search results

老王为自己不能有条毫无破绽的裤子而气恼，因为它在他上学时令其困窘。在罕达，所有的女孩儿都嗤嗤地笑，狡黠的眼睛在上面溜来溜去。男孩儿则鬼头鬼脑地拍拍他的臀部，很会意地离去。只有坐在课椅上时老王才心情好转。有一次老王拍拍屁股对他爸大老王说，你看怎么办？他爸眉头一皱说，小兔嵬子，滚一边去。老王这才大声啜泣起来。坐在肮脏的板屋后思念他的母亲。那是一个模糊的女人，长着巨大的乳房，整个夏天摇摇晃晃，里面盛满了不可思议的汁水。 在去罕达的路上，老王走了很久。他是一个与众不同的少年，每天要去罕达上学，从七岁走到十四岁，八年里没有令人鼓舞的长进。这自然不是指他的裤子，而是指他的学问。他戴着拣来的工作帽，把鼻涕仔细地擦在袖子朝后的那个部位，心里充满了对罕达的仇恨。 太阳照在沥青公路上，空气明亮的睁不开眼睛。他抬起永远洗不干净的脸庞，去看一个隆隆作响的物事。大型旅游车从身边驶过，他怔了一会儿，仿佛那车开的极慢。一片尘土扬过之后，才渐渐看见有座带铁丝网的红砖围墙。青草在快颓的墙顶上嚣张的生长，一个男人冲着墙撒尿，然后周身大抖起来，好像毛鸭傲然地抖着水珠。 秦秀杰《不是疲劳也不是困倦》：他是一个与众不同的少年，每天要去罕达上学，从七岁走到十四岁，八年里没有令人鼓舞的长进 老王阴郁的心情开始有所好转。他穿越公路，顺墙根的阴影走，仿佛走在一条狭细的甬道上，这样走了下去，一直偏离了公路。墙在这里颓坏得愈加严重。有些干枯的青苔贴着，像半脱落的痂皮，老王用手指抠下好大一块，仔细瞧了一回，对这类低等生物的尸体没有什么特别的见解，就弃在地上。又拔了一些野草，放在鼻上嗅，也不见那细小的花有什么香气。这样一直走下去，就看见那株半朽的榆树，树皮剥落，只露出惨白的内胆。老王站下，拍拍树干，嘴里絮絮叨叨地说着话儿，如同祖父生前所作的那样，然后就上了树，越过一条横杈，跌跌撞撞地掉进墙的里边。 祖父，就是被众人叫做老老王的那个家伙，现在住在老王不能去的地点，多年来杳无音讯。村上有人见过他的幽灵在夜晚随风疾走，脸上血流如注，像受过无数苦痛。而他生前却过得极其快活。埋死尸时唱着豪迈的歌，力气大得惊人，可以用单臂抓住一个绞死者的脖子，平平举起，像抓一只硕大无比的阉鸡，随后仰天大笑，豪气直冲云霄。在迷宫样的曲折土墙的后面，村里的女人都给他睡过，非但没有怨言，而且私下交流有关他的好处。有位本地的画匠描下他的形貌，分给村民贴在大门上，说是极能避邪。只有老王说不像不像。 这是祖父的领地。鬼魂大量出没，多得难以计数，拥有各种寻常的姓氏。它们在月光下散步，头发飘逸，面容安详如婴。村民习以为常，时而邀到家中说说闲话。一次老王摔在鬼峦上，不省人事。祖父去公路拦车未遂，一怒之下，将孙子背回家里，反复叫喊几个姓氏，鬼魂就在夜里现身了。他苏醒的时候，看见一个窈窕女子正动身离去。第三天他就下地撤尿，痊愈如初。 老王在围墙里走动，有如一条被露水打湿的小狗，用五官嗅听一切事物。齐腰高的香蒿用粗大的茎杆缠他，绿色的蚂蚱停栖于草叶，仿佛受了极大的惊吓。他逮了几只，又听任他们狼狈逃窜。他的注意力只是在那些本地最伟岸的建筑物上：废弃的监狱、高达四层以上的灰色楼房、被几何美学所支撑的囚窗的矩阵。它们是沉闷而威严的，多么威严，放射着算术和语文的光辉！麻雀飞来飞去，在这群纪念物的顶檐筑巢，沉思它们的意义。老王朝鸟巢扔了一块石子，可它在飞行了一半后就无力地落在污水坑里，水花四溅，鸟纹丝不动。 澳洲阿瑟港监狱：它们是沉闷而威严的，多么威严，放射着算术和语文的光辉 “罕达，罕达、罕达——，”老王在野草地上打滚，朝这些伟大的楼房喊叫，直至喉咙疼痛。楼房缄默不语。这早在他的意料之中。他大声咳嗽，想起祖父第一次带他来此的情景。祖父说这地方才是真正的罕达。他刻满皱纹的脸上露出轻蔑的笑容：奶奶的，我骗了他们，那些日本崽子。没有人知道这个秘密。 老王很迷惘地点着头，开始知道“罕达”这个词很重要，就像它的姓氏“老王”一样。那么，爷爷您叫老王，爸爸他叫老王，我呢也叫老王，到底谁是真的老王？祖父拍了 一下他的小屁股说，你爸是兔崽子，你兄弟是兔崽子，就你是真兔崽子。他奶奶的，跟你妈一个模样。 祖父的身影正在远逝。越过香蒿、野麦和青茅的头颅，他裤档肥大地走着，肩胛上停栖着一只活了百岁的老麻雀。太阳的光斜斜地击中了他，使之踉跄起来，喝醉了酒似的，这样一直走向那幢座落在草地尽头的灰色洋房。在小楼的宽大的台阶上，他吃力地转过身，脸上带着嘲讽的微笑，仿佛对孙子说了些什么，而老王却不能听见。当他飞奔过去时，祖父已经消失在门后，就像消失在澄明的空气之中。老王无限忧忧伤地目击了这个场景。祖父一去不返，像他家族的其他成员一样。而台阶与楼房，是缅怀他们的唯一线索。 在明亮的草丛里，老王眯起了眼睛。他看见一群游客从二号楼里涌出，正穿越草地向小楼走去。裤子洁净，谈笑风生，完全无视他的存在。他们侵犯了我的领地，老王愤愤不平地想。他们又什么权利？这些大笨蛋，他们居然想打听罕达的秘密！他鄙夷地望着他们，然后很阴险地垂下眼帘，露出了痴愚的表情。 他在二号楼里逛来逛去，巡视那些单调的走道和囚室。这正是他每日的功课．约定的时可尚未到来。他要走完这些长廊，清点所有的囚室．他身子挨着墙壁，食指顶住一点，在走动中拉出一条想象的直线。由于避让游客，直线不断发生弯曲，这使老王有些恼火。他必须从另—头重新开始，直至它被画得毫无瑕疵。有个女孩儿，瞅着他的动作，格格地笑起来，指给她身旁的中年女人看，两人便都笑了。老王绥缓抬臂，对准她们凌空划了一个圈，让线在她们身上打结。看着她们渐变了脸色，这才扬长而去。 辽宁旅顺日俄监狱走廊：他在二号楼里逛来逛去，巡视那些单调的走道和囚室 老王说，女人让我心烦。他果然不热爱女人。远在襁褓时代，女人就不断骚扰和袭击这个完全无辜的孩子，逗弄他的小鸡，说他必承祖志，然后就奇怪地大笑，前仰后合，乐不可支．母亲也跟着笑，奶子剧烈地摇颤，渐渐显出泪意，仿佛有些悲凉。 滚，骚娘儿们！祖父在堂屋里低低喝道。女人们尖叫着四散逃命，撇下一地葵花籽的壳儿。 祖父不心烦女人，他不过是藐视女人罢了．在荫凉的瓜棚下，祖父用一竹箩瓜籽款待末出阁的女子，跟她们讲风流鬼的故事，女人吃吃笑着，脸涨得通每股红，待缓过气来，祖父已扛着铁铲上了山岗。他的裤裆硕大无比，像风中的蓬帆。扛铲的背影被太阳照得雪亮。 客人散了之后，母亲就扫拢瓜籽壳儿，放入一只黑色陶罐，用文火煎煮，说是要煮出女人的阴津。那些汤汁略带白色，散发出淡淡的葵花香气。祖父埋完尸体回来，一甩铁器说，今天又打了五个洞！随后将倾在花瓷大碗里的汁水牛饮而尽。母亲就呆呆地看着他，脸上有了一些红晕。祖父并不看她。 父亲与兄长们出门打工的时节，逃学的老王就在日本人造的模范监狱里欢快地走动。母亲说，小东西，死出去玩吧，天不黑别回来！他便急忙用马的姿势跑开了。破竹竿在胯下发出犀利啸声。他忽然又勒住马缰，在野菊丛里排出一堆又湿又热的粪蛋。一只大肚山蛙躲闪不及，被老王擒住，用它擦了屁股。 老王在第四层楼上，越过固定于走廊地板上的铁制栅栏，可以观察到下面几层游客的动静。他们在俯视中失去脖子，胸腹挤作一团，腿像侏儒那样运动。老王集聚了一堆口水，蓄在唇齿边上，很仔细地瞄准后吐出，看它无声地坠下，依次越过几道栅格，溅落在底楼的水泥地，难以察觉地爆炸开来。老王又吐了它几口，都被三楼或二楼的铁栅挡住。开始觉得索然无味。 美国旧金山监狱：越过固定于走廊地板上的铁制栅栏，可以观察到下面几层游客的动静 要是它能掉在那些人的脑门子上就好了。老王很怅惘。知道这是一门非凡的功夫。他相识的人中，只有飞嘴略通一二。从五尺开外嘬起嘴唇，轻喀一声，将唾沫弹在人的脸上，飞嘴管这叫“赠送一个飞嘴”。因他亲嘴的人多了，就颇有名气，成为罕达学校最难缠的人物。后来不幸吻在一个过路侠士脸上，挨了一掌，辱下一对门牙，从此只能接受别人的“飞嘴”的称号。这多么可悲！老王世故地想。那个满嘴漏风的家伙，这会儿他该滚过来了。老王听着堡楼上的梆子声，觉得它的忠诚和守时无与伦比。每天开始或结束参观的时刻，它就空空而迷人地响起，模仿过去的岁月，使游客心惊肉跳。 老王转过脸去，看见走廊尽头露出一个男孩的丑陋脸庞。他忽然口唇发干，感到浑身紧张。他们遥远地对视着，目光里充满了仇恨与敌意。飞嘴手插在裤袋里，慢吞吞走过来，在离他五尺远的地方站住，装得漫不经心地问，你来啦？ 老王阴沉着脸点点头，指着离他最近的那间囚室，就这儿吧。飞嘴咽了唾沫不自然地笑笑说，好吧，随你便。他们就进了囚室，从里面把门掩上，然后，各自背靠一堵带有黑色血痕的墙壁，很戒备地互相打量，好像在掂估对方是否身匿凶器，而后，各自从兜里掏出两粒骰子。再看飞嘴的，竟是一对用白玉琢成的宝贝。