黃翔專題研討會10月29日在匹茲堡大學舉行

【大紀元10月29日訊】研討會主題：Reclaiming Huang Xiang: Poetry, Survival and Community

中太平洋地區亞洲研究協會

34屆年會－10月28日－30日

由匹茲堡大學國際系亞洲研究中心主持

MID-ATLANTIC REGION

ASSOCIATION FOR ASIAN STUDIES

34th Annual Meeting – 28, 29, 30 October 2005

Hosted by the Asian Studies Center – University Center for International Studies

University of Pittsburgh

Panel Presentations

Asias: Prohibited, Permitted, Past, Possible

Exploring the Lines Between the Prohibited and the Possible

時間: 10月29日，週六– 8:45 to 11:15 am

研討會主題：PANEL 1 – Reclaiming Huang Xiang: Poetry, Survival and Community

地點：4500 Posvar Hall （ Wesley W. Posvar Hall, University of Pittsburgh ）

主持人Chair: Jiayan Mi, The College of New Jersey

演講論文：

1, Notes from the Censorland:Tactics and Engagement

自由寫作的堅守

Uphold the Fort for Writing Freedom

黃翔，獨立詩人Huang Xiang, Independent Poet

2, Huang Xiang』s Poetry Identity in Translation: the Global Response

Jeffrey Kinkley, 聖‧約翰大學教授St. John』s University

3, A Flight Over the Dream Nest: Local Dwellings in Huang』s Poetry

Xinmin Liu, 匹茲堡大學教授University of Pittsburgh

4, Anti-lines: Orality,Vocality and Embodiment in Huang』s Poetry

Jiayan Mi,新澤西大學教授The College of New Jersey

論文討論人Discussant: Jeffrey Kinkley, St. John』s University

Welcome from The MAR/AAS President Institutional Members

Bucknell University Temple University

Community College of Philadelphia Towson State University

Georgetown University University of Delaware

The George Washington University University of Pennsylvania

Lincoln University University of Pittsburgh

Pennsylvania State University World Affairs Council

Rutgers University

If you have questions please contact Dr. Jordan at 412.648.7763 or jordanb@ucis.pitt.edu.

You may visit the website for details at:

網址：ccat.sas.upenn.edu/maraas/program2005.pdf

附：

自由寫作的堅守

黃 翔

談個人自由寫作，不能不聯繫到地下秘密寫作狀況，那是一度在中國大陸、特別是文化大革命中出現的一種特異文化現象。這種現象不僅出現在文化大革命時期，而是從1949年以後就一直存在著，它與官方文化一隱一顯地同時並存。這是兩種性質截然相異的文化現象，但毫無疑問，較之極權社會體制下的官方文學，作為地下隱秘狀態的「自由寫作」或「地下文學」所體現的是一個民族和一個時代真實的人文命脈和精神景觀。

官方文學與來自民間的地下文學，一個是明流、一個是地下河；一個仰仗於權力意志、一個尋求的是自由表達；一個備受人為推崇、一個遭受高壓、充滿危險甚至潛伏著殺身之禍。時至今日，中國大陸地下文學已出現多種名稱的命名，如「潛流文學」、「隱態寫作」、「潛在寫作」，但其「地下」的實質不變。包括現在中國大陸的「網絡文學」，雖然已有相對自由的表達空間，但仍然時時受到網警的嚴格檢查、控制、騷擾和追蹤，並未真正享有完全的公開化、地面化和合法化的表達權利，寫作者仍然處於另一種意義上的「地下」的不安全狀態。

地下文學之為「地下」，不決定於這種非官方寫作的時間有多早、持續的時間有多長，而決定於其自由精神特徵及其表達。這裡的「自由」，是針對思想文化領域的「專制」而言。因為從事這種地下狀態的秘密寫作者，表達的不僅是個人的文字意趣，而是對「寫作的自由」的追求，為此，他必須承受風險和可能的致命打擊，個人人身安全受到威脅。同時，這種「自由」是指精神創造的自由，它必須具有超越意識，其創作成果與同時代的一般水平，不是處於同一層次上，而具有超前的精神價值。在特定的歷史條件下，它無可迴避地必然承擔起對人權的關注和維護，並且注定對極權社會體制構成挑戰！

