Chapter 56 1995 "Song of Everlasting Regret"

Genre: Novel Author: Wang Anyi Release time: 1995 Wang Anyi, born in 1954, originally from Tong'an County, Fujian Province, was born in Nanjing. She is the second daughter of writer Ru Zhijuan. In 1955, he moved to Shanghai with his mother. He entered Huaihai Middle Road Primary School in 1961 and Xiangming Middle School in 1967. In 1970, he joined the team in Wuhe, Anhui. In 1972, he was admitted to the Art Troupe of Xuzhou District, Jiangsu Province. He played the cello in the band and participated in some creative activities. In 1976 began to publish works. In 1978, he was transferred to the "Children's Age" of Shanghai China Welfare Institute as an editor. In 1980, he entered the Literature Institute of the Chinese Writers Association to study.He has attracted attention for publishing a series of novels such as the short story "Rain, Rustle" ("Beijing Literature and Art" No. 6, 1980). In 1987, he was transferred to the creative studio of Shanghai Writers Association to engage in professional creation.He later served as a director of the Chinese Writers Association.Vice Chairman of Shanghai Writers Association.He is the author of a collection of short stories "Rain, Rustle", "Gone", "Dream of Prosperity on the Sea", "Sacred Altar", "Utopian Poetry", etc., and novels "69 Junior High School Students", "Old Taoist of the Yellow River", "Thirteen Chapters of Flowing Water", " Mini, Documentary and Fiction, etc.Among them, it won the National Excellent Short Story Award in 1981, and "Gone" won the National Excellent Novella Award in 1981, 1982, 1985, and 1986 respectively. His works have great influence at home and abroad.Won the Fifth Mao Dun Literature Award.

one "Looking at Shanghai from a commanding height, Shanghai's alleys are a spectacular sight. They are the same thing as the background of the city." This is the opening sentence of Wang Anyi's novel written in 1995.This sentence grabs all the readers who open it to a commanding height in Shanghai.So we can almost condescend together with Wang Anyi, and merge with Wang Anyi's gaze, so as to cover the whole Shanghai and look at Shanghai.So we first saw what Wang Anyi saw and felt what Wang Anyi felt: the sunlight in the daytime and the lights in the night made the raised dots and lines of Shanghai shine brightly, but "behind the light, there are large areas of darkness. , it is the alleys of Shanghai.”Alleys are the foundation of Shanghai, Shanghai would not be Shanghai without alleys.The alleys criss-cross, weaving into the pattern of Shanghai, the context of Shanghai, and the taste of Shanghai.It is in the most fundamental dark place, thickly cushioning the impression of Shanghai left in people's eyes. "The dots and lines of light in Shanghai are all supported by the darkness, and it lasts for decades. The brilliance of Eastern Paris is spread out with the darkness as the background, and it lasts for decades. "Wang Anyi's penetration of this point is equivalent to entering the bones of Shanghai.Therefore, to write about Shanghai, alleys must be present.But it’s not the alleys that are superficial, but really sinks to the bottom of the alleys, in the dark corners of the bricks and tiles.

So, almost without hesitation, we become a lens manipulated by Wang Anyi's Shanghai discourse.She quickly pushes us to the whole Shanghai, and it seems that the whole Shanghai is quickly facing us, surrounding us, and making us fall into a Shanghai in all directions.We began to fall more and more involuntarily into her dense Shanghai discourse, as if trapped in the dark nebula map of Shanghai alleys.At first they were silent, vast, vague, and dotted, but as they got closer to us, or we went deeper and deeper, they became clearer and clearer in the dark.First there are the circling pigeons, then the tiger skylights, the meticulously arranged tiles, the carefully carved window frames, the carefully cultivated rose flowers, the balcony, the clothes stuck overnight, the red brick walls with peeling cement, the steep Narrow wooden ladders, pavilions, shallow living rooms, courtyards, when you encounter a door that is not opened on weekdays, turn back, and pass through the most smoky stove - it not only cooks the necessary colors and aromas of Shanghai people's daily life, but also cooks Following the endless daily rumors, they floated out of the back door of the kitchen with the people coming in and out, and flowed to the back alley, wandering in the alleys of rice paddies.

