在非诗的时代重新做一个小说家--论格非的《江南三部曲》

摘要

格非的《江南三部曲》重返现代革命历史的晚清起点，将建国以来革命逐步走向高潮与变异的17年历史陌生化，对后革命时代的市场化社会现实进行反思与批判，已与擅长在中短篇小说中从事审美乌托邦建构的先锋文学判然有别。格非以物象“雾”贯穿全部叙事，在诗意之雾向罪恶之雾的镜像式演变中，巧妙地书写自己对社会乌托邦与审美乌托邦的双重反思，为一代先锋文学家在非诗时代如何重新做一个小说家努力寻找答案。然而，如何重新做一个小说家的问题，仍将与中国未完成的社会现代性辩驳共生。%Ge Fei’s Jiangnan Trilogy re-entered the modern revolutionary history’s beginning at the late Qing Dynasty, made a defamiliarization to the seventeen years revolutionary history which moved to the climax and variation gradually and reflected over the quasi market society in the post revolutionary era.It was markedly different from Chinese avant-garde literature which were good at constructing an aesthetic utopia in short stories and novelettes.Fog image ran through the whole narrative.Ge Fei expressed skillfully a double introspection of social utopia and aesthetic utopia in the mirror image evolution of fog form poetic to evil and thereby tried to find the answer of how to be a novelist again in a non-poet-ic era for himself and other avant-garde writers.But there is refutable symbiosis between their aesthetic pursuit and Chi-na’s unfinished social modernity.