丰盈又浮泛的怀旧——由《北鸢》论及“文学的民国”

Rich and Superficial Nostalgia——A Study of “Literary Republic of China” from the Perspective of Beiyuan (The Northern Kite)

葛亮是当下文坛备受瞩目的新生力量,其创作兼有儒雅恬淡的古典质感和深沉厚重的现代思索,开辟了独属自己的一方天地。长篇小说《北鸢》于2016年面世,这是葛亮继《朱雀》之后在民国文学和历史书写领域的又一次探索。在这部小说中,葛亮勾勒出了一幅百态横生的民国时期风俗文化长卷,同时也进一步开阔了自身历史想象的空间和格局;另一方面,《北鸢》的创作也体现出浓郁的“民国怀旧”特质,使作品所建构的民国场域向“文学的民国”这一文化消费想象靠拢,以至于难掩面对复杂历史时过度温情的处理,以及“黄金时代”式的浮泛性和刻意感。

As a new writer of much concern in the literary circles,Ge Liang has opened up a unique world of his own by combining in his literary creation the elegance and tranquility of classical texture with the profound modern thinking.Published in 2016,the novel Beiyuan(The Northern Kite)is Ge Liang’s another exploration in the field of literature and history writing of the Republic of China after Zhuque(A Rosefinch).In this novel,Ge Liang has outlined a full-fledged scroll of customs and culture during the Republic of China,and has meanwhile further broadened the space and pattern of his own historical imagination.On the other hand,the creation of Beiyuan(The Northern Kite)is also reflective of the strong characteristic of“nostalgia for the Republic of China”,which makes the field of the Republic of China constructed by the work close to the imagination of“the literature of the Republic”as a cultural consumption,so it is hard to conceal the excessively warm treatment in the face of complex history as well as the superficial and deliberate sense of the“golden age”.