在這個意義上來說，地下文學創作時間的早晚和持續時間的長短，並不必然地具有地下文學本身的人文精神的歷史和現實的飽滿含量。

自由寫作或地下文學，主要是而且首先是以個體的形式而非以群體的形式出現。「群體」或有「組織」性的「自由寫作」在極權主義社會制度下前所未聞、並且注定覆滅。從某種角度來看，公開寫作之外的隱蔽寫作本質上是一種無奈，它純屬與他人無涉的個人行為。但個人作為「個體」的存在，必然經由精神而波及和影響到更多的人，這樣也就有可能形成某種鬆散性的自由組合。如文化大革命時期，貴州出現的持續十年之久的地下文學現象，就是這樣一種「組合」而非「組織」，它的主要表現形式就是「地下沙龍聚會」、「地下詩歌朗誦」和自印油印詩集，直至最後發展到率先公開在北京和貴陽兩地發行民刊，影響所及包括海內外。

這就是具有「中國社會主義特色」的「自由寫作」或「地下文學」的歷史真像！

這種文化現象的出現和存在，決定於多種因素：首先，是寫作者個人的勇氣和對理念與良知的堅守；其次，必須具有生長和傳播「異端思想」的一方精神土壤，而遠離皇城、地處邊遠的貴州卻正是這樣的荒蠻之地；第三是作品本身所具備的生命力，經得起時間的淘汰而免於自生自滅。「自由寫作」或「地下文學」是一個時代的歷史見證；而作為見證的作品其真實性及其產生的年代也必須經由同時代人見證和認證。相信這樣的作品的產生儘管是一種個別現象卻不是絕對孤立的現象，它必然直接和間接同周圍的人和環境發生這樣那樣的關聯。但在專制社會條件下，這類秘密寫作卻不帶普遍性、也不可能普遍存在，它只能是個別的、甚至孤絕的。能夠以「群落」形式普遍存在的文化現象已失去了真正意義上的「地下」性，也不再具有某種可能的傷害和危險性；其成員一般不會由此而承受壓力、遭受迫害並失去自由。

並不是所有的秘密寫作和地下文學都具有免於時間沖淘的生命力的。能逃避時間和歷史的沉湮而倖存的真正的地下文學作品，其倖存於世決非得益於夾縫中求存、巧妙週旋或與權勢者互為默契、變相同謀。也就是說，它的「倖存」不是一種謀略或策略性的操作的結果，也不是精神羸弱和疲軟者的幸運，而是並且只能是面對暴虐的個人的精神堅守、是作品的精神品質及其自身的內在生命力，和作品中巍然獨存的反叛和抗爭的那份磨不去的自覺。心性萎縮和舉陽不起者，其精神生命形態永遠拱不破覆蓋的土層。他們不僅承受不了外力對自身的摧毀，也難逃「自身湮滅自身」的厄運！一般來說在強權和暴力下，自由寫作注定難逃精神湮滅的悲劇；而特殊情況下，其中終能避免湮滅而得以倖存的地下文學作品，其精神生命形體將日趨顯露、其內在飽和的能量將持續釋放。並且它必然由邊緣化走向自身的確立而最終完成自己。這樣的特例之所以成為可能，唯一的依據就是別無選擇的「精神堅守」和絕不放棄精神抗爭！在「天網恢恢、疏而不漏」的禁錮下，除非統治者出於策略考慮而網開一面，不存在給任何人以任何「漏網」的僥倖和可能的機會。

