浦子：在屬于自己的文學(xué)王國(guó)執(zhí)著耕耘

孫侃

在浙江作家中，筆名為“浦子”的小說(shuō)家潘家萍以其默默寫(xiě)作、不事張揚(yáng)而出名。正是憑著這股執(zhí)著不歇的勁頭，關(guān)切社會(huì)變遷和觀照人類(lèi)命運(yùn)的睿智細(xì)膩，他耗時(shí)16年，創(chuàng)作出系列長(zhǎng)篇小說(shuō)“王莊三部曲”《龍窯》《獨(dú)山》《大中》。作品相繼問(wèn)世后，在文學(xué)界和閱讀界引起較大反響。毫無(wú)疑問(wèn)，“王莊三部曲”充分證明了浦子不可低估的創(chuàng)作實(shí)力。

“王莊三部曲”，百年浙江的文學(xué)表達(dá)

初版于2008年12月的《龍窯》，是浦子的長(zhǎng)篇處女作，開(kāi)始構(gòu)思于2001年，6年后方才完稿，而題材的確立、素材的積累顯然更久。這部作品講述了晚清年間，一個(gè)失憶的外來(lái)男人王世民來(lái)到閉塞的古老小山村王莊，他帶來(lái)了獨(dú)有的制陶技藝，也帶來(lái)了驚世駭俗的新理念、新思想，徹底攪動(dòng)了村民的生活，各種奇特的故事不斷發(fā)生，商品經(jīng)濟(jì)形態(tài)也在此初露端倪。然而，外來(lái)男人一直遭受著傳統(tǒng)勢(shì)力的鉗制乃至瘋狂打擊。最終，喻指變革者的王世民不惜投身于冬天的窯火之中，以警醒世人。小說(shuō)盡管以悲劇收?qǐng)?，但絕無(wú)消沉、沮喪、退讓之感，寓意深刻的“龍”的意象無(wú)疑顯現(xiàn)了不屈而強(qiáng)大的力量。這部作品于2011年入圍了第八屆茅盾文學(xué)獎(jiǎng)。

相隔5年后推出的《獨(dú)山》，延續(xù)了《龍窯》的敘述時(shí)間。它講述了自辛亥革命到民國(guó)末年王莊發(fā)生的新變化，描寫(xiě)了玲娣、王傳達(dá)、王傳本等一群王莊人在跌宕起伏的時(shí)代中的命運(yùn)傳奇。王世民之子王傳達(dá)遭山匪綁架，家人只得把田產(chǎn)房屋賤賣(mài)給其堂弟王傳本。事實(shí)上，王傳達(dá)毀家紓難，又殫精竭慮地使家境重歸興盛，且在風(fēng)雨與坎坷中苦撐家族危局的種種行為，不單展現(xiàn)了這一人物起伏顛簸的生活實(shí)況和堅(jiān)毅執(zhí)拗的鮮明個(gè)性，更是作者試圖通過(guò)藝術(shù)典型人物，揭示民族秉性的一種嘗試和努力。

2017年1月出版的《大中》，延續(xù)了前兩部作品的敘述時(shí)間，所敘寫(xiě)的是新中國(guó)成立至近幾年的故事。由于“與新中國(guó)60余年歷史貼身而行”，浦子擔(dān)心與描摹對(duì)象挨得太近，容易陷入“短視”，幾經(jīng)斟酌，他“笨拙”地選擇了平鋪直敘的筆法。小說(shuō)以王氏家族幾代人在“鎮(zhèn)反”、抗美援朝、“大躍進(jìn)”、“文革”等歷史階段的沉浮為主要內(nèi)容，突出王德青、王躍進(jìn)等人的個(gè)人遭際，寫(xiě)出王莊人“在烈火中見(jiàn)精神”的非凡品質(zhì)。浦子試圖以家族史的形式記錄時(shí)代變遷，并對(duì)百年中國(guó)歷史發(fā)出一種近乎“天問(wèn)”式的反省：歷史的螺旋式演變中，普通人究竟需要做出怎樣的犧牲？民族和人類(lèi)究竟需要付出多大的代價(jià)？

