廢墟中的詩意救贖與時代密碼──論路內「追隨三部曲」

Poetic Redemption and Contemporary Implication in Ruins: On Lunei’s“The Following Trilogy”

中共建政以來，在國家政策領導下，文學作品裡不乏歌頌工業的題材。目前中國另有一批七○後、八○後作家，在作品裡也展現了工廠的特殊景觀，但其主題意涵則與主流的作品大異其趣。本文以路內的「追隨三部曲」為主，觀察作家如何展示工廠書寫所形塑的美學情調、所反映的社會實象。相較於其他作家，路內此類題材的特殊之處，一在於藉由聲響、氣味、遺物與工廠的互文，構築了詩意的「廢墟─精神」空間；二則是小說裡充斥了殘疾人，以及所謂「社會的癌細胞」等渣滓，世紀末的迷茫情緒，隱藏在文本敘事裡。路內如何在頹廢書寫裡，進行時代變遷的反思，從而展現其社會關懷，並形塑出一代人對往事的救贖、對當下的體察，以及對未來的警示？這是本文討論的主要議題。

Since the founding of the Communist Party of China, literature has often featured themes glorifying industry under the guidance of national policies. However, a group of post-1970s and -80s writers in China express a unique perspective on factory scenes in their works, deviating significantly from mainstream Realism. This article focuses on Lunei’s路內“The Following Trilogy”(Young Babylon, On the Trail of Her Travels, and Lost in Daicheng戴城) to observe how the writer, as a witness at the edge of an era, depicts the aesthetic ambiance shaped by factory narratives, thereby reflecting social reality. Compared to other writers, two features set Lunei’s works apart. First, through the intertextuality of sounds, smells, relics, and factories, a poetic“ruin-spirit”space is constructed. The novels are also characterized by the presence of disabled individuals and societal“cancer cells,”symbolizing the confusion and disillusionment of the turn of the century, which are subtly embedded in the narrative. How does Lunei construct the aesthetics of the ruins in the space of the factory? How does he reflect and inquire into the changes of the times in his decadent writing? How does he combine the conscious personal history with the unconscious writing of the times, so as to show his social concern and shape the generation’s redemption of the past, perception of the present, and warning for the future? These are several questions explored in this article.