我是1958年開始發表作品的，1959年為追求生命自由和寫作自由被第一次投入監獄。也就是從那個時候起，我的作品被禁止發表；而也正是上個世紀五十年代末我在獄中開始了我的處於絕密狀態的地下寫作。這種寫作長期是孤獨的、絕密的、不能同人公開交流的。1962年獲釋後我開始流浪，並在流浪途中繼續寫詩。1963年我流落到一個遙遠山區的茶場，那時候曾與一群喜歡文學和寫作的文學青年交往，他們是來自貴州遵義的熊慶棠、朱炎、蘇小乙等人，我們常有流動性的文學小沙龍式的聚會，為此，「四清」運動和「文化大革命」運動中，被工作組秘密打成「現行反革命集團」。直到十年後的1968年，我回到貴州省的省城貴陽市與詩人啞默等人結識，以「北斗七星」為主體的一群人，才開始在他家的「資產階級」庭園中集群聚會，秘密朗誦我的詩歌《白骨》、《野獸》、《火炬之歌》、《我看見一場戰爭》、《倒下的偶像》、《詩人的家居》等作品，貴州地下文學也由此以鬆散的群體形式出現，這就是中國當代民間自發的「民主牆運動」發生前，貴州著名的地下文學沙龍「野鴨沙龍」。那時候大家開始抄寫或油印一些詩在聚會時傳閱，有時甚至匯聚成冊，這就是最早以手抄或油印形式刊發的詩集，我的有詩歌《野獸的沉思》、詩論《留在星球上的札記》，啞默的有詩歌《苦行者》和隨筆《檬子樹下的筆記》，但這些文字都不能公開見諸於人的。真正公開的自由民刊的出現是1978年10月11日，以大字報專刊和油印民刊出現在北京的《啟蒙》，那是民主牆運動的第一份自由民刊，也是極權體制下的中國第一份在北京和貴陽兩地公開傳播和散發的民間自發刊物。在同一時期出現的民刊還有《中國人權同盟》、《探索》、《四五論壇》、《北京之春》、《沃土》、《今天》等，這些民刊在當代中國歷史上至今湮滅無聞，唯有「純文學」刊物《今天》受到「有選擇」的容納。其他民刊不僅全部被封殺，而且主要成員全部被捕。同期有過一定影響的還有從《啟蒙》分裂出去的《解凍》，和出現在貴州境內的《使命》、《百花》、《野草》、《大烏蒙》、《詩魂》、《狀態》、面向全國的大學生民刊《崛起的一代》、大型詩報《中國詩歌天體星團》和至今活躍在北京的詩歌民刊《大騷動》。值得一提的還有為推動「中國文藝復興運動」而一度出現在中國大西南貴州的「詩歌講座」和「文學沙龍」，和歷時久遠（從1979年延續至今）卻未受到社會足夠注意的四川民間詩刊《野草》，其主要人物有陳墨、蔡楚、鄧墾、白水等人。我這裡強調的是文學的非官方立場，也即它的自始至終的民間性。這樣的民間詩歌群落有早已發掘並廣為人知的「白洋澱詩群」，而貴州的《啟蒙》、《崛起的一代》、《天體星團》和同處大西南四川的《野草》至今未受到專制者容忍。

我的藉貫是湖南人，但長期生活在遠離北京中心的外省貴州。那兒山高皇帝遠，沒有城牆和皇宮，只有巍峨起伏的崇山峻嶺和洶湧呼嘯的瀑布和河流，賦予這裡人一種天不怕、地不怕、敢把皇帝拉下馬的獨立生命意志和自由精神。「自由寫作」和「地下文學」的存在，不僅僅決定於寫作者的超前的獨立思考、個人的才華和氣質，在那種特定的歷史條件下，首先決定於一個人的勇氣，包括文字書寫和綜合肢體語言與行為方式的立體書寫的勇氣。這是躲在書齋裡不敢面對「大街、廣場和人群」的儒生和懦夫不可理喻的。而這種特殊意義的寫作和文學現象之所以在高壓下避免了全軍覆沒，不僅決定於作品的精神含量及其歷史和現實的雙重價值，更決定於寫作者一次又一次「不甘湮滅」的自我拯救和勇敢衝擊，並使其「精神形體」終於「浮出水面」或「冒出土層」。就我個人而言，一生創作從未得以在大陸出版、並且一次又一次被抄搜，倖存尚有數百萬字。一生六次為寫作被投入監獄，失去自由先後長達十二年，每次都無不與追求生命自由與寫作自由相聯繫。那個年代類似我這樣出身「反動家庭」卻公開堅持精神反叛者還為數不多，而時代發展到現在，勇於面對公眾自由表達的獨立作家和詩人已經成批成批地出現，這樣的名字可以列舉出一長串，其中不少人不僅具有超人的勇氣，而且才華橫溢、充滿藝術氣質並且碩果纍纍。在此，我要為年青一代「自由寫作」的堅守者和維護者大聲歡呼！我滿懷期望地堅信，這些人必是中國當代文學史、思想史和社會史的重新書寫者、也是它們的改寫者，他們的名字將因各自卓越的成就而進入中國未來真正的社會、思想和文學史冊！！！

