非虛構文學的春天

●鄭瀚洋

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非虛構文學的春天

●鄭瀚洋

《我是女兵，也是女人》中譯本Svetlana Alexievich’s War’s Unwomanly Face has been translated into Chinese.

2015年“諾獎”得主、白俄羅斯作家S.A阿列克謝耶維奇Svetlana Alexievich, Belarusian investigative journalist, was awarded the 2016 Nobel Prize in Literature

主題宏大，描繪世界，書寫歷史

2015年諾貝爾文學獎頒給白俄羅斯女作家斯維特蘭娜·阿列克謝耶維奇。許多女記者在圈內高呼:“這是女記者的勝利！”

因為斯維特蘭娜·阿列克謝耶維奇曾經是一名記者，也是著名作家，她擅長用與當事人訪談的方式記錄人類歷史上重大的事件。她1948年生于烏克蘭，父親是白俄羅斯人，母親是烏克蘭人。她畢業(yè)于明斯克大學新聞系。已出版的著作有《我是女兵，也是女人》《切爾諾貝利的回憶：核災難口述史》《鋅皮娃娃兵》《戰(zhàn)爭的非女性面孔》《最后一個證人》《死亡的召喚》《我還是想你，媽媽》等。

我國著名翻譯家高莽在1999年翻譯了阿列克謝耶維奇的《鋅皮娃娃兵》并出版。高莽這樣評價阿列克謝耶維奇：“她自己沒經歷過戰(zhàn)爭，通過采訪真實地還原戰(zhàn)爭，乃至那些細節(jié)，寫出了最真實的戰(zhàn)爭?！备呙c1989年隨蘇聯(lián)作家代表團來華訪問的阿列克謝耶維奇見過面。他說：“阿列克謝耶維奇衣著樸實，發(fā)型簡單，面頰略帶憂思，有一雙灰色的眼睛。她說話謙虛、穩(wěn)重，每句話出口時，似乎都在她心中掂量過?！备呙дJ為這位女作家并不做主觀心理分析，而是盡力深入被采訪者的心靈，挖掘埋在潛意識中的實質。她讓被采訪者傾訴出各種行為與活動的動機。但她筆錄的一個個片斷能連接成完整的事件與真相，給人以相對完整的概念與畫面。

首位獲諾獎記者、第14位諾貝爾文學獎女性作家—她將母性的敏感、文學的形象與新聞的真實性融注于筆下，其作品成為見證歷史的紀實文學，記錄了二次世界大戰(zhàn)、阿富汗戰(zhàn)爭、蘇聯(lián)解體、切爾諾貝利核事故等歷史重大事件。作品的主題都非常宏大，既描繪世界，又書寫歷史。

其實阿列克謝耶維奇獲諾貝爾文學獎并不意外，她的作品在全世界已被翻譯成35種文字，而且在世界文壇已經拿了很多大獎，如萊比錫圖書獎、美國國家書評人獎、德國書業(yè)和平獎等。

1988年，阿列克謝耶維奇在阿富汗戰(zhàn)場采訪。Svetlana Alexievich as a journalist covers Afghanistan in 1988.

非虛構作品的神奇魅力

1986年切爾諾貝利核電站反應堆發(fā)生爆炸，作者花費3年時間走訪了數(shù)百名幸存者，包括救援人員妻子、現(xiàn)場攝影師、教師、醫(yī)生、農夫、官員，以及被迫撤離的人、重新安置的人，以鮮活筆觸記錄受污染世界里的駭人景象。這種保留最原始情感，注重人物細節(jié)與內心的作品是如此的感動人心。這些深入第一線收集的見證，用文學的筆法轉化成當代罕見的紀實文學經典《切爾諾貝利的回憶：核災難口述史》。

這位女作家在她的創(chuàng)作筆談中寫道：“就是通過那些沒有任何人記住的見證者和參與者的講述而保存下來的。是的，我對此興趣濃烈，我想能夠把它變成文學……產生出時代的特點和生活在其中的人物形象?！?/p>

阿列克謝耶維奇的部分著作Some of Svetlana Alexievich’s works have been translated into Chinese.

