狐狸的叫聲：左派「進步」話語政治中的路翎創作

Calls of the Fox: Lu Ling's Writing in the Leftist “Progressive” Discursive Politics

路翎（1923-1994），四十年代「國統區」代表性作家，主要以小說揚名載入文學史冊，著重描寫人物「異樣」的內心世界。1955年因「胡風反革命集團案」入獄，關押期間身心崩解。八十年代初以詩作「復出」，受到肯定的同時也經常被指為「美化現實」，晚年累計約五百五十萬字的十餘部中、長篇小說則無處發表，少數讀過部分內容的研究者多半表示只是重複毛時代的教條，「一生兩世」，昔日的天才作家如今只能一再覆誦語境相似的過時頌歌。本文嘗試對詩人與詩的「落後」提出不同看法。「傷痕文學」當令的年代，路翎繼續說述社會主義理想，在「不信」的時代主調中表述「相信」，在紛紛「控訴」的巨大聲量中如此節制。這樣一個遭際「酷烈」的創作者，本有雄厚的「政治受難資本」供其言詮，但路翎拒絕戲劇化的陳述，不以個人苦難作為重回文學道路的通行證，在他節制有度乃至時現漠然的敘述姿態裡，呈現出另種「倖存者」的身分意識。我認為路翎並非不述說苦難，也非美化苦難，而是盡其所能地選擇了另種呈現苦難迎對生活的敘述。 As a representative writer of the “Kuomintang District” in the 1940s, Lu Ling (1923-1994) is renowned in Chinese literary history for his novels that focus on the “strange” interior of his characters. While imprisoned in 1955 due to the case of “Hu Feng Counterrevolutionary Clique,” he had a nervous breakdown. In the 1980s, Lu Ling “returned” with his poetry, which was well received but also considered as “embellishing the reality.” The novellas and novels written in his later years could not find a means to publishing. According to few critics who have read parts of those unpublished works, they simply repeat the orthodoxies of Mao's era. It's declared that the once talented writer was now reduced to repeating again and again those obsolete eulogies in a similar context. This essay attempts to provide a different perspective on the “backwardness” of the poet Lu Ling and his poems. When the “Scar Literature” was in season, Lu Ling kept articulating socialist ideals—he enunciated “belief” in the epochal tune of “disbelief,” and remained reserved within the roar of “accusation.” A writer who had experienced such “brutality,” in his own right, would have been able to capitalize the rich “political suffering” for speech and interpretation. Lu Ling nevertheless refused making dramatic statements or appropriating one's own misery as a warrant for returning to the path of literature. In his reserved—and at times disinterested—posture of narration, Lu Ling demonstrated an identity consciousness as an alternative “survivor.” Hence I argue that Lu Ling neither verbalized nor embellished suffering; rather, he strived for an alternative narrative to reveal suffering and confront life.