论马华作家黎紫书《流俗地》的空间叙事

On the Spatial Narrative of Vulgar Land by Li Zishu,a Chinese Malaysian Writer

黎紫书是新生代马华作家中颇具代表性的一位,其小说创作多以暴力、死亡、恐怖、黑暗等元素为特征,擅于在阴郁逼仄的空间里尽情描摹世俗人生的百态欲望和生存焦虑。黎紫书长篇新作《流俗地》一反其在《告别的年代》中的后设技巧,回归写实主义创作路径,但在借由空间叙事来传递人情世情的方面显然保持了某种延续性。本文试图从《流俗地》中的多维空间描写入手对小说进行释义,分析黎紫书在空间叙事背后对成长、两性、人性的反思,及其对马华社会华人境遇、伦理观念与族群历史的曲折探索,并从文学史的角度对《流俗地》的价值进行评断。

Li Zishu is a quite representative writer amongst Chinese Malaysian writers whose fiction is characterized by such elements as violence, death, terror and darkness and who is known for being able to depict all kinds of desire and living anxiety among common people in the depressive and narrow space. Unlike her The Era of Farewell, with its meta skills, her new novel, Vulgar Land, is a return to realist writing although there is continuity in its conveying of human and worldly emotions via a spatial narrative. This article then is an attempt to explicate the novel via the multi-dimensional space with an analysis of Li Zishu’s reflections on growing up, the sexes and humanity behind the spatial narrative as well as her circuitous exploration of the Chinese circumstances, ethical concepts and the history of the ethnic group in Chinese Malaysian society apart from commenting on the value of the novel from a literary-historical view.