四
記得有位批評家講過，批評就是靈魂的冒險。的確如此。批評常常不是對作者及其文本世界的接近，相反是對其真實世界的遠離。或許我的闡釋也是如此。任何概括都將使細節的真實與生動成為不可能，從而也使本質隱藏得更深。然而有一點，我卻非常明確，畢飛宇將以其博大的曆史悲憫與深邃的哲學氣息在我們讓個商品化的時代為讀者所矚目。對此作過早的論斷氏許不合時宜，但時間會證明這點。
Cultural Utopia and Pseudo-History ——On Bi Feiyu\\u0027s Novels
◎Ge Hongbin
Bi Feiyu is becoming famous, which shows that he might shoot to fame immediately. As one of my tutors said, \\\"going into outbreak.\\\" It is hard to say whether Bi Feiyu has come to adapt to this era, or this era has gradually comprehend Bi Feiyu\\u0027s style. Nevertheless, what is certain is that Bi Feiyu is getting well-known.
In the 1990s, avant-garde novelists are getting on the decline. Since they blatantly despised readers\\u0027 literary taste and literary accomplishment, they turned to their own opposites. Their enthusiasm for experimentation is insatiable, which made their novels beyond the imagination and formal sensibility that this era can bear. Their novels became unbearable to read. Perhaps Bi Feiyu is lucky to appear at this time.
So far Bi Feiyu\\u0027s novels can be classified into two categories; one is based on the fragmented state of reality--two characters, including \\\"I\\\" and \\\"Lin Kang\\\" run through this type of work, such as Nothing to do with Each Other, Flying in a Paper Airplane, No Goodbye, May Ninth or Tenth, etc. Taken the mentality of contemporary intellectuals as a breakthrough, the author reveals the embarrassing state of urbanites swinging between flesh and soul, love and material desire, excitement and depression, and openness and deception. The second category of Bi Feiyu\\u0027s novels is based on historical themes, which I refer to as pseudohistorical novels, such as Isolated Island, A Time Full of Porcelain, Chu Water and so on. Most of these novels show a strange and deceitful story on a peculiar time and space background, following with the author\\u0027s thinking about human nature and money, human nature and carnal desire, human nature and rights. Recently, the author\\u0027s article Narrative published on Harvest shows a tendency to unify the above two categories. If the first type of work expresses the author\\u0027s historical thinking about reality, then the second type of work expresses the author\\u0027s realistic thinking about history, and the author unifies the two in Narration.
I
What goes through history is reality, and what goes through reality is history. What kind of connection is there between history and reality? Bi Feiyu deliberately portrays \\\"I\\\" as a historian in his novels, while \\\"I\\\" in Narrative serves as a master of history, and in Flying in a Paper Airplane, a doctor of history. Indeed, the author has shown a strong metaphysical interest in history, and his novels are often historical papers in literary form. The first thing that must be mentioned here is his Narrative, which is a novel that \\\"uses immediate marriage on duty as DOI: 10. 19290 \/j.cnki.51 -1076 \/i. 1995. 02. 014 reference for historical research.\\\" The socalled \\\"on-duty marriage\\\" means \\\"I\\\" and \\\"Lin Kang\\\". At that moment, Lin Kang\\u0027s pregnancy is extremely suspicious because of the affair with her mixed-blood boss; what is more suspicious is \\\"my\\\" own blood--I have a quarter of Japanese blood, which is referenced by \\\"my father\\\" and \\\"my mother\\\", as well as Japanese military officers Rokuro Sakamoto and Wanyi (\\\"my grandma\\\"). The relationship is linked to \\\"my family history research\\\", in which \\\"the human body is the only clue to history, and the human body is the only narrative language of history\\\". This story should begin with Rokuro Sakamoto\\u0027s \\\"sexual occupation\\\" of Wanyi. As stated in the novel, \\\"my father, me, and the continuity of our family were born under this kind of humiliation.\\\" The humiliation brought by the Japanese invasion of China will be inherited in our family by blood. The problem is that this kind of humiliation will not be cut off. Wanyi had to give birth to \\\"my father\\\", \\\"my father\\\" had to give birth to \\\"me\\\", while \\\"I\\\" had to admit Lin\\u0027s pregnancy due to \\\"an accident in family history\\\", letting Lin Kang\\u0027s \\\"I\\u0027m going to give birth, let you see what kind of damned offspring it can be\\\", are destined to continue this shame from generation to generation. This is a kind of perplexity, an unexplainable historical fate, and you have to bear it when you come to this world, because it is infiltrated in your bone marrow, flowing in your blood. It is you, and there is nothing you can do with it. This is the \\\"natural\\\" weakness of human beings. Here, the pursuit of sex and the obsession with history has become a gesture of seeking pain. Certainly, Bi Feiyu did