Alleys are a symbol of the existence of the city of Shanghai, the foundation of the city, and the essence of life in Shanghai.Only the time passing through here can be condensed into the history of Shanghai; only the history flowing from here can exude the culture that only belongs to Shanghai.When writing about Shanghai, Wang Anyi writes about alleys preemptively in such a concise way, and definitely involves us in Shanghai's characters, stories, and time. two In the 1940s, the writer Zhang Ailing, who is still popular today, published Rumors in Shanghai and sold them well.Eileen Chang wrote in "Rumours" that I like Shanghainese.I write legends for Shanghainese.When writing about them, I always think of Shanghainese.She said: Shanghainese are traditional Chinese people who have been tempered by modern high-pressure life.The exchange of various abnormal products of old and new cultures may turn out to be unhealthy, but there is a strange wisdom here. "Rumor" is one of the crystallizations of this "strange wisdom".Rumors abound in the alleys at the bottom of the majestic Shanghai, which not only does not match the majesty floating above it, but also has the meaning of going its own way and fighting against etiquette.This makes rumors very folk, or very folk color and folk identity.

The reason why rumors are rumors must be secretly, privately, and locally.It is just like the local dialect in Shanghai, the breathy tone of the voice always seems a little rushed, a little urgent, noisy and earnest, as if harboring a little secret.It is not like the official history, which either promises everything or is replaced by it.It may be shameless and vulgar, but it is true, dutiful and frank.Even if it has whitewashing, fiction, and imagination, it is never sanctimonious, and I am the only one who respects me.It is long and short, true and false coexist, never rejects the truth, and even is the truth itself.It flows in the imagination, sublates in the flow, removes the waste and saves the essence, knowing the horsepower in a long way, and seeing people's hearts in a long time.Because it is invisible in the dark, there are no natural enemies that can completely deprive it of its existence.Because of the nature of "street gossip" in rumors, it will be "true spiritual text" as Eileen Chang said.Zhang Ailing likes to use rumors as legends, and it is this kind of spiritual writing that spreads literature, but literature has a long life.Therefore, the rumors seem to be fleeting, fleeting, and short-lived on the surface, but they are actually continuous and undercurrent.Wang Anyi feels the nature and significance of "rumors" in this way: "Although these rumors are not history, they also have the form of time. They are gradual and have cause and effect. These rumors are close to the skin and flesh, not like a pile of old papers. Cold and rigid, although full of fallacies, the fallacies are also perceptible fallacies." This may not be called Shanghai-style literature, but at least it is the foundation of Zhang-style literature's long life.

We once followed Wang Anyi's beginning, built a high-rise building, and then went through the hall and entered the room, reaching the most hidden folds in the alley as the background of Shanghai.However, if there are no rumors generated in it, then the Shanghai alley is a dead building.The alleys proved their own life and the vitality of their thoughts because of the rumors.Alleys are places where rumors are produced and circulated. Rumors are unrestrained in the alleys, bringing the air of the alleys to life, making the alleys lively and full of life.If there are no rumors in the alley, then the alley must be dead and superficial. Only by following the rumors will the alley be alive in the rumors.Rather than saying that Wang Anyi has the shadow of Zhang School literature, it is better to say that Wang Anyi, who was not originally from Shanghai, has fully understood this "strange wisdom" and continued this "strange wisdom".Only by grasping the rumors can we truly grasp the fleeting time in the alleys and the flying dust in Shanghai.Only the flying dust of a kind of history and culture can reach the real core of Shanghai, and only then can Shanghai get into our hearts.Because gossip is really "the spiritual nature of Shanghai alleys". "They are the thoughts of the Shanghai alleys." Shanghai belongs to the alleys, and the rumors of the alleys are the ordinary and eternal words of the city of Shanghai.

