共在与外展--论徐则臣《北上》的“准时间性”

Exposition and Coexistence:on Quasi-Temporality of Xu Zechen’s Northward

徐则臣的《北上》甫一出版便引起广泛讨论。以往论者着重阐发了《北上》中的“时间性”或“空间性”,而对处于文本核心的“准时间性”着墨较少。所谓“准时间性”,是变动与稳固的综合,在文学作品中,则显现为叙述逻辑与主观意图之间的颉颃。《北上》的物象攫取与结构铺排,都被纳入时间与反时间的张力之中,呈现出悖反的秩序。准时间性与“外展”“共在”等思想观念形成共振,一同指向了文本背后的决定因素:书写的技术属性。《北上》以“运河”意象指涉文学的技术本质,使其并不仅是追溯历史或反映现实之作,也是一部具有复杂自指性的“元小说”。

Xu Zechen’s Northward was widely discussed as soon as it was published.In the past,the critics focused on the temporality or spatiality of Northward,and paid less attention to the quasi-temporality which is fundamental issue of the novel.The so-called“quasi-temporality”is the synthesis of variability and stability.In literary works,it appears as a struggle between narrative logic and subjective intention.The selecting of objects and the arrangement of structures in Northward are all incorporated into the tension between time and anti-time.Quasi-temporality resonates with ideas such as“exposition”and“co existence”,which together point to the determining factor behind the text:the technical nature of writing.Northward refers to the technical essence of literature with the image of“canal”,which makes it not only a work that traces history or reflects reality,but also a“meta-fiction”with complex self-referentiality.