老王怔了一回，点点头，不动声色地问，用谁的？ 飞嘴很自负地说你看着办吧。老王说本要不愿占你的便宜，也不能让你占了便宜。来锤子剪刀吧，二决两胜。飞嘴迟疑了一下，说好。老王喊一、二、三，两人就同时出手。一看，老王是巴掌，飞嘴是拳头，布里锤子，老王便赢了第一个回合。接着老王又出掌，飞嘴又出拳头，但见势不妙，中途从拳里戳出二指，做成剪刀模样。老王狠瞪了飞嘴一眼，没吱声。飞嘴狡黠地笑笑，说现在一比一。他又喊一、二、三，两人第三次出手，这回飞嘴是锤子，老王却是剪刀。飞嘴就露着嘴上的破绽笑道，你输了。老王哼了一声，怏怏地收起自己的物事。 飞嘴取了玉骰放在嘴上，吹了几口大气，往水泥上猝然一掷，凑出一个九点。老王哂笑着抓过来，随手一摔，五点加六点，竟是十一。老王就拍手大乐起来，你这笨蛋，连自家的物事都看管不住！行了，现在要由我来挑选决斗的方式，你听好了，再过一会儿，天就黑了，那时咱们就上绞刑室待着，一直待到明儿早上，谁中途逃掉，谁就是他娘的孬种！飞嘴很深地叹口气，躲一边撒尿去了。 波兰奥斯威辛集中营：从前，囚犯都在这种屋子里等很长的时间，没准要等上一辈子 我们得在这儿等着，老王说。从前，囚犯都在这种屋子里等很长的时间，没准要等上一辈子。后来终于来了人，说你可以去了，他就很高兴地跟着走，唱他喜爱的曲儿，这样一直走到那里。所有的人都竖着耳朵，听见关门的声音，大家就很难受，打个呵欠说我们还得等下去，这真倒楣！ 越过高高的栅窗，老王把那幢灰色的两层洋楼指给飞嘴看。它就在野草地的东面尽头，孤零零地立着，像一幢精巧的度假别墅。就不上名儿的藤蔓植物攀援着墙面，使它看上去很幽深。只有窗户露出来，玻璃擦得很亮，反射着夕阳的光辉。 飞嘴打了一个寒噤，从凳子上跃下，使劲揉着眼睛。那玻璃窗刺痛我了，他嘟囔道。老王并不理会他。他抓住栅栏，出神地望着小楼以及楼后山岗上的大片坟地。噢，这就是罕达的灵魂、罕达之中的罕达！他心里叫道。祖父并未告诉他这点，但他很早就明白了一切。这是祖父最后的秘密，他从来不许我进去。现在我终于要进去了，我就要知道那里面的故事了。这简直像做梦一样。 其实老王并不了解，为什么打赌能够解除祖父的禁制。他仅仅这些希望着，而这就够了。这遥远的窗户后面，也就是在玻璃的光芒深处，他觉察出有一张停滞不动的脸，模糊得难以辨认。老王胜利地笑起来：他看见了他的“人”，或者，用祖父的话说，他的“灵魂”。它已经在那里了。一切都安排就绪。待会儿他只需溜进去就成了。你看见了吗？你来看呀！老王热烈地叫道，你看，它已经进去了，它在里面瞧着我！ 飞嘴坐在水泥地上，沮丧地玩着骰子，把它们从一只手抛到另一只手。就这么来回抛着。好像没有听见，脸却变得很白。过了很久，小声说，我肚皮饿了。 老王下地来说，你小子想开溜吧？ 飞嘴辩解道，哪能呢。咱们回家吃了夜饭再来嘛。．我给你带这么这么大的一只烤红薯。老王轻蔑地撇撇嘴：这算什么。咱们家从不吃那玩意儿。咱们总是在晚上烤蚂蚱，就像串糖葫芦，把大蚂蚱的肚皮串在铁丝儿上，一烤就吱吱冒油，十里地外你能闻到它的香气。可我从不吃它的肚皮。那都是我妈吃的。我只吃它们的翅儿，脆生生的，嚼在嘴里，嘁里咔嚓直响，像老鼠啃楼板似的。 旧金山监狱牢房：飞嘴坐在水泥地上，沮丧地玩着骰子 飞嘴说这可能是很好吃，可就是吃不饱。不像烤红薯，一个下肚，可以挨上十天八日的。这个叫实惠，你懂吗你？ 老王很诡异地笑笑：其实蚂蚱吃起来没那么响，也就一丁点儿响，象鬼打个喷嚏，嘁嚓一声，耳背的人压根儿听不见。夜里出门，风吹得山响，你在道上走，听见近处嘁嚓一声，那就是了。穿很薄的白衫，鬼也要伤风的。 在黯淡下去的光线里，飞嘴的脸色愈来愈难看。我们家不怕鬼的。我们家都会飞嘴儿。我妈能飞五米远，喀嗒一声。鬼最怕这个。有一回来了个女鬼，老长老长的头发，在窗户外边招手，叫我爸出去。我妈刚好醒来，就一个飞嘴儿，像暗器一样，正中它的脸面，它大叫一声，失了踪影，从此再也不来。我爸怒极，拽过我妈，好生打了一顿屁股。 这算不了什么。老王淡淡地说。再说，现在你还有那个能耐吗?呆一边儿想去吧。 飞嘴这就恼了：我操，咱走着瞧！老王瞅了他一眼，找一块干净的地方坐下，把工作帽扣在地上，简单地说，好吧。两人都缄默无言。敲过最后的梆子，天大黑了起来。他们听见远处看门人吮挡一声关上大门，接着是链条发出清脆的碰撞。此后就没什么可听的了。在风的长长的响动中，忽然传来夜枭大声咳嗽的声音。 带镣铐的女人：他们听见远处看门人吮挡一声关上大门，接着是链条发出清脆的碰撞 老王慢吞吞站起来，又拍了拍裤子，走出囚室。飞嘴跟在后边。彼此都很严肃。走廊上，脚步声是夸张的，拖着很长的尾音，在光滑的墙壁之间响亮地回荡。飞嘴踉跄着循声朝前摸去，几乎看不见前面的老王，当手指与脊背触到墙壁时，它的冰凉像脚步声那样令他吃惊，把他推入一种轻度的狂乱。他开始咕咕笑起来。短促地笑了一阵，听见老王说，小子留神，我们下楼梯了。 他们就下楼梯。狭窄的梯道，逐级向下延伸，不断拐弯，长得没有尽头，仿佛要这样经直通向地狱的底部。一、二，一、二，老王走得很捻熟。飞嘴听着他对头的动静，满含怨恨地跌了一跤，额头、左臂和大腿都很疼痛。这没什么。飞嘴说道，又咭咭地笑起来。 老王对此很反感。这简直就像他邻居家的那只母鸽子。以后就叫他花鸽子好了。要不就叫他鸟人。总之这小子得换个名字了。明天我要做的第一件事，就是发布一道命令。老王这样想道，很阴险地撇撇嘴，做了个鬼脸。 你在干嘛?飞嘴在他身后满腹狐疑。黑暗吞没了双方的脸，但老王还是吃了一惊，跟阴谋败露了似的。那么好吧，你来拉着我的衣服。他停住脚步提议说，并且在说完之后就深感后悔，觉得自己真是虚伪透顶。飞嘴的手在他背上摸索起来，拽住了上衣的下摆。你小子身上真臭！飞嘴喘着气说。 敢情，要不怎么熏死你！老王就继续稳熟地拾级而下，对自己无意中获得的优势十分满意。其实我已经赢了。他想。没料这鸟人这么快就垮掉了，瞧他吓得那样！ 在楼下的野草地上，星光是晶莹的，他们抵达这里时，像从黑洞中一下子掉出来似的。飞嘴楞楞地看了看四周，扁扁嘴哭开了。唏唏嘘嘘地漏着齿风，恐惧的眼神早已没了仇恨。老王仰着脸，手插裤兜，极有耐性地等着。又低头去看挂在草尖上的细碎露珠。一队灰老鼠在附近飞快地跑过，领头的那只掉过脸来瞅了他一眼，抬了抬肮脏的爪子，算是打个招呼。老王认出它来，就“嗨”了一声，把正全神贯注地哭泣的飞嘴，吓了老大一跳。 今晚，这里的一切都很太平。老王欣快地想，被夜间的景象弄得愈来愈兴奋，忽然感到有必要劝慰一下这个往日的对头。喂，你，看见我的巡官了吗?它从这里走过，它说没事，那一定没事了。好了，听着，现在我要告诉你一个秘密，关于罕达。 老王热切地说道，仿佛变了个人似的。这些永恒的秘密，自晓事以来，珍藏了整整八年。而此刻他有了一种倾吐的欲望。他需要一只耳朵，不管这耳朵属于谁。舌头很热。新月缓慢地向中天上升，罕达监狱的景象已无限庄严。 发泄了孤苦无助的感情之后，飞嘴感到哭意顿减，轻松的倦怠漫将过来。但他决定继续再哭一小会儿。于是他就把恸哭改成轻微的啜泣。涎水与鼻涕安详地流着，以便听取老王梦呓般的语音。 奥斯威辛集中营：新月缓慢地向中天上升，罕达监狱的景象已无限庄严 在地图上，你将发现罕达不过是一所学校。咱们在那儿念书，读各种可笑的东西。老师们在附近住着。他们的老婆和小孩就开铺子，卖烧饼和油条，这样就有了个镇子。老王跪在草丛里，喃喃地说，尽心竭力地回忆祖父交给他的全部机密。在古书上，罕达是一座乐园。有个人在这里发明了饶饼，还有一个人发明了牙齿。全世界的人都上这儿来念书，把字写在烧饼上，一个一个吃掉，就识许多字。这是真的。后来罕达就消失了。皇帝们急坏了，派出一批又一批的侦探，到处打听它的下落，却没有人活着回到京城。日本人打中国，为的还不是这个？他们找到一所学校和一座牢房，就管学校叫罕达，管牢房叫牢房。其实罕达是个骗局，奶奶的，这点没人知道。 飞嘴用草叶抹着鼻涕，做出很留神的样子，为自己被昔日的对头信任而暗自得意。我操，这是真的?这可是他妈的头号新闻！他又扯了一把草叶，开始意识到这一切很好玩。是很好玩。 老王仔细地看着天空，仿佛在上面寻找着某种证据。你用心听好了。这话我决不再说第二遍。罕达就在这里！很久很久以前，咱家就在这儿住着，看守罕达。因为是罕达的王，所以就姓了王，省得另找个名字麻烦。咱祖祖辈辈看着这个大秘密，要等一个叫做檀弓的人，把钥匙交给他。我爷爷没等着就死了，我爹也是。所以现在，钥匙到了我的手里。 飞嘴忽然屏住呼吸，很诧异地注视着老王，像瞅见一个怪物。他看到，老王小心翼翼地在身上掏摸着，过了一会儿，向他伸过手来，肮脏的手掌上，多了一把黄澄澄的钥匙，在月光下闪烁出诡秘的光泽。 飞嘴神色虔诚地接过来，感到它冰冷而又沉重，式样也古旧，椭圆的手柄上连着一根细长的杵体，而杵体的另一端是一个小小的矩体，其上有凹陷的小槽。 