2005年7月6日於匹茲堡「詩人之家—夢巢」

Uphold the Fort for Writing Freedom

Huang Xiang

When addressing an individual』s freedom to write, one is compelled to relate it with the state of writing in anonymity and underground. That used to be a very abnormal cultural condition, which emerged in mainland China, especially during its Cultural Revolution. This particular condition not only existed during the entire Cultural Revolution era, but had lasted all along ever since 1949, coexisting with the CCP-led culture as the covert versus the overt. These two cultural conditions fundamentally are directly opposed, yet beyond any doubt, 「writing freedom」 or 「underground literature,」 in contrast to the official literature under an authoritarian regime, stands for the humanistic lifeline and intellectual radiance of any given nation in any given historical period.

Underground literature, originated from the popular and folk, differs from official literature in the following manners: one is the undercurrent, the other the surface flow; one seeks freedom of expression, the other depends on the will of those in power; one faces repression, banishment and even execution, the other enjoys favor and esteem. In today』s mainland China, underground literature has assumed diverse guises and forms, they are called 「undercurrent literature」 「invisible writing」 and 「latent writing.」 Whatever the form, their essence of being 「underground」 remains unchanged. This applies to the case of 「internet literature」 currently available in mainland China. Even as it reaches a relatively freer and wider realm, it is still subject to severe censorship, control, harassment and investigation by China』s internet cops, and never truly attained rights of expression that should be completely public, above-ground and legal. Writers of such literature are still bogged in an insecure zone, which remains 「underground」 in another sense.

What makes underground literature 「underground」 is not determined by how long ago the unofficial writing started, or how long it has sustained itself, but by the spirit of freedom it carries and the expression it offers. Here 「freedom」 is being underscored in contrast to 「tyranny」 ruling over realms of thought and culture; as the anonymous writers who remain 「underground」 in order, not to engage in linguistic wit or pleasure for personal satisfaction, but to pursue 「freedom to write.」 For that purpose, the individual is bound to face risks and possible blows that may threaten the individual』s safety. In the meantime, 「freedom」 also refers to freedom in intellectual and spiritual creation, which must possess a keen forward-looking sense. Rather than being the average and mediocre work of creation of the same era, it must surge ahead with its spiritual values. Under any given historical conditions, it cannot but be obligated to respect and protect human rights, and it will invariably pose a challenge to any totalitarian social system!

Insofar as this is concerned, whether underground literature started early or late, or whether it has sustained briefly or at length does not necessarily go to prove the fullness of history and reality in realizing its humanistic spirit.

Writing freedom or underground literature emerges, mostly and primarily, in the form of an individual rather than a collective. Any 「collectively」 or 「coordinately」 engaged 「writing for freedom」 has never existed under a totalitarian social system. It is always doomed. Viewed from another angle, writing undercover outside the boundaries of writing in public is fundamentally a hopeless choice, and should be regarded as individual conduct independent of any one else. However, an individual writer exists as an individual 「entity,」 thus he/she inevitably exerts spiritual and intellectual influence over other fellow human beings. Under such circumstances, it is possible for them to form a loose-fitting freely organized assemblage. A case in point is the underground literature that lasted over a decade in Guizhou during the Cultural Revolution, which is 「assembled」 rather than 「organized.」 It chiefly realized itself the form of 「underground salons」 「underground recitation of poetry」 and self-printed volumes of poetry, and expanded its ranks till it could eventually take the lead in publishing them in non-official journals in Beijing and Guiyang, which had attracted readership and spread its influence both at home and overseas.

This is the true historical nature of 「writing freedom」 or 「underground literature」 with 「Chinese socialist characteristics」!

