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第六種昏暗: The Sixth Type of Darkness
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1.主題與背景:
這是一種文學的政治寫作;一種頂住壓力的、有鋒芒的寫作;也是一次晦澀和晦暗不明的寫作;一次"純理想"的非人性的寫作。
只有在一種準備赴"死"的寫作中去"活","使人類無需再自殺","使人的生命完全地成為人的生命";文學只有在獻祭中,才能成就文學。所以這也是一種極權的、黑色文學的寫作。
寫作不是交流,而是抗拒。用文學的政治消解政治,消解人類永夜中的魔鬼。
這裡沒有純文學,只有一種超級政治的文學化、文學的超級政治化。在一場全面的文學淪陷、文學的災難和浩劫中;在一場文學的荒漠化、文學的末日中,一種政治的文學和文學的政治寫作,便勢在必行。
文學的政治是把殘酷的現實文學化,從政治的冰中汲取冷的火、從政治的鸩羽中提取止渴的毒酒(文學的嗉囊必須吞下),這是一種危險的表達,是邊緣的黑火藥對文學的一次內部引爆,是文學能動地吞下強暴的一次自作主張的痛苦分娩。
2.重要觀點;
這是具有宗教哲學氣質的移居美國的華裔詩人、後現代作家黑豐的一部重要實驗小說集。
(1.他重視荒誕與荒謬,重視物像與冷凍,重視空間與遺跡的變異,"人雖不在場,卻完全存在於景物當中"(塞尚),認為物體和詞語中存在著"一種非有機體的生命的力量"。
(2.提出了"漸變"寫作的概念,把"世界流逝的每一分鐘",變成"它本身"。我們只有跟它一道漸變,變成宇宙,"變為動物、植物、分子,變為零"。否則,世界無法留住。
3.部分目錄
代序:一種小說地理的言說/黑豐
殞落
弔喪
白棺
黑鳥為什麼盤桓
第六種昏暗
小石的一天
桶
醜醜
永遠車水的人......
歿
蛇的彌漫
蝴蝶是這個下午的一半
人在羋地
附:訪談
永遠的精神血路
--雲南《大益》文學雜誌訪談
詩人小說家黑豐答《中西詩刊》
文藝隨筆
穿越時代的邏各斯......
善的"刻度"
大視野下的本土寫作
[美] 黑豐heifeng: - 黑豐,詩人,後現代作家。主要著作:詩集《空孕》《灰燼之上》《猫的兩個夜晚》《時間深軋》,實驗小說集《蝴蝶是這個下午的一半》《第六種昏暗》、小長篇《人的消亡》,思想隨筆集《一切的底部》《存在-閃爍》等,作品被譯成英、法、日、西班牙、羅馬尼亞等多種文字。獲獎:羅馬尼亞阿爾杰什國際詩歌節特別榮譽獎、雅西第6届國際詩歌節"歷史首都詩人獎";美國ASA大學紐約國際文化藝術節杰出貢獻獎、紐約第四届法拉盛詩歌節漢詩翻譯獎、第六屆金青藤國際詩歌獎等。2006年入職《北京文學》(16年編輯),曾任第四届青年華語作家獎、北京白雀獎、太陽詩歌節獎、成都市"杜甫詩歌創作獎"、金青藤國際詩歌節獎等重要獎項的評委和終審評委。中南財經政法大學法律與文學研究所研究員,長江大學和香港文學藝術研究院客座教授,香港文藝雜志社簽約作家,美國某出版社主編,現居紐約。他同意尼采的,必須重估一切價值;對一切文化和精神的拷問與追索。認為寫作永远是一條精神血路。只有血祭,詞語才得以拯救;只有喋血,詞根才得以復蘇;只有讓生命和詞語一再碰撞冰涼的石境才會磨礪出詞語的光亮和鋒刀;寫作不僅是對平庸的一種抗拒,更是一種鳳凰涅槃;他的小說重視荒誕與荒謬,重視物像與冷凍,重視空間與遺跡的變異。在寫作美學上:一、他提出了"漸變"的寫作概念,把"世界流逝的每一分鐘",變成"它本身"。我們只有跟它一道漸變,變成宇宙,"變為動物、植物、分子;變為零"。否則,世界無法留住。二、他認為物體和詞語中存在著"一種非有機體的生命的力量"。並指出"中道"是人的終極的方向,文學創作也必須遵循一種類似於莫紮特《魔笛》中的"神秘的中道"。黑豐的創作歷經了從破殼(語言)--破冰(存在)--破曉(救贖);從血點--淚點--恩點;從內容到形式,從形式到更高精神的一條靈魂的血路歷程;他的作品突破了港澳臺,以及海外詩人作家的鄉愁的重重迷霧,拓展了更廣闊更詩化的靈魂故鄉,更具有人文精神和悲憫情懷。
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