实主义的尝试。

The Great East Japan Earthquake in 2011 and Fukushima Daiichi nuclear disaster that began on March 11, 2011 – now infamously known as "3·11" – brought about a wave of Post-Fukushima-Literature which has altered the landscape of modern Japanese literature. Among the first works that write about the disaster is Kawakami Hiromi’s novel, God 2011. By narrating the "Routine" before and after the earthquake, the novel helps record the memories of the disaster and criticizes the thinking that human beings are equal with god. Meanwhile, by focusing on the new "Routine", the novel captures the reality of people saving themselves in despair in the disaster area, which has been covered by the fabricated concept of Japanese Community. For Japanese literature, God 2011 is not only a start to resist the official recounting of "3·11" and preserve the disaster memories, but also an attempt to return to realism.