The appearance and existence of such cultural phenomena is determined by many elements: first, by the writer』s personal courage and the steadfastness of his or her ideas and conscience; secondly, there must be the spiritual environment in which the 「heterodox thought」 can grow and be disseminated—and Guizhou, at the periphery and far from the imperial city, was just such a wild and uncultivated place; thirdly, there is the vitality of the works themselves, by which they withstand the test of time instead of withering of themselves. 「Writing freedom」 or 「underground literature」 is a historical witness to an era; and the truthfulness of a work of witness and the age that produced it must also pass through the eyewitness and authentication of people of the same era. I believe that even if the production of this kind of work is an extraordinary phenomenon, it is not wholly isolated, for it will necessarily directly and indirectly link up in various ways with the surrounding people and environment. But in an autocratic society, this sort of secret writing will not be widely known and it cannot exist everywhere, it can only be sporadic, even isolationist. Cultural phenomena that can exist everywhere as if in a 「community」 have already lost their 「underground」 character in the true sense, nor do they have any more a certain power to wound, or to endanger; the constituent members generally cannot take the pressure or withstand persecution and loss of freedom.

By no means all secret writing and underground literature have the vitality to withstand the eroding test of time. A true work of underground literature that can avoid the oblivion of time and history does not survive by clever adaptation while hiding out in the cracks and fissures, or tacit cooperation and disguised collaboration with the authorities. That is to say, its 「fortunate survival」 is not the result of astute or strategic manipulation, nor the good fortune of the spiritually enervated and the weak, but rather it comes from, and only can come from, personal spiritual steadfastness in the face of tyranny, the work』s spiritual caliber and intrinsic internal vitality, and lofty, unique, rebellious and resistant consciousness in the work that cannot be worn away. The form of the spiritual life of those who are temperamentally listless and 「can』t get it up」 will never be able to push up through the earth』s crust. Not only can they not endure being smashed by external forces, they will have trouble avoiding the misfortune of 「self-destruction.」 Generally, when subjected to strong-arming and violence, free expression is destined for the tragedy of spiritual destruction; under special circumstances, for underground literary works so fortunate as to survive and avoid annihilation, the form of their spiritual life will gradually be revealed, and their internally satiated capabilities will continue to be released. Moreover, they will necessarily proceed from marginalization to standing on their own, and final completion. The sole reason these special exceptions can exist is a 「spiritual steadfastness」 for which there is no alternative and a spiritual resistance that is never abandoned! Under the confines of a situation in which 「the net of Heaven has a large mesh, but it lets nothing through,」 unless the rulers open the net for tactical reasons, they do not give anyone an opportunity to 「slip through the net.」

I started publishing my works in 1958. In 1959, I was put in jail for the first time for pursuing spiritual freedom and writing freedom. And it was starting from then that my writings were prohibited for publication. It was also in the late fifties that I started the journey of my underground writing under absolute secret condition in the prison house. This kind of writing was for a long time often very lonely, secretive, and unable to exchange with other people openly. In 1962 after my release, I started to drift around, and I continued writing poems along the way. In 1963, I roamed to a tea plantation in a remote mountain area, where I got acquainted with a group of young people who loved both literature and literary writings. Of the group, they were Xiong Qingtang, Zhuyan, Su Xiaoyi, and others who came from Zunyi, Guizhou province. We often had irregular small salon gatherings to discuss literature. As a result, during 「the Four Clean-ups Movement」 and the Cultural Revolution, we were condemned unlawfully as 「the presently anti-revolutionary group」 by the official work team. It was only a decade later until 1968 that I returned to Guiyang, the capital of Guizhou province, and corroborated with Ya Mo and a group of other poets who formed 「the Seven Stars of the Big Dipper.」 From then, we started to gather collectively at Ya Mo』s bourgeoisie-style courtyard to clandestinely read aloud my poems such as 「White Bones,」 「The Wild Beast,」 「Song of the Torches,」 「I See a War,」 「Fallen Idol,」 and 「Poet』s Dwelling-place.」 From there, the underground literature in Guizhou was irregularly and collectively sprouting out, leading to the establishment of the 「Wild Duck Salon,」 a well-known underground literary salon in Guizhou. In terms of timing, this salon started up before China』s most populist 「Democracy Wall Movement」 in Beijing.

