雨王的个人资料

举报贴吧投诉吧为什么我发一个贴经过几个小时还没有通过审核？这种极其落后的工作效率真是令人啼笑皆非

“我看我自己” 王云弟/文人的处境与命运尤其是现代知识分子的处境与命运是索尔•贝娄关注的中心，索氏以对现代文化富于历史深度的理解，创造出一系列备受挫折、精神烦躁、“晃来晃去”的是“受害者”的知识分子形象，通过他们精神的历险或者说精神的流浪去深刻思考现代知识分子自我的危机及其自我的超越。为此，他以人物的精神或者说内在世界为轴心，去切人创造物的肌肤，在他们灵魂受难与现实处境的绞榨与蹂痛中，去叩问并寻获一种人类理想的自我完善之途。与此相应，他“要求能有一种更加广泛、更加灵活、更加丰富、更有条理、更为全面的叙述”，来“阐明人类究竟是什么，我们是谁，活着为什么等问题。”①在这个“全面的叙述”中，人物的内在世界及其精神的磨难则是其叙述的中心，它既是叙述的主体又是叙述的对象与客体，以此展示出“对当代文化富于人性的理解和精妙的分析。”②而《赫索格》则正是这种“我看我自己”之小说叙述的最典型代表。“我思故我在”《赫索格》是索尔•贝娄的代表作。小说主要写赫索格的第二个妻子马德琳如何抛弃他以及在纽约和芝加哥五天的戏剧性事件，这一系列的事件是赫索格回到路德村后在回忆中展开的外部事件，在外部事件叙述的同时，则不断交织着一系列的联想与意识的四环:儿时在蒙特利尔和芝加哥的经历，他的两次婚姻，性爱与性生活，尤其是马德琳和格斯见奇的私通与背叛，由此而起的精神错乱，甚而至于被当作疯子等。不仅于此，整个意识或下意识的闪回与断想还交织着他用文字或是在头脑中写就的几十封信，这些信有给朋友的、妻子的、总统的、艺术家的……，他们有的已死去，有的还活着。这些书信涉及了政治、经济、法律、文化、宗教等各个领域。正是它们构成了作品最为博大的内容和最为精妙的分析。《赫索格》中，五天的戏剧性事件构成叙述文本的主体框架，但是这一系列的外部事件则全部是在人物的意识流程中展开，它们构成了人物精神的流变史。赫索格从内在自我出发，在精神崩溃的边缘，经过一次次灵魂的探险或者说精神的流浪，而是终归于一种内在自我的淡泊与宁静，那种浮躁、骚动不安的意识，经过一系列自我的冲突与对话、最终在理想的田园中寻获到超验的平和。这不能不使我们想到但丁，他的地狱—炼狱—天堂之行。从精神历险的层次上说，赫索格和但丁都在以同一种声音布道、言说，他们划过的是受难一一追寻-一拯救的精神轨迹。赫索格绝不是一个悲观主义者，他在冥冥之中追求某种高于现实的生活，并希图在混乱的世界中找到生存的立足点。他的最高理想就是一种超验的平和，一种内心与外在的宁静。但是，要完成这种精神的超越直至超验的田园，他必得经过精神的磨难，在内心深处经过血与火的熔铸，因此他也就被称为“受难的主人公”(Suffering hero).基于此，叙述人把所有事件和思想都拉人人物追溯的流程之中，把其叙述完全规范在个人生活之内，把人物囚禁于一种可耻狠琐而又软弱无能的个人隐秘之中。因而，人物所理解的更多是个人的存在，他孤独冷漠又离群索居，时而敏感执拗，时而刚恒自大，他只得耽于玄想与沉思，直至精神的变态与狂热。他是沉思的，又是感觉的，甚而至于是直觉的，但就性格内型说，他是内倾思维的。基于这种内倾的思维意识，他思考了诸多问题:从德国存在主义到俄国神秘主义，从加尔文教到黑色穆斯林教，从蒙田、帕斯卡尔、康德、费希特到尼采、斯宾格勒、海德格尔‘艾森豪威尔、史蒂文森和一马丁•路德金。我们与其说他象一个禁闭的艺术家，不如说他象一个存在主义的心理学家，他更是一个“我思故我在”式的形而上学的哲学家。“这使我们想起另一个人他带着问题，走遍大路小径，倾听着自己的心声，这就是苏格拉底和他的守护神。这种反省式的倾!异公声，需要僻朴的环境。”③因此经过一系列灵魂的冒险，终归那平和详明的田园，最后，“他对任何人都不发出任何信息”。④事实上，当叙述者把整个叙述都拉人人物个人生话的范围把现实与处境都归并到人物意识流程之中的时候叙述者把人物的内在世界既当成了自我认识的主体又当成了，几伐观照的对象与客体，内在自我的冲突与对话所最终通向的仍是内在自我本身。他是沉思的、内省的，又是自我观照、自我意识、自我封闭、自我保护的;他是静止的，又是动态的;他是一潭死水，又是奔腾汹涌的大海，正如我们这地球的处所，永住不动，却又在可企及的深处进行着缓慢、微妙而巨烈的分解活动。如此赫索格才能在回忆、下意识的吃语以及疯狂的冥想之中进行深刻的精神探索。另一方面，在人物精神探索的流程中人物的内在世界成了叙述者充分关注的中心，这种关注本身也就是叙述者自我灵魂的叩问，人物的自我意识和叙述者的自我意识互为表里。事实上，这位无处不在的叙述者把自以为天经地义的真值都辐射到叙述文本的各个层面，并以此去观照并分析人物的内心及其处境。因为在贝娄看来，艺术是给可视世界以最高公正的一种尝试，它试图在这个世界里，在事物中以及在现实生活中，找出基本的、持久的、本质的东西。这个“本质的东西”是什么?在他看来，那就是宇宙中可感而又不可感的精灵式的作为最高价值的善。这就象康德的道德律令，只不过后者是一种先验的存在，而前者时而隐时而显，冥冥之中需要我们去寻找，去叩问，而赫索格的精神流程则正是这个最高价值之善的竞技场。