现在我要进去了。可惜你不是檀弓。不过等等，没准儿你就是那个叫檀弓的人。你们家会飞嘴儿，说不定就是一种老式的弹弓。老王死死盯着飞嘴，眼神灼热，使他很有些害臊。 越过宽阔的野草地，老王拽着飞嘴的手奔跑起来，不顾荆棘和露水，不顾旧日的仇恨，不顾深藏于夜色中的某种令人骇伯的东西。 从日式小楼的左侧，飞嘴老远就看到一道露天台阶，直接通向二楼。他们上了台阶，在那扇极普通的栗木门前站下，大口喘气，听见心脏的声音充满整个凄凉的宇宙。 老王抖着手去开那门锁，忽又停住了，憋了片刻，放出几个很响亮的屁。飞嘴格格地笑。老王红了红脸，又用钥匙去探锁孔，转了半天，也不见有什么动静。飞嘴试着轻轻一推，门竟然毫无声息地开了。两个孩子都吃了一惊。 肮脏的手掌上，多了一把黄澄澄的钥匙，在月光下闪烁出诡秘的光泽 在门的里边，事物被黑暗笼罩得很严密。老王说我一点都看不见，飞嘴说是的。他们摸了一阵，渐渐看到窗户及其栅栏的轮廓。有一种极弱的光线在上面流走。后来就稍亮了些，看见一张长椅，摆在通往里屋的门侧。这是条过道。他们就继续走。楼板空空地响，仿佛并不怎么牢靠。 进去之后，感觉更亮些了，因为有更多的窗户与光线。树的影子在地板上摇晃，要说出一种哑语，此外是一片空寂。并没有什么令人惊奇的事物。偌大一间屋子，被一道木栅栏隔成两半。在栅栏这边，有些安装在台座上的长椅和长桌，高高踞着，像是开会或观看表演用的。离栅栏最近的，是一张孤单的椅子，使人想起司机的驾驶座，面对栅栏另一边的空荡世界。飞嘴坐上去，大失所望地说，这就是你的罕达?好笑。好笑！ 老王没有听见飞嘴。他的全部感觉都汇聚在栅栏的那边。双目熠熠，慢慢走过栅门，很敬畏地站下了，看见一个绞索从屋子上方某处垂吊下来。在微弱的光线里，绞索是黑色的，外面似乎裹着某种动物的皮革，滑腻腻地，很恶心的样子。当他走近时，它忽然就簌簌地晃动起来，像风中的秋千。 老王讷讷地说：哦，你好? 老王感到了晕眩。秋千静止着，仪态庄严，上面停栖着祖父的面容。你好。老王说，看见祖父搂住母亲，在瓜棚的秋千上晃悠悠了整整一个夏天。瓜汁饱满而香甜的夏天，父亲远行，母亲的红晕像她的笑声与尖叫那样明亮。祖父对人说，我们的规矩与众不同，我们是站在罕达门槛上的人。老王过去不明白这话的含义，现在约略有些懂了。祖父死去之后，母亲意味深长地说：现在好了，他终于去了罕达，变成它里面的人。她卸下秋千，大汗淋漓，面带忧伤。 这个秘密的绞索或者秋千，是罕达吗?或者，它只是去罕达的门，他的先人在这里相继消失：祖父、母亲；父亲、最后是他的四个长兄。他们的使命是护送那些囚徒，还是护送他们自己?他看不明白，是不明白。他用心地想道，觉得罕达是一种语文，在翻过一页之后，新的一页就涌现了、它的封面业已陈旧，而它的里面则是无限的，包含了各种算术的式子。，使他不能够读透它。 老王伸出手指，轻轻触碰着绳套。它摇篮般晃动了片断，又归于静止。他停顿了一下，手指再度开始摸索，充满了无限的惊喜与怜爱。哦，它那么光滑，那么柔软，那么冰凉如水和无动于衷，简直是一个奇迹。妙就妙在你完全可以把它当成玩具，但它却决不是什么玩具，而是一种灵魂，在手指的赞叹中深不可测地缄默着。 旅顺监狱绞刑室里的绞索：它却决不是什么玩具，而是一种灵魂，在手指的赞叹中深不可测地缄默着 你在干嘛?飞嘴坐在软垫上，注视着老王，觉得事情正在顺利起来。他并没逃走，而是惬意地坐在这儿，像一个罕达的校长，这点使他感到满意。他的手无意中碰到左边的一件硬物，像汽车驾驶室里的离合器操纵杆。嘿，你瞧，这是什么玩意儿7 老王幸福地笑了。他多么幸福。他踮起脚尖，把细长的脖子和头颅一道放入绳索。它很傲慢，这是真的。但他完全能够改变它的态度。现在，粗大的绳索亲切地环绕着他的脖颈，像一条有力的围内。它终于了解我了，他想道，眼里流下了泪水。 明天。哦明天！在明天，他与世界的关系会发生多么大的变化。从罕达监狱到罕达学校，他都是真正的老王，没有任何人能够推翻他。这点很重要，因为他发展了先烈的事业。明天，他要在罕达学校安装一个秋千，让飞嘴来推动它，而他自己则在上边悬坐着。当众人向他景仰时，他就在阳光和阴影里这么来回摆动，使他们无法看清他的容貌。 飞嘴全神贯注地摆弄着那个操纵杆。它使他着迷。起初，他试着向上拉它，以后又试着向前按它，最后，当他用力朝后推它的时候，它意外地滑移了，发出一声叹息般的响动。与此同时，飞嘴目瞪口呆地看见整幢楼房的灯光蓦地明亮起来，地板发出震颤，音乐从看不见的孔道里弥漫开去，是一支送葬用的悲恸曲调。当眼睛适应了光线之后，他才发现老王被绞在一个黑色绳套里，他原先站立的那一大块楼板向下翻去，使他双脚悬空。 《美国女子监狱农场之琼丝故事》：老王并没有挣动。他只是静静地吊着。裤子掉了下去，露出白晰得发青的下身 老王并没有挣动。他只是静静地吊着。裤子掉了下去，露出白晰得发青的下身，形影相吊地垂着，孤寂到了令人心疼的程度。而他的脸始终埋在阴影里，一直看不分明。后来，当老王的身子转过一个角度，飞嘴才看到他脸上突起的眼珠和大得出奇的舌头，像是对自己所做的那种夸张的鬼脸。飞嘴满含敬畏地望着，觉得这真是一种不可思议的游戏。 而后，滑轮辘辘转动起来，老王的躯体向楼下冉冉降落。越过打开的楼板，飞嘴可以看见一只竖立的木桶已在下面守候。绞索轻柔地把老王的尸体投放进去，犹如安置一个沉睡的婴孩，然后从他的脖子上退出，回升到原先的高度。有只木盖被吊车送来，一丝不苟地盖住了老王的住所。楼下的门自己隆隆开了，木桶坐在铁制的轮座上，向室外无声地滑去，沿着生锈的轨道，一直滑入无边的黑夜。很久以后，飞嘴听到山岗上传来遥远而沉闷的一声。 一切都结束了。在回家的路上，飞嘴伤感地想，手里攥住那枚老王遗失在楼板上的钥匙。明天，他要回到这里来看守罕达，以顶替老王的事业，一开始可能很难，以后会慢慢习惯的。 1990年写于上海 （说明：本小说为《作家》杂志约稿的同题小说，以“去罕达之路”为题。参与同题写作的，有我、诗人宋琳、小说家北村和格非。但这批小说因为处于敏感时期的缘故，未能在该刊当年发表） 原载《记忆的红皮书》，花城出版社，2008

古老神话中的鹰蛇对抗 鹰与蛇的二元对立，无疑是苏美尔神话的重要母题。在一组美索不达米亚的“埃塔纳”（Etanna）泥板上，记载了鹰蛇之战的诸多细节。 鹰与蛇原本是住在白杨树上的邻居，鹰栖息在树顶而蛇安居于树根，双方都向大日神沙马什发誓，要忠实于彼此的友谊。但鹰却率先背叛自己的誓言，因贪欲而偷食了楼下邻居的蛇蛋。 蛇为此非常生气，决计为那些尚未诞生的儿女们复仇。它咬死公牛，埋伏在它的肚子里，以此为诱饵，等待鹰的到来。鹰果然中计了。就在它狂喜地享用这顿丰盛大餐之际，蛇袭击了鹰，用柔软的身躯将其捆绑起来，然后折断它的翅膀，把它扔进沙漠里的坑洞，任其负伤流血死去。 垂死的鹰向日神沙马什祈祷和忏悔，竟然得到大神的赦免，他派人类英雄埃塔纳（基什国的王，大洪水后第一代统治者）去营救它，助其逃离死亡的困境，并重获得众神的恩宠。但倒霉的蛇却因为自己的复仇，而受到永恒的诅咒。 埃塔纳泥板，阿卡德泥板之一（纽约莫甘图书馆暨美术馆Morgan Library & Museum藏），由基什国王埃塔纳（Etana）下令刻写，考古学家遂以国王的名字命名这四块泥板 在神话考古学的视野里，这是历史上最古老的鹰蛇对抗故事。令人费解的是，率先违规的苍鹰得到众神的庇护，而复仇者毒蛇反而遭到厌弃。这完全不符合故事本身的逻辑。它制造出一种“埃塔纳困境”，向我们展示上古神话逻辑的不可思议。 要是从泥版叙事中退离，从一个更宏大的视野来观察，就会识破“泥版神”的隐秘动机：人对蛇有一种天然的厌恶。在其进化过程中，人始终面对与爬虫类生物的紧张关系，而这可能根植于白垩纪灵长类动物的黑暗记忆，它们是一些深褐色的创伤，被痛切地书写在基因图谱里，支配着人的价值判断。似乎只有亚洲民族和美洲印第安人，越出了这种遗传学的限定。 更为要紧的是，在一个从水神、地神到天空神的神学过程中，人类的头颅在不断抬起，最后形成一种崇高的宗教美学。鹰必定是因其飞翔的高度而饱受青睐，它比所有大地上的生物都更接近日神，因而成为这场神学革命的受益者。它被纳入天体谱系，与日神翩然共舞，融为一体，形成“日/鹰视觉共同体”（中国人称为“金乌”）。 鹰是苏美尔/阿卡德神系的最高象征物之一，它向众神提供羽翼和脚爪之类的生物配件。羽翼被安装在神的后背，以强化其天空主宰的语义，而犀利的脚爪，则象征强悍的大地征服力，包含对天空和大地双重征服的理想。在亚述神话里，鹰头成为新一代大神尼斯洛（Nisroch）的基本造型。作为首都尼尼微的主神，鹰首人身的尼斯洛主管农业和繁殖，并热衷于主持棕榈花授粉的神圣仪式。 