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在持续性写作三十余年的当代作家当中,阎连科是举足轻重而又备受争议的一位。在经过“军旅”和“乡土”的打磨、历练之后,直至20世纪90年代,阎连科开始呈现出奇诡、荒诞、寓言化的写作风格。他的作品蕴含强烈的生命意识、深厚的土地情结。在他的许多文本中,呈现出表现苦难和死亡的诉求,和对现实的荒诞、疯狂的超乎寻常的想象。本文以《日光流年》《受活》《丁庄梦》为对象,探寻阎连科书写苦难和死亡的真实意图,感悟他对灵魂博弈的生动描摹,把握其从失落、绝望的艰涩回归,以及坚执地从现实中走出困境的悖论图景。
Among the contemporary writers who have been writing for more than thirty years, Yan Lianke is one of the most important and controversial one. After grinding and experience of “military” and “native”, Yan Lianke began to exhibit strange, absurd and allegory writing styles until the 1990s. His work contains a strong sense of life, deep land complex. In many of his texts, there is an appealing expression of suffering and death, as well as an absurd, crazy and extraordinary vision of reality. This article takes “Sunlight Year”, “Living” and “Ding Zhuang Meng” as objects, explores Yan Lianke’s true intention of writing misery and death, comprehends his vivid portrayal of the game of the soul, grasps its return from the lost and hopelessness, From the reality out of the paradox picture of the dilemma.