“如果說(shuō)文學(xué)是人類(lèi)靈魂最深處的回聲的話，那么‘王莊三部曲就是這種回聲的投影，它以獨(dú)特的歷史智慧和異乎諸家的鋪辭展情才力，演繹了浙東人在百年歷史潰敗中的精神突圍，向我們展現(xiàn)了浙東人精神中最深沉、最復(fù)雜的運(yùn)動(dòng)以及其生命深層的內(nèi)在圖騰。”這是學(xué)者朱首獻(xiàn)的概括評(píng)價(jià)。事實(shí)上，“王莊三部曲”對(duì)于浙江百年歷史和人文風(fēng)俗的成功敘寫(xiě)，使它成為浦子30余年文學(xué)創(chuàng)作的巔峰之作，無(wú)疑也是新世紀(jì)以來(lái)浙江小說(shuō)創(chuàng)作領(lǐng)域最重要的成果之一。

文學(xué)創(chuàng)作成就緣自數(shù)十年的默默耕耘

回顧浦子30余年的文學(xué)創(chuàng)作經(jīng)歷，不辭困難、不逐虛名、不懈追求，顯然是最大的亮色之一。除了必需的天分，在文學(xué)創(chuàng)作道路上，為了達(dá)到某個(gè)目標(biāo)，浦子甘愿付出比他人更多的心血乃是常事，而這也是他常常獲得文學(xué)界和閱讀界欽服的一大原因。

浦子1957年出生于離寧?？h城不遠(yuǎn)的一個(gè)名為“冠莊”的小山村，這村子如今已融入縣城。令浦子自豪的是，這個(gè)村子曾走出一代國(guó)畫(huà)大師潘天壽。在冠莊長(zhǎng)大的浦子自幼好讀，在“文革”那個(gè)年代，得到幾本好書(shū)十分困難，但他總會(huì)想方設(shè)法四處尋覓?！皩?duì)于當(dāng)時(shí)的我來(lái)說(shuō)，有一本書(shū)讀，那是再幸福不過(guò)的事情了！”直到現(xiàn)在回想起來(lái)，浦子依然感慨萬(wàn)端。但正是這自幼養(yǎng)成的捧書(shū)苦讀的習(xí)慣，使得他對(duì)不少名著極為熟稔，文學(xué)基礎(chǔ)頗為扎實(shí)。

1974年，高中畢業(yè)的浦子回鄉(xiāng)當(dāng)了農(nóng)民，但他對(duì)文學(xué)作品的閱讀沒(méi)有停止，還利用閑暇寫(xiě)出了好幾個(gè)劇本，村里的劇團(tuán)把它們排練出來(lái)參加了縣里的匯演。當(dāng)他所在的人民公社成立電影放映隊(duì)、需要能說(shuō)能寫(xiě)的放映員時(shí)，浦子憑借其出眾的寫(xiě)作能力而被選中。電影是一門(mén)綜合藝術(shù)，浦子在從事放映工作的同時(shí)，又經(jīng)受著藝術(shù)的熏陶，獲得了書(shū)本中沒(méi)有的、但對(duì)寫(xiě)作極其有用的文學(xué)滋養(yǎng)。“故事情節(jié)該怎么安排，人物性格該如何塑造，我在放電影的過(guò)程中受到了潛移默化的裨益?！逼肿诱f(shuō)。

恢復(fù)高考的好消息傳來(lái)，浦子熱切地投身考場(chǎng)。因估算自己的成績(jī)尚不足考入大學(xué)，他選擇了一所中專(zhuān)，沒(méi)料想他的高考成績(jī)進(jìn)入大學(xué)綽綽有余，卻悔之晚矣。從汽車(chē)駕駛技校畢業(yè)后，浦子做過(guò)鄉(xiāng)村客運(yùn)汽車(chē)售票員、汽車(chē)站業(yè)務(wù)員、貨運(yùn)站調(diào)度員，后來(lái)又在長(zhǎng)途汽車(chē)公司辦公室當(dāng)了文秘……但不管干什么工作，“作家夢(mèng)”始終不曾泯滅，默默筆耕是他業(yè)余時(shí)間最重要的事。

從上世紀(jì)80年代開(kāi)始，浦子的中短篇小說(shuō)陸續(xù)發(fā)表在省內(nèi)外各文學(xué)刊物上，引起了多方關(guān)注。他在“國(guó)刊”《人民文學(xué)》發(fā)表小說(shuō)時(shí)，在寧?？h乃至寧波市文壇引起了震動(dòng)。也就在這一時(shí)期，浦子調(diào)入寧?？h委報(bào)道組，后又在寧?？h委辦公室和寧?？h委宣傳部工作，與現(xiàn)實(shí)生活的接觸面更廣了，與文學(xué)的距離也更近了。自然，他的筆耕也更勤奮了。