在伦敦大英博物馆和纽约大都会美术馆里，参观者总能看到尼斯洛的大型浮雕，他们紧贴在坚硬的岩壁上，眼望家园，凝然不动，仿佛被冻结在时间的冰河里。 亚述石版浮雕：鹰头神尼斯洛一手提桶，一手握住棕榈花苞，为棕榈树举行神圣授粉仪式（公元前9世纪，伦敦大英博物馆收藏） 蛇的命运截然不同，它只能永远爬行于大地，在泥浆里辗转打滚，与古老的水土神系一起，成为新一代祭司集团的弃儿。在犹太/基督教文明中，它被描述成伊甸园里的魔鬼，是引诱夏娃和亚当犯下原罪的根源（旧约）。尽管蛇有时也能获取短暂的胜利，但鹰无疑是绝对和最后的赢家。正是这种宗教立场，确立了鹰作为正面形象的基本法则。 中国神话里的龙凤和解 鹰蛇博弈的原型，在向东方传播中渐次影响波斯、印度和中国。在东亚农夫的低级版本里，它呈现为雄鸡和毒虫蜈蚣的对抗。只有西汉以后的中国文人，才会彻底改写这种以冲突为特征的原型故事，描述龙（蛇的变体）和凤凰（鹰的变体）的完美对偶，把它变成“龙凤呈祥”的生命颂歌。 印度木雕：大鹏金翅鸟大战那伽蛇 尼采似乎响应了中国人的和解哲学。在《查拉图斯特拉如是说》中，他重塑了鹰与蛇的对偶符号。大先知在山上隐居和沉思期间，总是随着携带这两种生物。鹰高傲地盘旋在天空，代表精神、自由和理性，聪明狡猾的蛇则生活在大地，代表肉体、物质和智慧。它们的共同点是圆周运动——鹰在空中画圈，而蛇在地上蜿蜒地前行。这两类圆圈运动组合了鹰与蛇，令其成为人类精神与肉体（物质）互补的象征。尼采借查拉图斯特拉之口宣称，人类应当是鹰蛇共同体，并因此达到灵肉平衡的理想状态。 当然，完成这种统一的似乎还是中国人。在另一种视觉模式里，中国龙长出翅膀，被叫做“应龙”，显然是鹰与蛇杂交后的新一代神兽，在彼此吸纳对方的优势后，变得无比强悍，在“炎黄大战”神话中扮演重要角色。应龙还有一位著名的孙子，那就是瑞兽麒麟，但它的造型，距离作为祖辈的鹰蛇，已经相差甚远。 中国人的应龙想象图（作者：不详，来源：互联网） 根据《淮南子》、《云笈七签》、《通典》、《帝王世纪》和《宋书》等文献所载，应龙最初是蚩尤的彪悍战将，后来又奇怪地被黄帝选为自己的坐骑，甚至反过来杀死自己的旧主——蚩尤与夸父。这实在是令人吃惊的情节逆袭。 神话考古发现了“原型”的秘密 但无论是龙、应龙或那伽的传说，鹰的元素都已经脱佚，不知它究竟飞到了何方。“鹰与蛇”的神话原型，几乎遭到世人的全面遗忘。只有极少数文学和影视文本，继续利用这个古老的神话原型，书写蛊惑人心的文本。 在英国作家J·K·罗琳的类型小说《哈利·波特》里，凤凰（鹰的变体）与蛇，分别代表光明世界（天堂、正义者、哈利波特）和黑暗世界（地狱、邪恶者、伏地魔）。她试图返回苏美尔泥版的母题，宣告凤凰对蛇的胜利，因为只有这种胜利，才能重构光明与平等的魔法王国。 另一个有趣的文本，是泰国电视连续剧《鹰与蛇》，它依照上座部佛教的原理，重写了鹰（迦楼罗）与蛇（那伽）的世界隐喻关系。蛇代表人类欲望，而鹰是欲望节制的象征。观众被反复告诫，人的情欲是最大的蛇，正是这种欲望成为人类痛苦的根源。所谓鹰蛇之争，无非就是人类与自我欲望斗争的象征。相传佛祖曾经割肉喂鹰，向我们示范走向禁欲的方式，而这是出离人间苦海的唯一道路。 现在我要谈论的是第三个文本——东方出版社新近推出的类型小说《鹰翼之醒》，它是“谜托邦”书系中的一种。这部“卜知客”所撰写的魔幻（幻想）小说，再现了“鹰蛇之战”的古老母题。故事发生于南方省城的一所航校，鹰族的后代混迹于学员之中，而他们之所以被推入人间，是因为鹰国政坛发生剧变，黑鹰推翻白鹰的统治，并不断追击残余的白鹰后裔。而在人间，年轻的白鹰人不仅要面对自身的生物性突变（长出翅膀），面对不可告人的身世，还要面对更为凶残的蛇人的围剿。他们就在这种逆境中茁壮发育，接受来自命运的召唤——整合分崩离析的鹰国，引领鹰人战胜蛇人，以捍卫人间的和平与幸福。 这部小说跟其他魔幻小说的不同之处，在于它是一种“原型写作”，旨在喊出对“鹰蛇对抗原型”的敬意。原型写作就是一次神话考古运动，它要重返上古时代的精神现场，从那里获取本原的能量。尽管小说作者还很年轻，于技巧方面还有提升空间，但它为当代“类型小说”的书写，提供了一个耐人寻味的样本，而这样的样本还在不断诞生之中。那么，它是否会构成一种类型小说2.0版的写作范式呢？ 人类共同欲望的深层结构，在神话学里称为“原型”，呈现为故事形态，而在精神分析学里，则被称为“情结”或人格原型，如弗洛伊德的“杀父娶母”情结、荣格的“阿尼玛”或“阿尼姆斯”人格等等。所有这些原型都是神话/原型考古学的结晶，同时也是娱乐消费市场的核心机密。 “类型小说”是早期大众流行小说的成熟样态，它把小说作品按题材进行必要的趣味细分，例如读者常见的魔幻（幻想）、罗曼司（爱情）、武侠、悬疑、探案、历史和科幻等等。而在今天，“原型写作”却成了新一代流行文学的智力标志。 前些年畅销的“玛丽苏”和“杰克苏”故事，都可被视为某种“灰姑娘原型”（“丑小鸭原型”）的变体，此外，《魔戒》、《纳尼亚传奇》和《阿凡达》，尤其是“漫威”产品，盖源于约瑟夫•坎贝尔《千面英雄》所梳理的英雄神话，而摩西神话是其中最古老的翻版，它们严格遵循了召唤、启程、启蒙、救援和回归的语法规则。没有这古老原型的支撑，就无法获得最大范围的心灵响应。相反，掌握了“原型”，就掌握了人类欲望市场的交易密码。 中国网络文学是闯进娱乐消费平台的天真孩童，不懂得类型小说的内在逻辑，依照丛林法则胡乱生长，绝大部分文本被猎杀，或汲汲无名地死去，只有极少数得到“市场之神”的拣选和恩宠，从杂草堆里崛起，长成几株高大的植物。这是因为，它们吸纳了来自古老原型的能量。 很久以来，文学裂变为两个截然不同世界——鹰的世界和蛇的世界，前者是贵族化的纯文学，它优雅而傲慢地飞翔在天空，代表文学的非凡高度，并且被“诺贝尔文学奖”所界定和鼓励。后者是平民化的消费文学（或称“类文学”），它笨拙而卑微地爬行于大地，在泥土上书写身体的欲望，代表文学爬行所能企及的范围，并被消费市场及其高额稿酬所支持。在中国，它们之间的博弈，至少达数百年之久。

1、三驾马车的话语牌局 2005年，中国大众发出了惊天动地的叫喊。“沉默的大多数”终于结束“沉默”，转而成为中国最大声的群体。这个文化事变，修改了中国话语权力的老式牌局。 关于制度和文化孰是孰非，孰轻孰重的问题，一度是中国知识界讨论的焦点之一。自由主义学者坚持“制度决定论”的立场，并藉此对新文化运动以来“文化决定论”的大失败，作了沉痛的思想检讨。尽管这种反思有助于提升人们对制度改良的关注，但它并未突破“制度－文化”的二元论框架。越过近一个世纪的岁月，经济和科技作为新的犀利元素，早已强行插入中国腹部，并以“制度－经济－文化－科技”的多边互动，重构了社会营造的各种要素。看不到这点，就难以对中国文化现状做出准确的判断。 在2005 事变中，一方面是旧体制下的新经济，继续塑造着文化的功利主义品格，一方面是电子科技势力的扩张。它最初只是官营经济的产物，而后却变成了改造文化的强大动力，令体制所难以驾驭。如此复杂的四边互动，营造着2005年的文化面貌。 2005年湖南卫视“超级女生”遴选节目，标定了2005年作为“中国娱乐元年”的属性 基于互联网技术（论坛、博客、动漫、声频和视频等）的发育成熟，网民群体迅速繁殖（约1.1亿），他们用超大数字的点击率，勾勒出芙蓉姐姐们的“丑角”形象；另一方面，电视技术和手机短信，也塑造了“超级女生”的青春偶像。这两项电子技术的辉煌后果，题写了现代文化史的诡异一页。 互联网私生女芙蓉姐姐，一头“披着狼皮的羊”，表情嚣张地推开了中国文化的沉重门扇。有关“貌似天仙”的自我表扬，成为当年最骇人听闻的台词；她的“S功略”，就是在论坛上张贴自己的S形身躯造型。这种零成本的身体实践，为女性草根的“翻身”，开辟了一条光辉的道路。 继卫慧、九丹、木子美、竹影青瞳和赵凝之后，身体叙事的主流正在不断派生出各种新的流派。除了“宝贝派”、“日记派”、“裸身派”和“巨胸派”，更有“菊花姐姐”单手创立“蝴蝶派”,引发舞蹈界精英的哄堂大笑。她用呼啦圈道具所作的蝶化表演，是一个精妙的象征，隐喻着下列坚硬的事实:大众从历史的坚硬茧子里脱颖而出，成为数码乌托邦的主宰。 与芙蓉姐姐和超级女生遥相呼应的是，在国家和知识精英之外，“第三种话语势力”已经崛起。经过将近十年的缓慢生长，“哄客”基本完成了其在互联网上的权力布局。在那些核心网站和民间论坛，他们已经成为左右舆论的重大势力。尽管这种权力重组仅仅发生在话语层面上，但它已经确立了民粹主义的价值阵营，并注定要对中国文化结构产生深远影响。 