蘇童的文學繪圖：論「香椿樹街」系列中的江南市井民間

蘇童在中國當代小說家中以書寫南方著稱。他作品中的「香椿樹街」敘事空間貫穿創作始終，是承載南方意義的重要元素。本文借助「文學繪圖」與「民間」理論探究「香椿樹街」系列小說，認為蘇童在該系列中所做的正是一種「文學繪圖」的創造，具有獨到的個人技藝。他繪製出了一個存在於紙張中的「市井民間」，南方在其中得到充分彰顯。該系列大致以1990年代中期為界，呈現前後期的衍變。前期，蘇童的繪圖表徵著「文革」年代下充滿暴力與情慾的街道空間。該空間脫胎於現實，在文本中的地位舉足輕重，其中的市井生活涵蓋了作家當時所體驗到的全部的南方。後期，其創作折向了對「市井民間」的主動構建。他以關懷的目光探照小人物的精神世界，令繪圖不再侷限於特定的現實空間，而擴展為處於主流話語之外的「市井民間」世界－這便是蘇童賦予南方的新的內蘊。「香椿樹街」系列以其所折射出的邊緣的民間美學，拓展了蘇童「南方書寫」的邊界，豐富了南方的意涵。

關鍵字

蘇童；「香椿樹街」系列；文學繪圖；市井民間；南方

並列摘要

Su Tong is well-known for his writings about ＂the South,＂ particularly the ＂Mahogany Street＂ narrative space, which contains essential elements of the meaning of ＂the South.＂ This paper investigates the ＂Mahogany Street＂ series using literary cartography and folk theory and concludes that what Su did in the series is a type of ＂literary cartography＂ creation with unique personal skills. Su depicts an existing ＂Folk＂ in which ＂the South＂ is fully represented. This series roughly corresponds to the mid-1990s for the boundary, demonstrating the former's and later evolution. Su's cartography depicts the violent and erotic street space during the Great Cultural Revolution in its early stages. This space emerges from reality and plays a significant role in the text. The street life in it encompasses all of ＂the South＂ that Su encountered at the time. Later, his creation evolved into actively constructing a ＂civic folk＂ world. He explored the spiritual world of the nobody and expanded his cartography beyond a specific, realistic space to the world of ＂civil folk＂ outside mainstream discourse. This was the new meaning Su gave to ＂the South.＂ Su's ＂Southern Writing＂ is expanded by the ＂Mahogany Street＂ series, which reflects marginal folk aesthetics and enriches the meaning of ＂the South.＂