“我把文學(xué)當(dāng)作自己的宗教。除了寫(xiě)作，我沒(méi)有其他任何愛(ài)好?！逼肿咏?jīng)常這樣真摯地說(shuō)。筆者曾多次與浦子一起參加文學(xué)采風(fēng)活動(dòng)，也曾與他圍繞某個(gè)文學(xué)話題進(jìn)行深入交流，深感他對(duì)文學(xué)和文學(xué)創(chuàng)作的極度虔誠(chéng)。難能可貴的是，浦子對(duì)于文學(xué)的癡戀始終與關(guān)注社會(huì)現(xiàn)實(shí)、關(guān)切人類(lèi)命運(yùn)、思索歷史發(fā)展相融合，他的作品選題、人物塑造、情節(jié)再現(xiàn)以及風(fēng)俗風(fēng)情描寫(xiě)，無(wú)不“接地氣”，有著濃烈的人間煙火味兒。endprint

在這片美麗的故土上寄寓文學(xué)情懷

浦子幾近六旬，在浙江文壇，卻是一位仍處于創(chuàng)作上升期的實(shí)力派作家，其獨(dú)特的創(chuàng)作風(fēng)格、充滿自信和激情的個(gè)性，又賦予他無(wú)窮的藝術(shù)潛能。隨著他創(chuàng)作經(jīng)驗(yàn)的日益豐富，對(duì)文學(xué)創(chuàng)作規(guī)律的認(rèn)識(shí)日益深刻，他對(duì)作品的質(zhì)量要求更高了，趁“壯年”之際繼續(xù)寫(xiě)出力作的愿望更迫切了。他的藝術(shù)潛能首先是由他的執(zhí)著和激情帶來(lái)的。

“作者是飽含著對(duì)生命、對(duì)腳下的土地、對(duì)世世代代的家園的拳拳感情，用生命的最大熱情在寫(xiě)作?！痹u(píng)論家胡志軍認(rèn)為，浦子的成功，很重要的一點(diǎn)是把家鄉(xiāng)冠莊作為自己的創(chuàng)作之根，從家鄉(xiāng)的山山水水中汲取創(chuàng)作的靈感，再?gòu)募亦l(xiāng)物事出發(fā)，透辟地觀照整個(gè)民族乃至人類(lèi)。的確如此，浦子寫(xiě)的就是家鄉(xiāng)冠莊的歷史變遷和人物命運(yùn)?！蔼?dú)山”位于冠莊的北邊，“大中”則是冠莊東邊一座山峰的名稱(chēng)，甚至連“浦子”這個(gè)筆名，也來(lái)源于家鄉(xiāng)一條名叫“回浦”的河流，他自稱(chēng)“回浦河的兒子”。

評(píng)論家李敬澤說(shuō)：“在想象中，浦子使他的故鄉(xiāng)絢麗輝煌，不像《百年孤獨(dú)》那么孤獨(dú)，也不像約克納帕塔法那樣破碎絕望，甚至不像高密東北鄉(xiāng)那樣經(jīng)受遠(yuǎn)方的沖擊，這里就是此地、就是此時(shí)，此時(shí)此地就是地久天長(zhǎng)，永恒之中的人們像神一樣行動(dòng)，像神一樣被記憶和懷想。它展現(xiàn)了遠(yuǎn)初的、本質(zhì)的、樸野的創(chuàng)造力?！痹u(píng)論家雷達(dá)評(píng)論浦子說(shuō)：“試圖通過(guò)這次想象，在民間世界里找尋現(xiàn)代人久違了的勃發(fā)的原始強(qiáng)力?！焙颖弊骷谊P(guān)仁山的小說(shuō)作品同樣以“三農(nóng)”題材為主，他對(duì)浦子的作品欣賞有加，由衷地感嘆：“浦子熱愛(ài)文學(xué)，尤其對(duì)小說(shuō)這個(gè)文體情有獨(dú)鐘。他又是執(zhí)著的，從他的創(chuàng)作歷程來(lái)看，沒(méi)有什么困難可以阻擋他的創(chuàng)作。從他的作品里，我們感受到了濃郁的生活氣息，看到了民間文化的含量，看到了思想的翅膀的飛翔?！逼肿拥淖髌烦恕巴跚f三部曲”和其他中短篇小說(shuō)、長(zhǎng)篇報(bào)告文學(xué)之外，還有大量散文隨筆，這些散文隨筆大都仍以家鄉(xiāng)的風(fēng)土人情為描摹對(duì)象，傾注了他對(duì)家鄉(xiāng)揮之不去的鐘愛(ài)。

