|
创办“黑蓝”的原因很简单：二十多年来，没有一份媒介符合我们作品的精神气质和艺术追求，所以我们就按照自己的意愿创造一个。“黑蓝”作为一个先锋艺术社团的创立，是在1992年。纸刊《黑蓝》于1995年创刊，但在第二期准备印刷之际，《黑蓝》被封杀停刊，直到本世纪初才以电子刊物的形式重新出刊，距今已发布了127期。 《黑蓝》试图在急剧萧条的文学环境下维护和推广年轻写作者。文学媒介的变化源自于整个文学环境的变化。这种变化早在1990年我刚开始写作的时候就已出现。由于文革乃至从1949年开始的政治高压，1978年解禁后，中国社会对文学、艺术、思想、自由如饥似渴，从1978年到1990年那十余年，中国出版界引进出版了几乎囊括西方古今重要思潮、特别是现代派以来的书籍，整个社会风气也以知识为荣，对艺术家、作家极其敬仰，文学杂志、出版极其繁荣。这样的氛围经过十余年的积累，到1990年，中国文学、文化界在轨迹上进入了一个成熟期，文学上也迎来了试图致力于艺术本体的先锋派，他们的代表人物是余华、苏童、格非、马原、孙甘露、吕新等人。这批作家，是中国新时期以来最后的幸运者。像孙甘露、马原那样地沉浸于自我呢喃和文本实验的作品，当年竟然不仅不担心出版，甚至有出版社向他们预约——这在今天是不可想象的。同时他们甚至集体性地获得了官方文学机构的呵护和豢养：苏童、孙甘露在那几年里被中国作家协会纳为“专业作家”（“专业作家”是国家终身发工资的“职业”）；余华、马原也曾进入国家文联等机构。——这种待遇在今天也是不可想象的。
始于1990年左右的文学命脉的突然中断和衰颓到底是因为什么呢？其中一个重要的原因，可能是经济发展在中国的进一步深化——邓小平1992年南巡、鼓励中国更大胆更快速地深化经济改革对此后一切的影响。官方的机构和媒介虽勉强能保住自身根基，但对年轻的力量再也无力顾及，基本处于失语的状态。另一个原因则是市场进入了文学出版，由此产生了一大批以出版运作资本的书商，以他们为核心，“市场文学”诞生，并从此以“市场”控制、引导、评判着这个国家的文学。
根据我个人的经历，我认为“70后美女作家”就是这个历史时期（1996）的书商们把文学从艺术剥离，使文学彻底走向市场的第一个成功商标。直至“80后”所谓的“偶像作家”韩寒、郭敬明等的集体诞生，则意味着市场化对文学的艺术属性的彻底淹没，这些人代表着近二十年来中国当代文学在和国际对话，这不仅是中国文学的耻辱，也是东西方文化交流工作者的耻辱。从我们开始写作之初，中国已经没有媒介可以正常发表、出版致力于艺术的文学作品，也不能认识这类作品的价值。没有人为我们提供舞台，既然如此，那我们就只能自己创造舞台。
1995年，我因为获得一位朋友的资助而创办了纸刊《黑蓝》。在第二期准备印刷之际，《黑蓝》被停刊，当时23岁的我也被审讯近四十八小时，其原因仅仅因为它所发表的作品“晦涩难懂”、“含义不明”，但却引起了众多自由写作者和青年艺术家的关注而让国家感到紧张。
一个创作者其实可以忍受不发表作品。但我仍旧不能相信、无法接受整个国家的文学都被平庸和市场所笼罩。《黑蓝》被查封后的数年里，市场化对文学的侵蚀越来越严重，中国文学环境不仅没有好转而且越发恶劣，艺术在文学中的重要性的价值观比过去更需要被强调，于是，2000年，在网络作为一个重要媒介在中国逐渐普及之际，我又凝聚网络工程师、设计师，创办了“黑蓝文学网”，区别于官方文学的平庸腐朽和市场文学的媚俗粗糙，黑蓝网创办之后很快吸引了一群同样视文字为艺术的创作者们。
我认为我们的文学与中国之前的文学之间最重要的差别，是——“无动机”。他们的写作，无论想要表达多么新的内容，“以内容（故事）折射作者的社会思考、政治愿望”仍是他们的不二套路。而我们的小说创作非常重视否定和无视旧有小说僵化的“动机”。多年来我们通过黑蓝文学网的日常工作来引导、确立和维护“无动机”小说创作，这些日常工作主要是：黑蓝论坛、黑蓝网刊、黑蓝小说奖、黑蓝文丛（自2007年以来已出版15部）。同时，我们在上海主持过艺术空间，也策划过多次展览。（我最初是学美术的，因此对文学之外的艺术形式保持敏锐是我们的另一个特点。）
黑蓝论坛是一个即时更新的BBS。所有人只要完成简单的注册（不要求真实身份信息）就能发表作品。黑蓝编辑（来自长期活跃于黑蓝的优秀小说家和诗人）会阅读它们并在作品下面发表公开评论。所有人都能看清这一过程。“透明、公开、自由”的特点使它抵制了中国主流文学长期存在的隐蔽、虚伪和压制。尽管大家毫无疑问都对政治不满，但不会有人专门为此去做些什么。我们心里更重要的信条是福克纳的“作家只对他的艺术负有责任。”艺术的追求使黑蓝的作者们偏向冷静，并非一个貌似“政治”显得无比重要的国度之下的国民，就必须全部都把“政治”放在首位。
