碉楼之下——论张翎《金山》中的留守女人形象

Under the Barbican—On the Image of Left-Behind Women in Zhang Ling’s Gold Mountain

《金山》是加拿大华人作家张翎的长篇小说,以坚实的笔触深度还原了早期华工漂泊海外、艰难生存的血泪历史。除了书写移民男性的金山故事之外,张翎《金山》还呈现了一幅真实可感、细腻动人的留守女人群像。本文即通过文本细读,对方家碉楼之下命途各异、各具代表的三代留守女人——麦氏、六指与区氏的人物形象进行分析,管窥留守女人们独特的生存状态与无言挣扎,并通过与同类作品的对比,指出张翎《金山》的独特贡献即在于除了书写方得法们漂泊海外、勇闯金山的“创业史”之外,也将关注的目光投射于那些如背景般存在的留守女人,赋予这一备受忽视的女性群体以动人情感、丰实血肉,使被遮蔽的女性心声重新浮出历史地表。

Gold Mountain is a novel written by Zhang Ling, a Canadian Chinese writer. With a solid stroke, it deeply restores the bloody and tearful history of the early Chinese workers who drifted overseas and struggled to survive. In addition to the Jinshan story of immigrant men, Zhang Ling’s Gold Mountain also presents a realistic, delicate and moving group of left-behind women. Through close reading of the text, this paper analyzes the characters of three generations of left-behind women with different destinies and representatives under the Barbican—Mai, Liuzhi and Qu, and has a glimpse of the unique living state and wordless struggle of the left-behind women. Through the comparison with similar works, it is pointed out that the unique contribution of Zhang Ling’s Gold Mountain lies in that in addition to writing the “entrepreneurial history” of Fang Defa’s wandering overseas and bravely entering Jinshan, it also focuses on those left-behind women who exist like the background, endows this blurred female group with moving emotion and abundant flesh and blood, and makes the hidden female voice reappear on the surface of history.