索尔·贝娄的小说和我们的焦虑（转贴） http://blog.sina.com.cn/u/5407388d01000167

索尔贝娄吧欢迎大家光临！材料丰富 http://post.baidu.com/f?kw=%CB%F7%B6%FB%B1%B4%C2%A6

欢迎大家光临索尔贝娄吧！ http://post.baidu.com/f?kw=%CB%F7%B6%FB%B1%B4%C2%A6

A Brief Introduction to Plays Written by Saul Bellow The Last Analysis. New York: Viking, 1965; London: Weidenfeld and Nicolson, 1966; New York: Compass-Viking, 1966, 1972. Translations: Milan: Feltrinelli, 1966; Cologne: Kiepenheuer, 1968. Rpt. in Best American Plays 1963–1967. Eds. John Gassner and Clive Barnes. 6th Series. New York: Crown, 1971; Comedy: A Critical Anthology. Ed. Robert W. Corrigan. Boston: Houghton, 1971; Broadway's Beautiful Losers. Ed. Marilyn Stasio. New York: Delacorte, 1972. Translations: Milan: Feltrinelli, 1966. "Orange Souffle." Esquire Oct. 1965: 130–36. Rpt. in Traverse Plays. Ed. Jim Haynes. Harmondsworth: Penguin, 1966; The Discovery of Drama. Thomas S. Sanders. Glenview, IL: Scott, Foresman, 1968; The Best Short Plays of the World Theatre, 1968–1973. Ed. Stanley Richards. New York: Crown, 1973. Chicago Radio Theatre Presentation of Saul Bellow's "Orange Souffle" and "The Wrecker." Sound Recording. Chicago: All-Media Dramatic Workshop, 1978. Translations: C'Esperanza nel Sesso?: Tre Atti Unici. Milan: Feltrinelli, 1967. One of three one-act plays performed on Broadway and in London in 1966 as Under the Weather. "Out from Under." Unpublished in English. Translations: C'Esperanza nel Sesso?: Tre Atti Unici. Milan: Feltrinelli, 1967. One of the three one-act plays performed on Broadway and in London in 1966 as Under the Weather. "Scenes from 'Humanitis—A Farce'." Partisan Review 29.3 (1962): 327–49. Part of an early version of The Last Analysis. "A Wen." Esquire Jan. 1965: 72–74, 111. Rpt. in Traverse Plays. Ed. Jim Haynes. Harmondsworth: Penguin, 1966; French translation "Un Grain de Beaute" in Saul Bellow. Pierre Dommergues. Paris: Grasset, 1967; Neurotica: Jewish Writers on Sex. Ed. Melvin Jules Bukiet. New York: Norton, 1999. Translations: C'Esperanza nel Sesso?: Tre Atti Unici. Milan: Feltrinelli, 1967. One of three one-act plays performed on Broadway and in London in 1966 as Under the Weather. "The Wrecker." New World Writing. No. 6. New York: New American Library, 1954. 271–87. 10 vols. 1952–1956. Rpt. in Seize the Day. New York: Viking, 1956; London: Weidenfeld and Nicolson, 1957.

