村上春树文学的“战争观”:“一滴雨水的历史”——从“埋猫”到“猫的消失”

Haruki Murakami’s“View of War”:“The History of a Drop of Rain”:From“Burying the Cat”to“the Cat Disappearing”

多年来学界对村上春树文学的“战争观”各抒己见,争论不休。村上春树《弃猫》的登场赢来了解决纷争的最佳契机,因为这部自传体散文从不同层面为我们解读其不同时期作品中的反战主题提供了有力证据。本文从“猫”的隐喻切入,在整体剖析村上小说的反战主题后发现,村上在表现形式上不同于“战后文学”旗手大江健三郎,但在反叛“天皇”文化和批判国粹主义的叙事主题上,他们在深层处相通,都是通过“弑父”的隐喻,颠覆旧体制重构新体制。但其中又蕴含着本质的不同:大江仅在现实世界揭示反战主题,而村上是在现实和非现实两个层面上揭露战争的“罪”与“苦”。村上以“一滴雨水的历史”之创作理念,明确宣告其与“战后文学”不同的世界观。

The academic community has long argued about Haruki Murakami's“view of war”in literature.The best chance to settle the differences is in his most recent work“Abandoning a Cat”,since this autobiographical essay provides considerable evidence for readers to understand anti-war themes throughout his works in different periods and from varied perspectives.This article first explores the metaphor of“cat”and then examines Murakami's anti-war themes in his novels as a whole.Murakami is different from Kenzaburo Oe,the standard bearer of“postwar literature”,in the form of expression,but in the narrative themes of battling against the Japanese monarchy and criticizing populism,the two are profoundly connected:they both subvert the old system and reconstruct a new one by using the metaphor of patricide.However,there are some key differences:Murakami exposes the“sin”and“suffering”of war in both the real and non-real worlds,but Kenzaburo Oe exclusively displays anti-war themes in the real world.Murakami's creative philosophy of“the history of a drop of rain”plainly identifies his worldview as distinct from postwar literature.