not stay in this helpless state. He designed two ways of relief: one is \\\"I\\\" am going to Shanghai to find my grandma, which is a way to find relief within the caste, and the other is \\\"I\\\" am thinking back my culture, which is a kind of \\\"Language Self-Verification\\\". In the chain of blood, \\\"I\\\" am Japanese, but in the cultural link marked by \\\"language\\\", \\\"I\\\" confirm that I am a Chinese. This is cultural utopia. The author\\u0027s design of Rokuro Sakamoto\\u0027s worship at Chinese culture, especially Chinese calligraphy, is derived from a cultural illusion of the author, and therefore it is impossible for \\\"I\\\" to be self-identified, at most it can only \\\"struggle for a few times, and take yourself fell down.\\\"
I don\\u0027t know who I am. This is a trick of fate. It melts in the blood, is born with it, and cannot be resisted. Therefore, this is a doomed tragedy. This is when Bi Feiyu is grabbing our hand and touching the tragedy in the depths of history. A kind of historical grief involuntarily spreads in the space full of \\\"inaccurate reality\\\", which makes us unable to avoid it. What is clear is that Bi Feiyu suffered much greater than this, and Bi Feiyu\\u0027s despair and hope are in it.
Perhaps we can provide another explanation for Narration--\\\"I\\\", being the narrator, descripts mother\\u0027s birth process and the relish of Wanyi\\u0027s acceptance of sexual aggression, can show the narrator\\u0027s relentlessness and offense, which is a reflection of psychology of patricide.
II
If this type of confusion is related to human sensuality, then Bi Feiyu\\u0027s other two novels Isolated Island and Chu Water show people\\u0027s self-lost and uncertain state at the sight of rights and money. Therefore, Isolated Island, Chu Water, and Narration are collectively called \\\"historical trilogy\\\".
Chu Water can be said to be a sister chapter of Narration. The two novels have the same narrative structure. The difference lies in that the physical occupation of the Japanese spreads out in Chu Water. Together with the spiritual occupation, the Japanese are like one invisible hand occured everywhere in Chushui City, and Narration extends the state of history into reality, but the opposition between the cultural utopia and the sorrowful state of events is the same. It constitutes the common operation basis of the two novels. The narrative of Chu Water unfolded in the time period after the flood. The flood took away people\\u0027s wealth and destroyed the balance of people\\u0027s spirit and body. This is a time suitable for staging various stories of human desires, violent struggles, and death and life. The third young master of the Feng family is now performing on stage. A big flood finally broke his dream of getting rich, and the plan to steal his father\\u0027s money fell through, but meanwhile it fulfilled his dream of getting rich from the other side. Those who were trapped by the flood were exhausted and starved with green eyes. The girls and daughters-in-laws bite the bait of \\\"three meals a day, two oceans a month\\\", and stood on his boat. Turning around, Feng Jiezhong sent these girls to the Japanese, the strong men and the old man all over the street. The shamelessness in Feng Jie was even condemned by the aggressor Yanze. Yanze said, \\\"What did we do? My soldiers have always been disciplined. They don\\u0027t play nonsense. They just pay for prostitutes and ask girls to be prostitutes. In the past, we were used to condemning the adultery, murder and looting of the Japanese aggressors, calling it the bestial act; now the author has turned this traditional concept upside down, and let us see that what is more brutal and shameless is the scum and villain of our nation, as well as the how the scum of the nation rectify their compatriots. As with Narration, behind this incident, the author has constructed a cultural utopia for us. In Narration, Lu Qiuye borrowed wine and wrote \\\"down with Japan\\\", which made Japanese Rokuro Sakamoto praise, excite, hope, and anger. (In Chu Water, Feng Jiezhong won Yanze in the black and white world of Go at the last moment shows the \\\"brilliance\\\" of ancient Chinese culture. However, this culture has been tainted with the ruthlessness of the past. It is also the people who are acquainted with the charm of this culture that are accustomed to enduring humiliation (Lu Qiuye) and betraying their compatriots and sisters (Feng Jiezhong). Yu Linling, who refused to do it at first, and became the top brand of the Qingyu Pavilion as soon as she wanted to open it, can be said to be the strongest irony of this culture, and the suicidal Taozi is the sacrifice of this culture and the harbinger of the death of this culture.