如果出版桑塔格的其他著作请吧主及时通知另外，欢迎光临索尔贝娄吧：http://post.baidu.com/f?kw=%CB%F7%B6%FB%B1%B4%C2%A6

韦恩·布思论索尔·贝娄索尔·贝娄告诫我们提防“深入理解”。“恐怕理解得最深的读者，就是那些对自己最没有把握的人。尤其令人不安的猜疑是，他们更爱解释而不是感受困难。”但是，这种警告不可能对我们起很大作用，因为，正如贝娄所说，“当代最优秀的小说家和诗人已经作出很多努力，去助长”这种令他痛惜的深入理解。贝娄自己的小说，无一不要求读者方面的深刻辨别力，这些小说的叙述者无一不是只有部分的可信性。谁能肯定地说，在什么程度上，奥吉、或亨德森、或者利文撒尔是遵照贝娄的准则说话呢？摘自韦恩·布思《小说修辞学》第411页，北京大学出版社1987年10月版，华明等译。

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索尔贝娄吧关于这位作家的丰富材料。大量中英文材料，包括了访谈、书评及学术评论、论文等诸多方面的内容。撰写有关索尔·贝娄论文的朋友可以从中获得巨大的收获。也希望大家在索尔贝娄吧里畅所欲言，尽情发表自己对这位作家的看法。http://post.baidu.com/f?kw=%CB%F7%B6%FB%B1%B4%C2%A6