浦子不無(wú)自信地告訴筆者，現(xiàn)在，他又在醞釀長(zhǎng)篇新作，仍以家鄉(xiāng)為背景，目光緊盯當(dāng)代現(xiàn)實(shí)?！拔业膶W(xué)習(xí)、生活、工作，一直沒(méi)有走出由兩邊群山夾峙如小拇指般狹長(zhǎng)的小縣城。”浦子說(shuō)，他文學(xué)創(chuàng)作的靈感來(lái)源于這片山水，所以也應(yīng)該把自己的這份文學(xué)情懷寄寓在這美麗的故土之上。

（本文照片由作者和浦子提供）

Pan Jiaping is well known among his fellow writers in Zhejiang for his keeping a low profile and hard working at his novels. He has penned a trilogy set in Wangzhuang， a fictitious place where the ， and unfold epic stories. The trilogy is published under the penname Pu Zi.

His first novel was published in December 2008. He conceived the original idea in 2001 and completed the novel in six years. It is about a mysterious man who ends up in an ancient village in remote mountains， with his memory of the past lost. It is in the last years of the Qing Dynasty when modernism is lurking and the old empire， unable to cope with issues at home and abroad， is about to crash. The man doesnt remember who he was and what he was. He is a master of ceramics. While the ceramic pieces he makes amaze the village， his unconventional ideas shock mountain villagers. Unconventional ideas touch off a series of strange events. The village fights back. In the end， the outsider kills himself in the Dragon Kiln. The tragedy， however， is not particularly depressing. The novel was nominated in 2011 for Mao Dun Literature Prize， the nations top novel honor issued every four years.

If is set against the time in the early 20th century， then ， the second of the trilogy published in 2013， relates a story that takes place in the same village and five years later. ， which went on market in January 2017， gives accounts of what happens in the village from 1949 when the Peoples Republic came into being up to now. This timeline at first got the novelist into a technical dilemma. He was worried that shortsightedness might have sneaked its way into the finale of the trilogy if he did not watch carefully. His solution was to tell the story against the historical events directly in a linear way. The three novels combine to pose a critical question： how much does an individual， a family， a nation， mankind， have to pay for sweeping and fundamental historical changes？endprint

The trilogy is critically acclaimed. It is considered an epic about Zhejiang in the past 100 years. The trilogy represents the best of Pan Jiapings literary career. The three novels are among the best novels Zhejiang has produced in the 21st century.

Wangzhuang is patterned after Guanzhuang where the author was born in 1957. Situated not far from the seat of Ninghai County in eastern Zhejiang， the small village has long since vanished into the surging urban sprawl of the county capital. The biggest celebrity of the village is Pan Tianshou （1897-1971）， presumably the greatest traditional Chinese art education master of the 20th-century China. Pan Jiaping shares the surname with the master. Though growing up in the years when books were rare， he read some. After graduation from high school in 1974， Pan Jiaping came back to the village and worked as a farmer. He found time to read books and write a number of plays for the village troupe. When the local peoples commune wanted to find a film projectionist who could write， Pan was picked. The films he projected across the commune nurtured his literary mind.

When the Cultural Revolution （1966-1976） ended and colleges and universities began to recruit students， Pan signed up for the national college entrance examination. Thinking his score wouldnt be good enough for colleges and universities， he picked a secondary technical school only to find regretfully that his score would have got him into a college. He learned how to drive at the school and came back to the village. He worked a number of jobs at a transportation business. In his spare time， he read diligently and kept writing short stories and novellas. After he published a short story in Peoples Literature， the very top national literary periodical， people in Ninghai were deeply impressed. He was transferred to work as a journalist. This new job gave him a lot more time to write and read.

Right now he is thinking about a new novel set in his home village at the present time. “My life is always in the countys capital city， which is as thin and narrow as a finger flanked by mountains on both sides，” comments the writer. He gets all the inspiration for his novels from his life here.endprint