The cultural essence of Shanghai city is alleys, the essence of alley life is gossip, and the essence of gossip is female—the synonym of female here begins to have the smell of sexual politics. three The alleys are homely, and the rumors are homely. They are intertwined to form the smell and folk atmosphere of daily life in the city of Shanghai.Together with the small and simple stove in the Shikumen, it is noisy and busy, seemingly doing nothing, but it is omnipresent, solidly and densely filling the huge void of the city. Such a day can only be a woman's day.Past history has defined such homely life to women.The women are wriggling in the depths of the alley, setting off the towering and dazzling light spots and lights above the alley.Those lights belong to men.In people's eyes, they are only willing or easier to see the light and see the glitz. Women are in the dark. They are hidden by the huge shadow caused by the light. It is not easy for people to see them, or it is easier for them to ignore them.They are not ignored because they do not exist or because they are small, but because they are too vast and too natural.People see them with male eyes, and male eyes usually don't see them, or they don't bother to see them.Even if they are smart and ambitious, they are still clever, narrow-minded, unseemly, and out of place.They have nothing to do with cities that belong to men. Cities have always been the stage for male heroes, because they have long been imagined by men in the legends of history—that is, in the legends of male voices. The god arrow shot to death in the wilderness far from the city.Now we can understand how difficult it is to see the women shrouded in the huge shadow of the city, and how difficult it is to understand the essence of urban life. It really requires a unique eye and a unique root of wisdom.

This kind of insight and wisdom seems to be naturally possessed by female writers, and perhaps female writers do have an advantage in the sense of social gender in this regard.They have a deep understanding of the relationship between women and the city, and they know it well.More than half a century ago, Zhang Ailing said that when she wrote about Hong Kong (or any other Hong Kong), she used the eyes of Shanghainese.The so-called "Shanghaiese" vision is actually an urbanized—alley rumored—feminine—literary vision grasped by her.It is also the "Zhang Kan" that she named after herself.This "look" shows the individual, folk, and therefore female perspective, and it will never follow the crowd.Therefore, Eileen Chang does not consciously want to write about the city, she only wants to write about vivid people, but because of the relationship between women and the city, she often writes about the vicissitudes of life of women, but accidentally writes a The fate of the city is vicissitudes.

When she arrived at Shi Shuqing, she knew exactly what she was going to do and what she was going to write.She just wanted to "record Hong Kong with the text of the novel" and "keep a record for history".Xiangjiang Trilogy, which visualizes the ups and downs of a capital city. Her first book is "Her Name is Butterfly", which is the Hong Kong version of "Song of Everlasting Sorrow". It "highlights the symbol of the butterfly and alludes to Hong Kong's form".Only the female image of the protagonist Huang Deyun can successfully carry Shi Shuqing's heavy attempt.

When Wang Anyi wanted to write about Shanghai, his understanding of the essence of the city became clearer.She knows that "to write about Shanghai, the best representative is a woman."It is "very, very realistic stuff", "I wrote about the fate of a woman, but in fact this woman is just the spokesperson of the city, what I want to write is actually a story of a city".In other words, if you want to write a story about a city, its most appropriate image is a female image, "If you say that there are heroes in the story of Shanghai, they are."Women are truly the spokesmen for the city of Shanghai.