请问管理员我作为索尔贝娄吧吧主数次申请将本吧归入文学人物类，但始终没有回音，不知是什么原因，望迅速答复，谢谢。

The Civilized Barbarian Reader Review On THE CLOSING OF THE AMERICAN By Saul BellowHe's a Middle Westerner, the son of immigrant parents, I recognized at an early age that I was called upon to decide for myself to what extent my Jewish origins, my surroundings (the accidental circumstances of Chicago), my schooling, were to be allowed to determine the course of my life. I did not intend to be wholly dependent on history and culture. Full dependency must mean that I was done for. The commonest teaching of the civilized world in our time can be stated simply: ''Tell me where you come from and I will tell you what you are.'' There was not a chance in the world that Chicago, with the agreement of my eagerly Americanizing extended family, would make me in its own image. Before I was capable of thinking clearly, my resistance to its material weight took the form of obstinacy. I couldn't say why I would not allow myself to become the product of an environment. But gainfulness, utility, prudence, business had no hold on me. My mother wanted me to be a fiddler or, failing that, a rabbi. I had my choice between playing dinner music at the Empire Room of the Palmer House or presiding over a synagogue. In traditional orthodox families small boys were taught to translate Genesis and Exodus, so I might easily have gone on to the rabbinate if the great world, the world of the streets, had not been so seductive. Besides, a life of pious observance was not for me. Anyway, I had begun at an early age to read widely, and I was quickly carried away from the ancient religion. Re-Continued on page 38 luctantly, my father allowed me at 17 to enter the university, where I was an enthusiastic (wildly excited) but erratic and contrary student. If I signed up for Economics 201, I was sure to spend all my time reading Ibsen and Shaw. Registering for a poetry course, I was soon bored by meters and stanzas, and shifted my attention to Kropotkin's ''Memoirs of a Revolutionist'' and Lenin's ''What Is to Be Done?'' My tastes and habits were those of a writer. I preferred to read poetry on my own without the benefit of lectures on the caesura. To rest my book-strained eyes I played pool and Ping-Pong at the men's club. I was soon aware that in the view of advanced European thinkers, the cultural expectations of a young man from Chicago, that center of brutal materialism, were bound to be disappointed. Put together the slaughterhouses, the steel mills, the freight yards, the primitive bungalows of the industrial villages that comprised the city, the gloom of the financial district, the ballparks and prize fights, the Prohibition gang wars, the machine politicians, and you had a solid cover of ''Social-Darwinist'' darkness, impenetrable by the rays of culture. Hopeless, in the judgment of highly refined Englishmen, Frenchmen, Germans and Italians, the spokesmen for art in its most advanced modern forms. In the opinion of these foreign observers, America enjoyed many advantages over Europe, it was more productive, more energetic, more free, largely immune from pathogenic politics and ruinous wars, but as far as art was concerned it would be better, as Wyndham Lewis put it, to have been born an Eskimo than a Minnesota Presbyterian who wanted to be a painter.

The Groves of Ignorance(Review On THE CLOSING OF THE AMERICAN April 5, 1987By ROGER KIMBALLAllan Bloom, a professor of philosophy and political science at the University of Chicago, is perhaps best known as a translator and interpreter of Jean Jacques Rousseau's ''Emile'' and Plato's ''Republic,'' two classic texts that ponder the relationship between education and society. In ''The Closing of the American Mind,'' Mr. Bloom has drawn both on his deep acquaintance with philosophical thinking about education and on a long career as a teacher to give us an extraordinary meditation on the fate of liberal education in this country - a meditation, as he puts it in his opening pages, ''on the state of our souls.''Let me say at the outset that ''The Closing of the American Mind'' is essential reading for anyone concerned with the state of liberal education in this society. Its pathos, erudition and penetrating insight make it an unparalleled reflection on the whole question of what it means to be a student in today's intellectual and moral climate. But such qualities also make the book difficult to summarize briefly. Mr. Bloom ranges freely over centuries of thinking about freedom, values and the ends of education, moving with ease (to quote one of his more ambitious chapter headings) ''From Socrates' Apology to Heidegger's Rektoratsrede.'' Yet the book's scope and considerable learning have not made it any less immediate or compelling. In fact, one of the things that distinguishes it is its successful blending of erudition with great particularity. Among the more noteworthy examples of the latter is Mr. Bloom's harrowing description, near the end of the book, of his experiences at Cornell University in the late 1960's when students seized buildings at gunpoint, held professors hostage and intimidated a pusillanimous administration into a policy of appeasement. As his title suggests, Mr. Bloom's assessment of liberal education is not optimistic. In essence, he argues that over the last 25 years the academy has all but abandoned the intellectual and moral principles that have traditionally informed and given substance to liberal education, becoming prey to the enthusiasms - increasingly politicized - of the moment. While the eruption of violence and political activism in the 60's marked the high point of those enthusiasms, in Mr. Bloom's view, the university has yet to recover from the aftereffects of those disruptions. And because the university epitomizes the very spirit of free inquiry, which in turn is at the root of a free society, he concludes that ''a crisis in the university, the home of reason, is perhaps the profoundest crisis'' for a modern democratic nation. Mr. Bloom devotes a large part of the book to analyzing the character and intellectual disposition of those students who form his main subject and raison d'etre, liberal arts students ''who populate the twenty or thirty best universities.'' Among much else, he describes the extent to which even such privileged students have in recent years ''lost the practice of and the taste for reading,'' forsaking the companionship of books for the more accessible but less sustaining pleasures of movies and rock music. He discusses how changes in the family, especially the high incidence of divorce, have impinged upon the character of students, leaving them at once more cynical and less questioning, less critical. And he considers how the revolution in adolescent sexual mores not only wrought radical changes in sexual attitudes and behavior, but also has tended to dampen what Plato described as the ''erotic'' element in education, the element of mystery and longing that has always been part of the excitement of discovering the world of liberal learning.

