作家名片 | “伤痕文学”代表作家冯骥才：文学通往作家心灵最深处

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近年来，中华文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网(CCTSS)联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。

此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。

冯骥才，浙江宁波人，1942年2月生于天津，中国当代作家、画家和文化学者。现任国务院参事、天津大学冯骥才文学艺术研究院院长。冯骥才的作品题材广泛，已出版作品集百余种，多部作品被译成英、法、德、日、俄等十余种文字，出版译本四十余种。他倡导与主持的中国民间文化遗产抢救工程、传统村落保护等文化行为对当代人文中国产生巨大影响。

冯骥才的创作题材广泛，注重抒写对历史、时代、文化、人性的诘问与反思，对艺术审美亦极为关切；体裁亦丰富多样，涉猎小说、散文、随笔、诗歌、书信、理论、剧本、非虚构等。创作极重炼字、炼意，讲求语言的节奏、韵律、画面感，情感真挚、布局精心、笔调多变、意蕴丰厚，后期文字更趋凝练，达到了文约神足、贯通雅俗、从心所欲的境界。“怪世奇谈”系列文化反思小说、《俗世奇人》系列小小说、《无路可逃》系列非虚构写作被誉为“经典化的写作”。

《三寸金莲》是冯骥才“文化反思小说”的代表性作品。小说以清末民初的“天津卫”为背景，以“三寸金莲”为象征，抒写了一个家族的兴衰和社会、时代的变迁，表达了作者对传统文化——文化的自我束缚力这一负面的深刻反思，并对中华民族的深层症结进行了深入的文化挖掘。《俗世奇人》（集）原名《市井人物》，是作家以文化视角抒写清末民初“天津卫”众生相的一部力作。小说以传奇、杂学和极精炼的津味儿白话为特征，写出“天津卫”这一方水土独有的人物，捧出了地域的性情与精神。《俗世奇人》问世后极为畅销，迄今发行逾3000万册。其中《刷子李》《好嘴杨巴》等篇目入选人教版、鲁教版等中小学语文教材。《俗世奇人》被称为当代中国小小说的“经典化写作”。

近年来，冯骥才逐渐从民间文化的“田野”回归书斋，一方面延续《俗世奇人》的创作思路，写下了《俗世奇人贰》等系列文化反思小说，深入探索“小小说”的文体理论；一方面以口述史的方式写下了《凌汛》《无路可逃》《激流中》《炼狱·天堂》等系列非虚构作品，展示了自己和一代知识分子的“心灵史”；此外，域外随笔、文化批评也是近期写作的重点。

Feng Jicai

Feng Jicai is from Ningbo in Zhejiang province. Born in February 1942 in the northeastern city of Tianjin, he is a contemporary writer, painter, and cultural scholar. He currently serves as a consultant to the State Council and the director of the Feng Yicai Art and Literature Research Institute at Tianjin University. He is a representative author of the “scar literature” movement that rose to prominence after the Cultural Revolution. His “cultural reflection novels” have had a profound impact on literary circles. Over 100 of his works have been published, more than forty of which have been translated into a total of over ten different languages—including English, French, German, Japanese, and Russian. The cultural initiatives that Feng Jicai has championed and hosted, including a Chinese cultural heritage rescue project and efforts to preserve traditional villages, have had a massive influence on contemporary China.

Feng Jicai’s writing has touched upon a wide breadth of themes. His works focus on the questioning and reflection of history, eras, culture, and human nature, and are also deeply concerned with artistic aesthetics. He has used a rich variety of written forms, trying his hand at novels, prose, essays, poetry, letters, theory, screenplays, and nonfiction. His writing places great emphasis on the crafting of words and meanings. It emphasizes language’s rhythm, rhyme, and imagery, in addition to emotional sincerity, meticulousness of composition, variation of tone, and rich inner meaning. Feng’s later works tend to be more concise; they reach a certain realm of contentment, a blend of the vulgar and refined, as well as carefreeness. His “Odd Stories of Strange Generations” (Guai Shi Qi Tan) series of cultural reflection novels, his  short story collection Extraordinary People in Our Ordinary World, and his nonfiction collections Ten Years of Madness (Yi Bai Ge Ren De Shi Nian) and No Escape (Wu Lu Ke Tao) have been praised as classic works.

The collection Ten Years of Madness is Feng Jicai’s representative piece of nonfiction writing, as well as one of contemporary China’s earliest works of oral literature. Written after conducting a series of interviews uncovering oral history, Ten Years of Madness is a true record of the spiritual pasts and perceptions a generation of victims of the Cultural Revolution. It conveys the author’s deep reflections on human nature and cultural destiny.

The Three-Inch Golden Lotus (San Cun Jin Lian) is a representative work among Feng Jicai’s “cultural reflection novels.” Set against the backdrop of the fall of the Qing dynasty and the beginning of the Republic of China, when a garrison was stationed in the northeastern city of Tianjin, and using the titular “three-inch golden lotus” as a symbol, the novel describes the rise and fall of a family and the transformations of society and the times. It conveys the author’s deep reflections on traditional culture—particularly its self-restricting nature—and also carries out an in-depth cultural excavation of the deep-seated sticking points that stand in the way of the development of the Chinese people.

The collection Extraordinary People in Our Ordinary World, originally titled People of the Marketplace (Shi Jing Ren Wu), is a powerful effort by the author, using a cultural perspective to depict what it was like to live in the militarized region of Tianjin between the fall of the Qing dynasty and the rise of the Republic of China. Featuring legends, a mixture of various academic disciplines, and the exquisite use of the Tianjin vernacular, the book depicts the unique characters of Tianjin that lived during this period, providing readers with a firsthand taste of the region’s temperament and spirit. Extraordinary People in Our Ordinary World became a bestseller soon after its publication, and over 30 million volumes have been published to this day. Sections from the book, including “Brush Li” (Shua Zi Li) and “Glib Yangba” (Hao Zui Yang Ba), have been included in elementary and middle school texts published by the People’s Educational Press and Shandong Educational Press. Extraordinary People in Our Ordinary World has been called one of the classic works of short stories in contemporary China.

In recent years, Feng Jicai has gradually retreated from the realm of popular culture and into his personal study. Part of his work has consisted of continuing his creative line of thought from Extraordinary People in Our Ordinary World through the writing of cultural reflection books such as More Extraordinary People in our Ordinary World (Su Shi Qi Ren Er), and his in-depth exploration of the literary theory of the short story. He has also written non-fiction works such as Spring Flood (Ling Xun), Nowhere to Run (Wu Lu Ke Tao), Among the Rapids (Ji Liu Zhong), and Purgatory, Heaven (Lian Yu, Tian Tang) in the style of oral histories, revealing the “spiritual history” that he shares with a generation of intellectuals. Essays and cultural criticism have also been an important focus of his recent work.

编辑 | 朱贺芳

“文化互译，沟通世界”