由于互联网哄客的崛起，国家和知识精英的二元结构，正在转型为话语的三权分立：大众、国家和知识精英。在新的三驾马车体系里，国家继续严守威权主义立场，知识精英战成一团，大众在高声叫骂。这就是21世纪文化中国的全新牌局。 2、哄客社会的畸形容貌 哄客社会，可以大致划分为赞客、笑客和骂客三种类型，并且应当以笑客为主流形态，藉此维系健康“公民社会”的基本风格。但在文化畸形的中国，以所谓“愤青”为主体的骂客，取代了笑客的地位，成为支配大众舆论的主流。骂客渴望言说的权力，却拒绝为此承担责任。在夺取话语权后，骂客所做的第一件事情，就是把口水暴力强加给了这个文化衰退的年代，使它的容貌变得更加冷酷。骂客是的草原上的胡狼，他们集体出动，狙击他们的道德猎物，对他们实施道德打击和羞辱，然后为自己的战果发出震耳欲聋的欢呼。没有任何现存法律和伦理能够制止这种暴力狂欢。 骂客社会在中国的崛起，固然跟大众对现实的不满有关，但最终还是基于犬儒主义的生活策略。以匿名的“无名氏”方式在公共空间展开反讽、嘲笑和叫骂，满足了政治宣泄的本能，却具有最大的安全系数，无需对言论后果承担任何责任。但这种痰盂里的反叛，并不能养育任何文化英雄，恰恰相反，它只能进一步提升社会的仇恨指数。 在大众荣获话语权之后，骂客改变了它的走向，将其引入畸形和病态的时空，这是2005最大的文化悲喜剧。它不仅为官方学者倡导“实名制”提供借口，而且击碎了知识精英所期待的“公民社会”梦想。在这一变故里隐含着一个常识性的公理――没有精神自律的自由，就是自由的死敌。 3、国家主义的民族符号 就在骂牌叫阵的同时，国家主义的文化外宣模式，却得到了出乎意料的改进。新战略包含了两种模式：第一，在“孔子学院”的名义下实施“汉语西进”；第二，向欧美推销张艺谋式的文化符号，在“中国年”或“文化节”的名义下实施“国粹西进”。这两种“西进”模式，构成了国家主义文化的全新战略核心。 国家意识形态的硬性传输早已失效。毛－周时代已经懂得利用京剧和杂技里的民族符码来传递国家信号，但由明成祖朱棣组织的帝国文化符码（红色、龙狮、牌坊、灯笼、闽粤锣鼓等等），制造了严重的“民俗疲劳”。如果没有张艺谋同志及其奥运叙事，没有那些高跷、红绸、安塞锣鼓和穿旗袍拉胡琴的性感女人，民族符号的“进化”是不可思议的。文化官员开始运用那些被重新整合的民族符号，把它们转换为更有魅力的国家符码。 在热火朝天的外宣运动的侧翼，民族历史元素的采集也在紧锣密鼓地进行。杨丽萍“云南映象”，推动了民间原生态文化的大规模开采；“文化遗产”的申报，已发展为“遗产经济学”的庞大行业；“国乐团”的演奏阵容日益庞大；“国学”复兴的总动员也已发动；由“国师”主编的《清史》，投资数亿人民币，俨然朱棣的《永乐大典》再世。与此同时，各种国学书刊、国学院和国学私塾，犹如雨后春笋。“国学”正在成为一张表情庄严的大牌，蕴含着国家主义的最高学术信念。 “国学”就是国家和学者的互动平台，它始于延安，继而在五十年代由郭沫若等人开设，具有短暂而辉煌的历史。国家对学术的高价征用，是当下“国学”兴盛的重要原因。但这种“国学”的基本特征，在于它开辟了“学术国家化”的道路。学术独立是知识分子的基本理想，学术一旦被国家征用，就只能变性为“国术”，也即体制的修补之术。如果没有看到“国学”背后的“国术”本质，就无法对“国学年”做出恰当的描述。 4、“第四代”儒生的政治权谋 2005最大的 “国术”表演，就是在曲阜举办的官方祭孔大典。由于演出服饰凌乱，各朝服装乱穿，甚至满清的服饰也混杂其间，缺乏基本的文化逻辑，仪式现场的风格滑稽可笑。但“第四代”新儒生的集体出牌，还是给2005年的中国牌局，注入了来自“知识精英”的“希望”。 陈明宣称，“儒学是国学的核心”。这是新儒生把“国学”绑架到“儒学”战车上的危险信号。利用民众的文化和道德焦虑，蒋庆力主“儒教要重回国家文化权力中心”，成为“王学”和“官学”，也就是成为官方意识形态的核心，藉此对抗“基督教文明”。康晓光则进一步宣称，“民主化是祸国殃民的选择，中国应该选择儒化”，也就是用所谓“仁政”，来替换人们对民主和自由的诉求。 但正如蒋庆所说，“文化就是一种权力”。在这副“国学”牌的背面，露出了有关权力的深谋远虑。新儒生的权力梦想，至少包含下列三个方向：第一是思想权，也就是要用儒家“天意”来“统一”国人的“思想”；第二是遗产权，即建立所谓“中国儒教协会”，并为儒教古籍以及孔子像等无形财产申请专利保护，而以儒教内容为题材的赢利性文艺作品，均应向该协会交费，由此推动儒学经济的发展；第三是掌控国家的权力，也即在所谓“儒家议会三院制”的伪宪政格局中，执掌中国的最高政治权力。这与其说是“儒学”，不如说说一种野心勃勃的“儒术”，旨在实现儒学与政治权谋的亲密接轨。 那么，“新儒学”的“权力乌托邦”，究竟给我们带来了什么美妙货色呢？只要作简单审视就不难发现，逼迫我们放弃多元选择和统一头脑的“思想儒学”，正是那种早已声名狼藉的文化专制；而所谓的“政治儒学”和“三院制”，无非就是人大、政协和社科院三位一体的低级复制；“财经儒学”则更为可笑，它企图侵吞和独占儒家的思想公产，把后者变成新儒生的敛财之道。 “五四新文化运动”的“打倒孔家店”，无疑是一场过火的革命，而今又倡导全盘复辟，转而成为过火的反革命，中国文化的反省与建构，始终处于极端的涨落之中。新儒生连中庸之道都没有学会，也未能读通“四书五经”，亦来不及作现代性阐释及话语转换，更无力分辨其中的垃圾和精华，便急不可待地推销“原教旨主义儒学”，并断然拒绝兼收本土其它学说（例如与儒家互补的道家）和西方文化的精华，其结果只能导致新的价值错位，加剧转型中国的政体混乱。儒学早已是个行将就木的老妪，却还要被“第四代”再羞辱一次，这是儒生的出牌闹剧，也是儒学的历史悲剧。 （说明：《中国新闻周刊》上的本文，因可以理解的原因，由编辑作了某些删改。“世纪中国”刊发的本文，是未删改本，引用者请以这个版本为准。） 原载《中国新闻周刊》，2006年第5期

Research institutions related to Zhu Dake can be roughly divided into three categories: the first category is purely academic, such as research projects or laboratories set up by universities and libraries; the second category is more commercial, such as research institutions in Pudong, Shanghai , whose goal is the incubation and operation of the copyright of Zhu Dake's mythological works; the third category is a multi-combination, such as the New York Research Institute in preparation. Research Institution Profile Monash University launches Zhu Dake's research topic Monash University, a member of the Australian Ivy League, approved a translation research project on Zhu Dake in July 2022, entitled "Deciphering Cultural Metaphors in Zhu Dake's Works", which was led by Xu Zhichang and Liu Hai Hosted by Lan Lan, and received the first phase of financial support from the school, the second phase of research funding will be provided by the Xinjinshan Chinese Library and its foundation. The project aims to go beyond the borders of Chinese geography and Chinese literature, and directly hit the myth/literary scene in the field of East Asian cultural linguistics with a cross-regional and cross-cultural attitude. The unveiling ceremony will be held in May 2013 上海科技影都AI创制生态中心启动，未来电影就这么拍！ Monash University launches Zhu Dake's research topic Monash University, a member of the Australian Ivy League, approved a translation research project on Zhu Dake in July 2022, entitled "Deciphering Cultural Metaphors in Zhu Dake's Works", which was led by Xu Zhichang and Liu Hai Hosted by Lan Lan, and received the first phase of financial support from the school, the second phase of research funding will be provided by the Xinjinshan Chinese Library and its foundation. The project aims to go beyond the borders of Chinese geography and Chinese literature, and directly hit the myth/literary scene in the field of East Asian cultural linguistics with a cross-regional and cross-cultural attitude. ​蒙纳士大学帮助新金山图书馆解码中文文本 New Jinshan Chinese Library in Ballarat, Australia set up "Zhu Dake Works Research Room" Ballary, Victoria, is a famous city formed in the old gold rush era. Chinese gold diggers and their descendants have become important residents of this city. Xinjinshan Chinese Library, founded by Mr. Sun Haoliang, moved from Melbourne to the new location in Ballary last year, and specially set up the "Zhu Dake Works Research Room", which echoes the research project of Monash University, and becomes an important source of Chinese literature for Australian minorities. One of the many items to pay homage to. ​ 新金山图书馆创始人孙浩良先生接受维多利亚信使报记者采访 Established in Shanghai Pudong ​ "Zhu Dake Mythology Shanghai Research Center" Shanghai, as the birthplace of Zhu Dake and a landmark city of modern Chinese civilization, has shown a strong interest in historical traditions. Relevant organizations are preparing the "Shanghai Incubation Base for China's Mythology Industry" and the "Zhu Dake Mythology Shanghai Research Center", trying to transcend the pathological constraints of the pandemic era and reconstruct the relationship between mythology and history with a future-oriented attitude. associated. The unveiling ceremony will be held in May 2013 Preparations for establishment in North America ​ "Zhu Dake Mythology Institute (New York)" As the residence of Zhu Dake, New York is the world's top commercial/cultural gathering place. The Zhu Dake Institute of Mythology (New York), which is under preparation, tries to transcend the distinction between the East and the West, relying on the breakthrough research results of New Energy Science in the United States, break through the disciplinary barriers of mythology, occultism, life energy, natural therapy and psychoanalysis, and focus on Construct a cross-cultural and cross-time and space body and mind healing system. New Jinshan Chinese Library in Ballarat, Australia set up "Zhu Dake Works Research Room" Ballary, Victoria, is a famous city formed in the old gold rush era. Chinese gold diggers and their descendants have become important residents of this city. Xinjinshan Chinese Library, founded by Mr. Sun Haoliang, moved from Melbourne to the new location in Ballary last year, and specially set up the "Zhu Dake Works Research Room", which echoes the research project of Monash University, and becomes an important source of Chinese literature for Australian minorities. One of the many items to pay homage to. The unveiling ceremony will be held in May 2013 The old appearance of Zhu Dake Cultural Creativity (Shanghai) Studio 朱大可文化创意（上海）工作室，注册成立于2016年，原址在静安区永和路汇智广场，是朱大可及其团队进行研究、创作和市场运作的主要基地，从这里诞生了大量文化创意作品。2023年1月，因疫情和其他可以理解的原因，该工作室正式谢幕。此处保存了长达八年的场景记忆，为了那些神思飞扬的岁月......