Bloom's Day (Review On Ravelstein) In Saul Bellow's novel, a man much like Bellow chronicles the last months of a man much like Allan Bloom.April 23, 2000By JONATHAN WILSONWe live in a thought-world, and the thinking has gone very bad indeed.'' Thus Saul Bellow, 13 years pre-Regis, in his foreword to Allan Bloom's controversial book ''The Closing of the American Mind.'' Now here he comes, at the age of 84, writing in his gold-standard prose as an antidote to mindlessness, in a lively, lovely, haunting novel that caresses Allan Bloom's life via the thinly disguised eponymous figure Abe Ravelstein. It will be remembered that Bloom, a life-term academic with a fine reactionary mind, wrote what was by contemporary standards an esoteric text, but one with a message about the state of higher education that was concise and economical enough to excite the right: rock 'n' roll had dulled a generation's brains, the wisdom of the Greeks was lost in a welter of insignificant relativism, knowledge of American history had been replaced by ''a smattering of facts learned about other nations or cultures.'' This was a fight everyone wanted to get in on. In short order Bloom became that peculiar, once-in-a-decade American phenomenon: the academic celebrity with a ton of money. Who wants to be a millionaire indeed? Bellow's novel is alive to the irony, relishes it, in fact. Suddenly Abe Ravelstein, who in hard times has been known to pawn his valuables to wealthy former students, is scooping up Pratesi linens, cured angora skins and mink coverlets for his bed, and splashing $80,000 on a BMW for his partner, Nikki. In Paris, while on sabbatical, he moves into ''one of the best apartments in the place'' and buys a $4,500 Lanvin sport coat; in London he orders custom-made shirts from Turnbull & Asser. Meanwhile, he continues to dazzle his friends with a nonstop barrage of wit, advice, low jokes and high thought. And he is terribly brave as he does so, for Ravelstein, without a murmur of self-pity, is dying of AIDS. His longtime best friend, Chick, the narrator of the novel, and as skintight to Bellow as Ravelstein is to Bloom (at least in terms of what is generally known of both their lives -- though it should be noted that Bloom, who died in 1992, never publicly discussed his sexuality), is present to witness the peaks and valleys of Ravelstein's last months and to offer his salient memories and reflections on the life. In so doing, Chick both performs a labor of love and more or less fulfills an obligation, for Ravelstein has fingered Chick to be his biographer.I say ''more or less'' because Chick makes a swerve away from straight biography and into a quirky, mediated, reminiscence in which Ravelstein is not always the major player. Bellow, one imagines, perhaps identically charged by Bloom with a responsibility to report the professor's life, similarly skirts biography and memoir and chooses fiction as his medium. ''Ravelstein,'' the novel, thus becomes a litmus test of The Novel's vitality, a demonstration of the elasticity of the form and of its superior ability to get at the heart and soul of a character. In an age of daunting, monumental psychobiography, this is where a lifelong intellectual bandit-trickster like Bellow can stake his claim: truth comes not through piling up fact and piling on one's subject in a hefty 700 pages but via the selective imagination and burnished sentences of an accomplished novelist. Bellow has trodden this path before, most notably in ''Humboldt's Gift,'' where he brilliantly transformed the dazzling depressive poet Delmore Schwartz into the dazzling depressive character Von Humboldt Fleisher.