目前的中国是一个个人成功欲念笼罩全国的时代。这一价值观使全国上下急功近利，整个社会被拜金主义所腐蚀。年轻人被经济阴云所笼罩，像折枝的玫瑰，一旦脱离经济的吸引和支撑，将立即枯朽。而那些主流的发音者，他们既没有继承中国古典传统的使命，也没有真正吸纳西方前卫观念。我认为目前整个中国社会最为严重的问题是缺乏对思想、艺术、自由和美的追求。因此，我们试图在一片空白之地徒手另造一个“文坛”，另造一个以艺术为核心追求的文学系统，另造一个价值谱系。这些优秀的年轻作家，在黑蓝推广他们之前，几乎全部无人知晓。他们不屑于主流文坛博一番需要以自己的价值观为代价而获得的声名。
在这个成功欲念笼罩着的中国当代，我们必须拒绝各种生存的诱惑和困扰。我们殚精竭虑保护着这个国家文学的艺术性。我们相信在不久的未来，当人们回顾我们这个时代的文学，他们将意识到这群以艺术为追求而进行写作的人，其实是这个时代仅有的文学幸存者。
2013年7月1日—8月1日，北京。
HEILAN WAS ESTABLISHED FOR A SIMPLE REASON: OVER THE PAST TWENTY YEARS, THERE HAS NOT EMERGED A SINGLE MEDIUM DEVOTED TO THE ARTISTIC AND SPIRITUAL IDEALS OF CHINESE LITERATURE, SO WE CREATED ONE ACCORDING TO OUR ASPIRATIONS. I FOUNDED THE ORGANISATION (THE NAME OF WHICH MEANS BLACK & BLUE IN CHINESE) AS AN AVANT-GARDE WRITERS’ GROUP IN 1992. THE INAUGURAL PRINT MAGAZINE WAS PUBLISHED IN 1995, BUT WAS CLOSED DOWN BY THE STATE BEFORE A SECOND ISSUE COULD BE RELEASED. IT RE-LAUNCHED AS A DIGITAL PUBLICATION AT THE BEGINNING OF THIS CENTURY, AND SINCE THEN WE HAVE PUBLISHED 127 ISSUES.
The purpose of the magazine is to preserve and promote young writers stymied by the drastic changes to China’s literary landscape. These changes had started even before 1990, when I first started writing. In the period between 1978 and 1990, my society’s yearning for literature, art, free thinking, and freedom found expression as Chinese printing presses published almost the entire Western canon. It was a time when the entire society took pride in the accumulation of knowledge, accompanied by a proliferation of literature magazines. This cultural moment peaked in 1990 with the rise of a Chinese avant-garde literature that placed art at its centre: writers such as Yu Hua, Su Tong, Ge Fei, Ma Yuan, Sun Ganlu and Lv Xin. This was the lucky generation. The demand for literature meant that experimental writers like Sun Ganlu and Ma Yuan were free from the pressure of finding publishers for their works, even enjoying sponsorship from official institutes. Su Tong and Sun Ganlu were given the title of ‘professional writer’ by the China Writers’ Association (meaning that they were paid a lifetime salary). Such treatment is now unimaginable.