"Qingqiu Chronicle" Derivative Project "Juvenile Gluttony" is an original Chinese children's full-length novel. In the current monotonous and scarce children's culture, the first season has been widely praised by young readers and parents. Dangdang.com, the largest e-book selling platform, received 100% favorable comments from readers. The first season of the book is written by Ke Xing'er, and the second season is written by Zhu Dake, which is a "good story" created by teachers and students. Over thousands of years, it leads the majority of children readers back to the dreamland of food...... Qingqiu Chronicle Part 1 word making summary of the story ​ Cangjie was born dumb, lived with the witch grandmother and cousin Axie, and was gifted with the ability to draw talismans. The great god Fuxi took a fancy to his talent and kindness, not only let him speak, but also endowed him with the supernatural power of creating characters. The magic of this kind of magic is that whenever he creates a word, there will be something corresponding to the word in the world. For example, when he made the character "miao", there was a temple at the end of the field; when he made the character "chi", a pond appeared in front of the temple; when he made the character "tao", a pottery kiln appeared. In this way, he created many things that did not exist in the world, and since then he has become famous and grown into a young priest. At that time, the world was divided into the traditional Jiesheng school and the word-making school represented by Cangjie. There was a fierce struggle between the two factions. The two sides competed in the word competition, and the word making school represented by Cang Jie won a big victory. ​ In order to create more oracle bone characters to promote civilization, Cangjie gave up his priesthood and opened a character school to create characters with bright students. He further invented the comprehension and pointing method, the speed of word creation was doubled, and the function of expression was also perfected day by day. Cangjie created a character "miao" for himself, which turned into a beautiful and kind girl at night, who became his most beloved lover and wife. The female disciple Ju Chan failed to fall in love with the master secretly, from love to hatred, violated the prohibition, and created some words that caused disasters in the world: "rape", "jealous", "slut", "kill", "crazy", "demolition", etc., and also created " "Thieves" and "thieves" have led to thieves, smuggled in the black market, and made huge profits. These dark Chinese characters spread everywhere, bringing crisis to the bright world. Cang Jie was very angry and expelled her from the division. With evil dark characters, Ju Chan seeks refuge with the ambitious King of Tong Tong, Hu Zhong, and creates more evil characters for him. The world begins to be filled with injustice, oppression, resentment and violence, and disasters abound. Not only that, under the conspiracy of Ju Song, Hu Zhong pretended to hold a "National Word Competition Conference" and invited Cang Jie to the meeting, but took the opportunity to kidnap his beloved wife Miao, in order to coerce him into creating a bloodthirsty super monster. In desperation, Cangjie had no choice but to hand over the character "mo" that he had created earlier. So a vicious demon king appeared in the world. It flew in the sky, attacked the people of Qingqiu, devoured life, and caused huge casualties. Hu Zhong took the opportunity to attack Qingqiu and defeated the defenders. The king was forced to commit suicide and the people were in dire straits. ​ Hu Zhong's son, Hu Zheng, was a prince with a conscience. He secretly released Cangjie while his father was busy fighting. Cang Jie escaped from birth and wandered around in the fallen motherland, hoping to create a new character that is more powerful than the "magic" character to defeat the forces of darkness, but he has never been able to do so. He walked along the Luoshui River and the Yellow River, looking for hermits and experts, and after going through hardships, he finally got inspiration from the decoration on the turtle's carapace, and finally created the word "dragon"-a great mythical beast was born. It has won a great victory in the battle with the devil. Under Cangjie's call, the people of Qingqiu country launched an uprising, and the army of Qitong country, which lost the support of the "monster", retreated steadily. Hu Zhong committed suicide in despair in the palace. Cangjie rescued his beloved Miao, and the two embraced and wept. ​ To commemorate this great victory, Cangjie coined the character "鳯" again, and the gorgeous and soft phoenix flew from the sky to dance with the mighty dragon. The people looked up to the sky, cheered warmly, and respected him as the new king, named "Cangdi", and Miao became his queen. A new nation was born, and a civilized age of peace and happiness seemed to be at hand. In order to prevent the magic characters and dragon characters from being used by bad people, Cangjie built a bronze box to seal up those dangerous "original characters". Before long he became seriously ill. Before dying, he ordered Mia that it must be destroyed. But Miao did not carry out her husband's will after Cangjie's funeral, which left dangerous seeds for the future world crisis. Read word fragments Qingqiu Chronicle Part Two big character maker summary of the story ​ This part is the plot transition from the first part to the third part. It first reviews the reasons behind the death of Cang Jie. It turned out that Ju Song used dark witchcraft to hammer the ox blade with Cangjie's name written on it every night to break it into pieces. After spending more than three years in this way, Cangjie's whole body was finally broken to death. Before his death, Cang Jie entrusted the bronze box to Miao, and made her a "beauty" character. It was a magic sheep fairy, who could transform into a girl and become the most loyal maid around Miao. After the demise of the Qi Tongue Kingdom, Ju Song turned to Jiu Huang, the character smuggler, and with his help, created dark Chinese characters, and then invented bamboo slips and sentences, using this technology to lead civilization astray. She puts on makeup to attend Cangjie's funeral, and uses this opportunity to connect with Qingqiu Guoshi Masi, and establishes a secret anti-miao alliance with the latter. She also seduces her talented junior brother Pillon, turning him into another important ally. In order to help Ju Song overthrow the regime of Qingqiu, Masi stole the bronze box and released the dreaded word "mo". The Demon God reappeared, flying in the sky, causing great fear among the people. Ju Song took the opportunity to form a coalition army from various countries, defeated the army of Qingqiu, occupied the capital, and became queen himself. At the enthronement meeting, she personally killed Miao, using her death to crown herself. But Miao revealed Ju Song's life before she died, and it turned out that she, like Miao, was a creation of Cangjie. In other words, Cang Jie is not only his master and enemy, but also her father. Pi Yong found the original characters of "Ju Song" from the bronze box, confirming that what Miao said was true. After learning of this fact, Ju Song fell into madness, because it was she who killed her father. Qingqiu Chronicle Part Three word god summary of the story ​ Cangjie not only created the three characters Miao, Jusong and Mei during his lifetime, but also left a word "and" on a piece of tortoise shell. In the ruins of the Fuxi Temple amid lightning and thunder, the word "qi" stood out, turning into a magical baby boy with double pupils. The blind Qitong King Zihu was passing through the ruins, and found the tortoise shell and baby from the rubble. Knowing his origin, he named him "Jiagen" and raised him with care. In order to conquer the surrounding countries, the Witch King Jusong opened the twelve dark gates of the universe, using the chaotic energy in the night sky to create twelve evil beasts similar to the "magic" beasts of the past, and launched more ferocious and brutal wars. Sorrows are everywhere, and people are dying. She also sent "Qongqi", one of the twelve evil beasts, the most cunning and vicious, to search for and kill Jiagen. In order to rescue Jiagen, Hu Zheng was seriously injured and died. The sheep fairy "Mei" rescued Jiagen and took him to escape with difficulty. In such war-torn times, Cangjie's son, the young protagonist Jiagen, thrives and becomes a handsome sixteen-year-old boy. He decided to find his biological parents, and determined to restore peace to the world. ​ In order to achieve this goal, Kagen and Kazumi set out again and came to the sacred mountain where the "Imperial Rider" lived in seclusion - Mount Fuyang, where Jiagen learned the secret technique of taming the beasts, hoping to revive the "Twelve Gods and Beasts" ", and use their divine power to fight against the Witch King. They also found bone seals representing the "Twelve Divine Beasts" from the Fusang Sacred Tree, but before they could be revived, the "Qiong Qi Corps" surrounded Mount Fuyang. They launched a bloody massacre, and the impatiens