阿列克謝耶維奇的《我是女兵，也是女人》一書，開創(chuàng)了她那極具個人特色的寫作方式?？此萍兇獾牟稍L記錄，但無論主題的選擇、材料的篩選，還是情感氛圍的營造，其實都有著巧妙的內在安排。這是一本戰(zhàn)爭之書，也是一本揭示真相的書。但書的主角不是男人，而是一群參加戰(zhàn)爭的普通女性。作者花了4年時間，跑了200多個城鎮(zhèn)與農村，采訪了數(shù)百名參加過衛(wèi)國戰(zhàn)爭的婦女，筆錄了與她們的談話，全書在此基礎上整理、創(chuàng)作而成。該書真實記錄了她們親歷的殘酷戰(zhàn)爭以及戰(zhàn)火中女兵的感情世界。

之所以通過女性的視角來重新審視這場戰(zhàn)爭，是因為女性是一群低調、沉默的人。二戰(zhàn)中蘇聯(lián)參加衛(wèi)國戰(zhàn)爭的女性有100多萬。她們中有醫(yī)生、護士，還有傘兵、坦克兵、重機槍手、狙擊手等，但戰(zhàn)后她們卻惶惑不安，在戰(zhàn)爭中，她們與男人一樣英勇奮戰(zhàn)，但是戰(zhàn)爭結束后，男人佩戴著勛章，贏得了榮譽，男人是勝利者、是英雄，卻沒人再把目光傾注在這些傷痕累累的女性身上。

這位著名女作家的其他作品同樣以真實的故事、感人的細節(jié)來表達史詩般的宏大主題。

“非虛構”寫作引起廣泛關注

在百余年諾貝爾文學獎歷史上，紀實風格作品曾兩度引入矚目，曾任英國首相的丘吉爾的6卷本《二戰(zhàn)回憶錄》、德國歷史學家蒙森的《羅馬史》，都是文獻式寫作的煌煌巨著。這次，諾獎的砝碼再次傾向了非虛構作品。

從某種程度上來說，阿列克謝耶維奇重新定義了非虛構文學。她以口述史、非虛構的紀實風格，使非虛構文學抵達不朽。而這種成功正是對更寬闊、更具有文化深度文學的理解。這位細心的女作家在采訪過程中，不止一次地成為見證者，是那些“聞所未聞的全新故事的唯一傾聽者”，更為難能可貴的是，她并非簡單地從女權立場進行反思，而是從更為人性的角度，重新尋找富有崇高精神的故事。

非虛構文學的出現(xiàn)，起的就是補足文學大樓空虛的作用，這種強調真實性、獨立性、現(xiàn)場感的文學，需要的是大量現(xiàn)場調查，大量的實證，讓所有讀者知道真實的內容，又帶有文學獨特的美感。

阿列克謝耶維奇說，她的目的不是寫戰(zhàn)爭的歷史，而是寫情感的歷史，與其說是作家，她更愿被稱為“靈魂的史學家”。瑞典文學院常務秘書Sara Danius說，她創(chuàng)造了一個“情感的歷史、靈魂的歷史”。

在中國文學界，絕大部分是虛構作品，僅有極少數(shù)的文學作品是非虛構的或其他類型。而在歐美一些發(fā)達國家，尤其是美國，虛構與非虛構作品至少是平分秋色，甚至非虛構作品占的份額還要多一些。這已成為近些年來新的寫作與閱讀風尚。美國是個大國，讀者眾多，支撐起《紐約客》這樣周發(fā)行量超過百萬的雜志的，正是非虛構作品。

如何講述真實的故事，越來越受到重視?！爸v述真實故事”是非虛構的核心問題。非虛構寫作在某種意義上強調細節(jié)的真實，顯現(xiàn)出一種對虛構文學的拒絕。作為一種文學的新類型，細節(jié)真實的意義不可低估。細節(jié)的真實其潛在的含義就是現(xiàn)實比文學更真實。

在我國，“非虛構”寫作已引起廣泛關注。這種“走向民間”、“以寫作見證時代”的風氣，甚至形成了一股不小的“中國非虛構”寫作潮。非虛構是抵達真實的另一種方式。它以“重大事件”為中心的紀實式寫作，側重個人記憶和主體感悟，更注重于發(fā)現(xiàn)、見證、記錄那些被時代洪流所遮蔽的事件真相?？是笳鎸嵉脑V求，反映在文學上，便是當下文學非虛構寫作勃興的真實動因。