It was then that everyone started to copy or mimeograph these poems and to circulate them during the gatherings, sometimes even making them into printed volumes. These were the earliest collections of poems produced by hand copy or mimeograph; volumes that were unable to get published openly include my poem collection: Meditations of a Beast, my essays on poetry, Notes Left on a Star,」 Ya Mo』s poem collection The Ascetics and his essays Notes under the Sub Tree. It was not until October 11, 1978 that the truly openly published unofficial periodical Enlightenment came into being in Beijing. Published in the form of big posters and mimeographed periodicals, Enlightenment was the first unofficial periodical for freedom from the 「Democracy Wall Movement」 as well as the first unofficial self-published periodical under the autocratic rule openly spreading and circulating in both Beijing and Guizhou. Other unofficial periodicals that appeared at the same time include China Human Rights League, Exploration, April 5 Forum, Beijing Spring, Fertile Soil, Today, and others. However, all of these publications nowadays are obliterated and thus unknown in modern history, except for the 「pure literature」 journal Today, which received some 「selective」 tolerance. Other unofficial periodicals were not only all banned, but their key members were arrested. Meanwhile, some other influential periodicals include The Thaw, which was a subbranch of Enlightenment, Guizhou-based periodicals The Mission, Hundred flowers, Wild Grass, Big Wu Men, Soul of Poetry, and Condition, the unofficial periodical for nation-wide college students Rising Generation, the large-scale poetry newspaper The Star Cluster of the Galaxy of Chinese Poetry, and the still active Beijing-based Big Turbulence. In addition, worthy of mentioning are the 「poetry lectures,」 「literary salons」 that once appeared in China』s southwest Guizhou, and the long-lasting （continues from 1979 until today） but often ignored Sichuan-based unofficial poetry journal Wild Grass （its key members include Chen Mo, Cai Chu, Deng Ken, Bai Shui, and others）, they all have contributed to 「China』s Renaissance Movement」 in the 1980s. What I want to emphasize here is the unofficial positions of literature, namely its folk nature from beginning to end. Although some of folk poetry groups have been excavated and were widely known like 「the Baiyang Marsh Poetry Group,」 the Guizhou-based groups like Enlightenment, Rising Generation, Star Cluster of the Celestial Body, and the Sichuan-based Wild Grass have not until now received any tolerance from the despots.

I am a native of Hunan, but I grew up in Guizhou, which is far from the capital city of Beijing. As Guizhou is far from the rule of the emperors, and there are no city walls and royal palace, but just unsurpassable high mountains ridges, turbulent waterfalls and rivers, people here are endowed with independent will power of life and free spirit that dare to defy the heaven, question the earth and challenge the emperor. The existence of 「writing freedom」 and 「underground literature」 not only dictates the writer』s independent thinking ahead of her/his time, the writer』s individual talent and unique personality, but most of all, under that particular historical conditions, also dictates this writer』s personal courage, including the courage of creating the three-dimensional writing that combines linguistic writings with the body language and actionism. This is unthinkable for those Confucian scholars and cowards who choose to hide in their study but dare not face 「the boulevards, the squares and the crowds.」 This kind of writing and literary phenomenon possesses special significance because they are not to be entirely destroyed by the high pressure of official ideology. More importantly, this courage for three-dimensional writing will not only determine literary works』 spiritual quality and its dual value of reality and history, but will more determine writer』s voluntary self-redemption and courageous engagement that refuse to be succumbed and annihilated, ultimately leading to the resurgence of the 「spiritual body.」

Like myself, none of my works have even been published in mainland China, instead they have again and again been confiscated; fortunately manuscripts with several million words still survived. I have been incarcerated for six times, and lost my freedom as long as twelve years, all because of my pursuit of spiritual freedom and writing freedom. I still have not given up. During the Cultural Revolution era, there weren』t many of people like me around who was born in a 「reactionary family」 but openly upheld the rebellious spirit against the regime. However, nowadays, there is a coalition of self-proclaimed freelancers who boldly turn to the public for the freedom of speech. I can make a long list of their names. Of them, there are quite a number of people who have made admirable achievements with their superb courage, unusual talents and artistic sensibility. Their exceptional courage and passion have broken down a lot of barriers that lay before them. Therefore, I want to hail the younger generation for their upholding and safeguarding of 「freedom writing.」 I sincerely believe that these people are the ones who will surely rewrite and revise the history of contemporary Chinese literature, intellectual thoughts and society. For their outstanding achievements, their names will go down in the true history of future China.

（Cotranslated by Ximin Liu, Jeffrey Kinkley and Jiayan Mi）

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