rider and a large number of mythical beasts were unfortunately killed. The evil beast storm launched by Jusong caused a huge disaster, and even the capital city became a place where evil beasts ravaged. Kill the conspirators, arrest Pillon, and put him in a dark prison. Jiagen finally learned that Cangjie was his biological father, and then realized all the secrets of his father's creation of characters, and grew into a new generation of "character gods". He held high the banner of resistance and called on the people to form a rebel army. After Jusong created the evil beast Qiongqi, he created Chaos, Wuwu and Taotie. They are called "Four Fiends" together, and their magic power is infinite, causing Jiagen's army to retreat steadily. Just when he was constantly frustrated, Jiagen was blessed by the gods and was able to enter the "different world" built by his father Cangjie. Under the guidance of Cangjie's "dead spirit", he discovered and mastered the mysteries of the twenty-four solar terms and the operation of the universe. From this, eleven "air beasts" except Mei were created. With the help of their divine power, Jiagen killed the "Four Evils," and the rebel army broke into the palace and arrested Jusong. Jiagen intends to use the penalty of blinding Jusong's eyes to avenge his adoptive father, Huzheng. At the time of execution, he accidentally discovered that Jusong was his real mother, and Jusong also realized that the only young man who defeated her was her own child. Back then, it was Cangjie and Jusong who carved the name "Qi" on the tortoise shell with the aim of creating a magical child. This process of giving birth to a child is called "zi pregnancy". At that time, it was a more sacred reproduction than childbirth (flesh pregnancy). Inspired by the ghost of Cangjie, Jiagen awakens the great love in his heart, forgives and releases Jusong. But Jusong rejected his son's kindness, took the sword and stabbed his son's chest. Jiagen died in pain. At this time, the sheep fairy "Mei" uttered the prophecy and curse given by Fengshen Feilian back then - Jia Gen will be killed by his mother, but he will be resurrected, and his mother will also gain eternal life, but both eyes will be blind. All the bones in the body are broken, and they can only crawl on the ground like insects, living on soil and earthworms. The curse took effect on the second day, and people saw Jiagen resurrected with blood, while Ju Chan crawled on the ground like a snake. After struggling in his heart, Jia Gen decided to use his own body parts to remove the curse that God had placed on his mother. Despite the dissuasion of everyone, he blinded himself and broke his limbs. This move moved Fengshen Feilian, who withdrew half of his curse—Ju Chan could walk again, but she was still a blind woman. Faced with his son's repeated pardons and rescues, the stubborn Ju Sang finally wakes up and regrets the heinous sins he has committed. The mother and son cried together. They let go of their previous suspicions and immersed themselves in love and affection. Jusong is determined to destroy the twelve evil beasts in order to prevent them from continuing to harm the world. She told her son that the way to subdue the evil beast is to use a hammer to crush the original characters carved on the ox blade, turning the evil beast into dust, and then draw its image into a figure and record it in the shamanistic book "Shan Hai Jing" (book Possess the magic power of the enchantment, which can imprison those evil beasts), only in this way can the evil beasts be prevented from causing harm to the world again. Jiagen was elected as the king by the people of Qingqiu, and respectfully called him "ancestor". He entrusted the "Twelve Qi Beasts" as the "Twelve Zodiac Signs" to protect the people born in the year under his jurisdiction. But the evil beast Qiongqi was not killed by Jia Gen. It successfully suspended animation and escaped, accumulating strength and preparing to make a comeback. It predicted that Ju Chan was going to kill him, so he stole the shamanistic "Shan Hai Jing" first, opened the enchantment of the dark word system, and released more ancient evil beasts. The powerful army formed by them is marching towards Qingqiu country. A new disaster is about to strike. Jiagen and his mother Jusong decided to join hands to fight against evil beasts, defend the homeland of mankind, and restore the devastated human land. ​ Historical Analysis of Chinese Characters: The origin of Chinese characters in the framework of civilization The Dichotomy of Cultural Anthropology Two British and American old men, Toynbee and Huntington, started the debate on the grand narrative of civilization. This is undoubtedly a deconstruction of human history, which has triggered a new wave of historical standardization. As the elite members of human beings, the intellectuals have declared without shame that they have the powerful ability to draw a line with the humble animal kingdom, that is, they have found the four great signs that distinguish humans from animals. The best-selling author Yuval Noah Harari claimed in "A Brief History of Human Beings" that walking upright, having a larger brain capacity, using fire (becoming the earliest cook in the biological world and the inventor of the dark night culture), and being good at socializing are all important. It is the main scale for human beings to differentiate themselves from the animal kingdom, and it is also the four magic weapons for human beings to climb to the top of the biological chain. Although this classification method is crude and uninnovative, it is enough to satisfy the cognitive hunger of the scientifically illiterate public. This kind of standardized operation can also be repeated in the writing of human history. When people need to name some human historical activities in ancient times, they will use "culture" to name them. For example, historians call the remains of human activities discovered in the Yangshao area "Yangshao Culture". And there are four standards to measure this "culture" - The first is to have pantheistic religious beliefs and have professionals such as priests and wizards; the second is to master a complex language system and be able to use this language to start a dialogue with gods/humans; the third is to have mobility/settlement The gathering villages and houses with vegetation/stone materials; the fourth is the use of stone and pottery tools, stone tools tend to be more detailed, and there is a differentiation of tools and decorative functions, and it is possible to fire wheeled pottery (especially painted pottery), And make it an important commodity in regional trade. After the "culture" continued to move forward, people finally waited for the great thing called "civilization". The lonely fireball on the ground slowly illuminates the wise faces of human beings. Green Daniel proposed three signs to measure civilization. The first is writing, whether it is pure pictographic or pictographic/phonetic double-material writing; the second is the emergence of large-scale cities, even with tall terraces, stairs and city walls. And it can accommodate more than 5,000 residents; the third is the ritual building that forms a system, such as the pyramids of Egypt and Maya; Japanese and Chinese scholars also add a fourth sign, which is the metal manufacturing system marked by bronze casting (mining, smelting and casting technology), this "three plus one" system, has become the basic tableware that people use to taste history. This is actually the three "globalization" processes in the history of early human evolution. In the first stage of "gene seeding period", the great migration from Africa achieved the great goal of Homo sapiens globalization; and in the second stage of "painted pottery seeding period", human beings promoted The wave of globalization of painted pottery. In the third stage of the "bronze seeding period", human beings completed the process of bronze globalization by means of escape and trade. Without these three baptisms of "globalization", the cultural miracle of the "Axial Age" would not have occurred. (Click here to read the full article )

Dake landscape photography works As a writer who is highly sensitive to vision, Zhu Dake took some interesting landscapes with his mobile phone and camera during his travels, which became a pile of visual fragments reflecting the Chinese landscape in the early 21st century, providing limited private records for historical researchers. ​Xinjiang scenery 2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 新疆风物2013 Chengde Mountain Resort 2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 承德避暑山庄2008 Wuzhen years 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 乌镇岁月 Yuanyang Hani style 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 元阳哈尼风情 Lijiang Fengyue 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 丽江风月 Huangshan presents the old appearance of Canggu Village 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村 黄山呈坎老村元代建筑 Huangshan Hongcun Ancient House Community 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 黄山宏村古屋群落 Huangshan Xidi Ancient Village 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村 黄山西递古村