白俄羅斯作家阿列克謝耶維奇獲得2015年諾貝爾文學獎，正是對非虛構文學的肯定，也將鼓勵更多作家及作品，以新的視角打理文學。它昭示著非虛構文學的春天己經來臨！

把“諾獎”頒給阿列克謝耶維奇昭示非虛構文學的春天正在到來。The Nobel Prize in Literature in 2015 indicates the advent of a spring for nonfiction.

Spring of Nonfiction

By Zheng Hanyang

After learning that the Nobel Prize in Literature 2015 was awarded to the Belarusian author Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”, many women journalists acclaimed that it was a triumph of women journalists! She has been described as the first journalist to receive the Nobel Prize in Literature.

Svetlana Alexievich used to work as a journalist before she engaged herself in literary works. She records important events in the human history in her interviews with persons directly involved in these events. Born in 1948 in Ukraine to a Belarusian father and a Ukrainian mother, she studied journalism in Belarusian State University. Her published works include Zinc-Covered Boys, Voices from Chernobyl: The Oral History of a Nuclear Disaster, War’s Unwomanly Face, Last Witnesses: A Hundred of Unchildlike Lullabies, Enchanted with Death.

Gao Mang, a prominent Chinese translator, rendered Zinc-Cov-ered Boys into Chinese in 1999. Gao commented on the book this way: “She wasn’t in the war, but she restored the war in her interviews. The details reveal the realities of the war.” Gao Mang even met Svetlana Alexievich in 1989 when she came to visit China with fellow writers of the Soviet Union. In his memory, Svetlana Alexievich was plainly dressed; her hairstyle was also simple; she looked meditative and her eyes were gray. She spoke modestly and serenely as if she weighed every word carefully. In the eye of Gao Mang as the translator, she does not psycho-analyze her interviewees; she sees their heart and soul and tries to uncover substance in their subconscious. She lets interviewees tell their stories and explain why. Events and truth come out together in her accounts.

Svetlana Alexievich explains that she does not aim to write histories of war. Instead, she writes history of emotions. She prefers to be known as a historian of souls. It is believed that she has redefined nonfiction in literature. Her oral histories and nonfictional accounts have brought the literary genre to immortality.

重大歷史事件的見證者與記錄者Writer and witness to important historical events

Unlike many fiction writers, Svetlana Alexievich works hard to see people and talk with them. After the nuclear disaster in Chernobyl, she spent three years visiting hundreds of survivors including wives of the rescuers, photographers, teachers, doctors, farmers, government officials, evacuees and those who were forced to resettle down away from home. To write War’s Unwomanly Face, she visited over 100 cities, towns, settlements and villages and recorded the stories and reminiscences of women war veterans. The book eventually has more than 200 women speaking in it, describing how young girls, who dreamed of becoming brides, became soldiers in 1941.

Svetlana Alexievich is the 14th woman author and first journalist awarded the Nobel Prize in Literature. Her accounts shed light on the historical events such as World War Two, the war in Afghanistan, the fall of the Soviet Union, and the nuclear disaster in Chernobyl. These are huge subjects that portray the world and history.

She had been expected to win the top literary honor for years. Her works have been translated into 35 languages and she had won numerous honors including such prestigious awards as Leipziger Book Prize on European Understanding in 1998, National Book Critics Circle Award in 2005, and Peace Prize of the German Book Trade in 2013.

Svetlana Alexievich is considered important in China when our country is seeing the increasing importance of real stories of human beings. Writers turn to ordinary people and write their stories down as witness to history. Some people say that there is a new wave of nonfiction writing in China now. They believe that nonfiction is another way to reach truth. It centers itself on important events and gives priority to individual memories and feelings. Writers in this field try hard to discover, witness, and record the truth of events previously overwhelmed by history. Truth seeking is the driving force behind the flourishing nonfiction wave in China. Many consider the Nobel Prize in Literature in 2015 signaled the advent of the spring for nonfiction writing.