Who Is Saul Bellow? And Who Isn't Saul Bellow? By CHRISTOPHER LEHMANN-HAUPT Published: April 11, 1994Saul Bellow's is an unusual literary case, hard to peg or cubbyhole; his ambiguities and contradictions are reflected in the first nonfiction collection by the 1976 Nobel laureate in literature, "It All Adds Up: From the Dim Past to the Uncertain Future." At a superficial glance, you think of him as neoconservative, if only from the evidence of his early connection to Partisan Review with its Marxist leanings and his later friendship with Allan Bloom along with his endorsement of Bloom's famously controversial book, "The Closing of the American Mind." This surface impression of Mr. Bellow is confirmed in this collection by memories of his involvement in the Partisan Review crowd and by a loving eulogy of Bloom in which he writes of his friend that "Allan's is a clear case of greatness," although about the matter of conservatism Mr. Bellow remarks that his colleague at the University of Chicago "had too much intelligence and versatility, too much humanity, to be confined to a single category." You think of Mr. Bellow too as a tradition-bound child of Jewish immigrants from Russia, deeply grateful for the opportunity of America and impatient with anyone who would sully it by advocating revolution. This side is reflected in the author's memories of growing up in Montreal and an ethnically patchwork Chicago, and in his disdain for those Greenwich Village intellectuals who refused to turn away from Marxism when the Russian experiment proved a disaster because the "Marxist fundamentals had organized their minds and gave them an enduring advantage over unfocused rivals educated helter-skelter in American universities." Yet there is another side of Mr. Bellow that emerges in these pieces -- many other sides actually -- and one in particular that is striking. This is the man of European letters impatient with a soulless, fact-ridden, commercially obsessed America. He blames the Partisan Review intellectuals for abandoning literature. "They made their reputations on the ground between literature and politics, with diminishing attention to literature," he remarks in a lengthy interview with Keith Botsford. "They moved from literature to political journalism. The 'literary' screen, a stage property, was hoisted away into the flies." This Saul Bellow longs for the ineffable. In one piece, he describes himself in his youthful, down-and-out, $3-boarding-room, apprentice days in Chicago as having "a heart full of something." But what? He finds himself agreeing with Nabokov: "A work of art, Nabokov argued, detaches you from the world of common travail and leads you into another world altogether. It carries you into a realm of esthetic bliss. Can there be anything more desirable than esthetic bliss?" You think momentarily that you now have Mr. Bellow pinned and identified as the litterateur who went off to Paris after World War II to write art novels. And yet. And yet. He didn't much like Paris, pronouncing it "one of the grimmest cities in the world." About one of the greatest modern-art novels written there he comments: "I often try to fathom the feelings, attitudes and strategies of a Joyce during the Great War when he concentrated on the writing of 'Ulysses.' Could the fury of such a war be ignored? There's hardly a trace of it in 'Ulysses.' "