What are the reasons for the sudden decline of experimental Chinese literature around 1990? Deng Xiaoping’s economic and political reform and China’s subsequent rapid economic development might be identified among the causes. Government-funded platforms for the publication of literature suffered – although a few still survive today, they can only maintain their rosters and are unable to assist new writers. Secondly, the market’s increasing involvement in literary publication created a plethora of book merchants and printing presses, and so gave birth to ‘market literature’.
The first sign that Chinese literature would be guided by the market was the cult of ‘post-70’s good-looking female writers’, a package dreamt up by booksellers. This signified the separation of literature from its artistic values. The collective emergence of ‘post-80’s writer idols’ such as Han Han and Guo Jingming, whose Young Adult fiction has gained him a status in China more typically afforded to teen pop stars, signified the complete domination of literature by the market; these writers represent China on the world stage, to the shame of our literary culture. Given the disappearance of those platforms promoting literature that holds true to artistic ideals we had no choice but to build a new one.
The first print publication of Heilan was made possible by the sponsorship of a friend. With the second issue ready for the printer, Heilan was ordered to terminate its operations by the Bureau of State Security. I was 23 years old. I was detained and questioned for 48 hours. The reason given was that the works published were ‘obscure in meaning’ and ‘lacked clear definition’. Having attracted attention from freelance writers and young artists, it made the Bureau of State Security nervous.
A writer is able to withstand his works remaining unpublished, but I am still unable to accept that the literary culture of a nation has been overwhelmed by the dual forces of the market and mediocrity. In the years following the termination of Heilan, the corrosion of literature by the market worsened, and the cultural climate further degenerated. The importance of artistic ideals in literature needed to be emphasised more than ever before, and so, in 2000, as the internet became more widely accessible in China, I brought together a group of web engineers and designers to create the Heilan website. In comparison to the dusty conformity of official literature, and the kitsch crudeness of market literature, Heilan attracted a radical group of writers who understood writing as a form of art.
I feel that the most important difference between our and the Chinese literature of the past is the concept of ‘no motive’. Their writing, regardless of what they wished to express, inevitably resorted to the reflection of the writer’s social and political views. Our writings attach the utmost importance to the denial of rigidly conventional ‘motives’. Over the years we have guided and maintained the creation of ‘no motive’ fictions through the day-to-day operations of the Heilan website including a forum, an e-magazine, the Heilan Novel Prize and our publishing arm, responsible for printing fifteen books since 2007. We have opened exhibition spaces in Shanghai and have curated several exhibitions (I originally studied fine art, and an acute awareness of art forms other than literature is a key part of what we’re aiming to achieve).
The Heilan online forum is an ever-updating BBS, like a message board. Anyone who completes a simple fill-in questionnaire (true identity not compulsory) is able to publish their works. Our editors publish feedback that everyone can read. This transparency is fundamental to what we do: a further effort to resist all that is veiled, hypocritical and suppressive. Although everyone expresses unhappiness with the political situation, we do not react. We consider, with Faulkner, that ‘writers are only responsible to their art’. A pursuit of art must be clear-headed, and our principles are political only in the sense that we believe in freedom and openness.
Contemporary China is brimming with dreams of success. This collective state of mind and set of values makes everyone anxious. My society is being corroded by avarice; young people are enveloped by the shadows cast by economic machinations. They are roses torn from the stem; once detached from the support and gravitational centre of the economy, they will soon wither. I do not believe that the most widely read Chinese authors have inherited the mantle of the Chinese literary tradition, nor have they truly learned from the avant-garde of the West. I believe that the most pressing issue China faces today is a lack of purpose and integrity in society’s pursuit of art, freedom and beauty. We are trying to create an alternative ‘literature circle’ upon new territories, creating a literature that places art at its core, so creating a new set of values. No one had ever heard of the wonderful young writers we’ve been able to publish. They do not wish to gain fame at the price of renouncing their values.
In this consumer society we must resist all temptations and attempts at interference. We give everything we have to protect the artistic values of Chinese literature in the belief that when people look back upon the literature of today, they will realise that this community of authors represented the real writers of our time.
| 
IP卡
狗仔卡
发表于 2014-3-4 13:48:51
QQ空间
腾讯微博
腾讯朋友
分享
收藏
顶
踩
提升卡
喧嚣卡
变色卡
抢沙发
千斤顶
显身卡
发表于 2014-3-4 15:54:19