Four So far, Wang Qiyao, as a female image, has really come out immediately under the call of consciousness to write Shanghai history.City-alley-gossip-female, they constitute a series of symbols and metaphors of gender, culture, history and society...So Wang Qiyao came to us amidst the rumors in the alley.She is Wang Anyi's character who "evaporated from a complete appearance to an abstract regulation".That is to say, Wang Qiyao is Wang Anyi's concrete abstraction of Shanghai's history, and he restores this abstraction to the concrete image of literature.Therefore, "Wang Qiyao is the daughter of a typical Shanghai alley". "In Shanghai's alleys, in every door opening, there is Wang Qiyao reading and embroidering... There is always a little girl's mood in Shanghai's alleys, and the name of this mood is Wang Qiyao...Because of Wang Qiyao, Shanghai's alleys are unique. Because of this sentiment, there is pain in the Shanghai alley, and the name of this pain is also Wang Qiyao..." Wang Qiyao is not alone, her every move is full of symbols and metaphors.Therefore, her life is "Shanghai Life" (the name of the urban fashion magazine, Wang Qiyao's jade photo is on the second cover), her identity is "Miss Shanghai" (the city beauty pageant, Wang Qiyao is on the list), her title is "Shanghai Shuyuan" (how can Shanghai be considered a "city" without Shanghai Shuyuan), she is the alleys of Shanghai, the life of Shanghai, the history of Shanghai, the time of Shanghai, the smell of Shanghai, and the culture of Shanghai. This does seem a bit mysterious or strange: the city has always been masculine (or it has always belonged to men in the feeling and discourse of men, but this feeling and discourse have become both in history and in social life. The universal feeling and discourse of human beings) have left imprints on them, but this imprint has never been considered valuable and worthy of literary expression.Even if they broke the rules and showed it occasionally, it would be known to be an unpopular performance.Wang Anyi knows how he sees the city of Shanghai, and how he expresses such a city, and how different his views and writing methods are from others!But how unrestrained and carefree I am immersed in this kind of writing, how comfortable and natural I am, because "women naturally belong to the city", and naturally belong to this kind of "rumor".When she writes like this, she is a little laissez-faire and a little satisfied.In addition, she knew that the result of writing like this would be to sacrifice something.Otherwise, Wang Anyi would not have said in surprise after learning that she won the Mao Dun Award, the highest award for Chinese novels: "This award is actually a government award. In the past, the works selected were generally more mainstream, even if they were marginal. For historical novels, the evaluation criteria for novels mainly require an epic type. A work like this can be said to be a relatively standard epic type of work. But this time I wrote a work that is so far from the epic standard. I am also very surprised that I won the award." This is actually saying that Wang Anyi's writing method is a rumor/female way of writing, not an epic/masculine way of writing. within sight. But on the other hand, if it is true that male writers cannot theoretically conceive of coming to know a city in this way, then if they cannot write, or cannot write, or do not write, no one can write in this way.French female writer Hélène?Perhaps it is in this sense that Sisu said that women must write themselves, because this is creating a new kind of rebellious writing, and thus can write themselves into the history of literature.It can be seen from this that it is entirely possible that Wang Anyi wrote it because of this, and thus also included women in the history of the city.This of course means a kind of rewriting different from his, rewriting a city, rewriting a kind of history, and at the same time, creating a new epic paradigm in the rewriting, which is the meaning of her writing. (written by Lin Danya) Lin Danya, graduated from the Chinese Department of Xiamen University in 1983 and has been teaching here since then, engaged in literature teaching, research and writing.Author of "Contemporary Chinese Women's Literature History", "Chinese Women and Chinese Prose", "Imagination with Pain", "Thinking with Toes", "Women's Depth of Field" and other treatises and literary works, published "Chinese Women's Culture: From Tradition to Modernization" "From Tradition to Modernization" From Myth to Reality: Feminist Cultural Description", "A Narrative: About Same-sex Love and Hetero-Sex Love", "Deconstruction of Role Regulations--New Standpoint of Chinese Women's Writing" and other papers, editor-in-chief of "Women's Literature Course" (cooperation), "Yuedu Women" series, etc.She is a professor of the Chinese Department of Xiamen University, the director of the Institute of Chinese Language and Literature of Xiamen University, and the vice president of the Chinese Women's Literature Research Association.