'The Bellarosa Connection' Reviewed by CHRISTOPHER LEHMANN-HAUPT Published: September 28, 1989 The subject of memory pervades Saul Bellow's intriguing but ultimately elusive new novella, ''The Bellarosa Connection,'' which is the second short work of fiction, after ''The Theft,'' that the 1976 Nobel laureate in literature has brought out as a paperback original this year.Memory is the specialty of the novella's nameless narrator, a Russian Jew from New Jersey who owes his ''worldly success'' to having founded the Mnemosyne Institute of Philadelphia and there trained executives, politicians and members of the defense establishment in the art of remembering.And memory is what prompts his narrative, which is largely the story of a refugee couple named Fonstein whom the narrator's father once introduced to him. ''I was at the bar of paternal judgment again, charged with American puerility,'' he writes. ''When would I shape up, at last! At the age of 32, I still behaved like a 12-year-old, hanging out in Greenwich Village'' His father ''hoped it would straighten me out to hear what people had suffered in Europe, in the real world.''What Harry Fonstein had suffered, predictably enough, was persecution by the Nazis. At a crucial point, he had been rescued from an Italian jail and shipped to Ellis Island by what he at first understood to be something called the Bellarosa Society but later discovered to be none other than the show-biz impresario Billy Rose.Yet what impresses the narrator most about Fonstein is his hugely fat and serious wife, Sorella, and how she has figured in her husband's history. Having saved Fonstein, Billy Rose wouldn't meet him; he wanted nothing more to do with the man. But Fonstein, long since made wealthy by the invention of a new thermostat, still feels incomplete. Sorella digs up dirt on Billy Rose and tries to blackmail him into meeting her husband for just 15 minutes. In Jerusalem's King David Hotel, where Rose is staying while he plants a sculpture garden for Israelis to remember him by, Sorella corners him and plays her card.These improbable events are knitted together and made credible by Mr. Bellow's familiar idiomatic voice, philosophizing, cracking wise and putting its inimitable spin on the world. On Billy Rose: ''There were, however, spots of deep feeling in flimsy Billy. The God of his fathers still mattered. Billy was as spattered as a Jackson Pollock painting, and among the main trickles was his Jewishness, with other streaks flowing toward secrecy - streaks of sexual weakness, sexual humiliation. At the same time, he had to have his name in the paper. As someone said, he had a buglike tropism for publicity. Yet his rescue operation in Europe remained secret.''Still, for all his keenness of memory, the narrator of ''The Bellarosa Connection'' ends up forgetting the most essential thing. Sorella Fonstein, who turns out to be ''well up on the subject'' of Jewish history, draws her own conclusions from her encounter with Billy Rose: ''The Jews could survive everything that Europe threw at them. I mean the lucky remnant. But now comes the next test -America. Can they hold their ground, or will the U.S.A. be too much for them?''

In Search of Light Review on Seize The Day November 18, 1956The principal item in Mr. Bellow's new book is the long title story, virtually a novel in miniature, to which have been added three short stories and a one-act play. Although the different things in the book are by no means on the same level, the title story seems to me the most moving single piece of fiction that this young author has as yet written. It is all the more interesting because there is a plainness of feeling in it that contrasts sharply with the keyed-up virtuosity and the defiant humor of his long novel, "The Adventures of Augie March."In all of Mr. Bellow's fiction to date one has been aware of an unusual mind that has wryly put itself to situations for irony, burlesque, the macabre. In "Seize the Day" Mr. Bellow's very subject is the transparency of human weakness. It is the kind of weakness that is hard to conceal or to acknowledge. But if it is looked at as closely and compassionately as Mr. Bellow has done, it becomes a profoundly true image of human existence as it is lived through that single day, the human locus of time, which we try to make the most of as it dies on our hands.Mr. Bellow describes Tommy Wilhelm (born Adler), a 42-odd-year-old salesman who, despite a wife and two children, has not learned to think of himself as a grown and independent being. Separated from his wife, jobless because of his own impulsiveness, bedeviled by money worries, resentful of his father for withholding both cash and emotional protection, he has tied himself to a quack psychologist whom he profoundly distrusts -- all the more because he cannot shake himself loose of the man's preposterous but haunting counsels.Tommy finds himself prowling through a New York day searching for a place of support or rest. By the end of it, he has tossed away the last of his money on the market and is desperately frightened. Yet he gains an unexpected release when he is swept by the passing crowd into the funeral of a man he has never known -- and, looking down at the dead man's face, at last finds himself able to feel, to accept his own suffering. Thus, at last, he is able to confront that larger suffering which (as we can see only at the end of the story) has been the dead weight of existence pressing on him without any release or passion in him of understanding.It is the intense world of the ordinary, the mean daily detail, the outrage of being alive, the existential sense of one's self as human creature, which is bravely at the center of Mr. Bellow's fiction. Each detail is cruel, plain, irremediable, yet one feels that it is about to burst forth into the radiance of consciousness.In the next-best story in the book, "A Father To Be," the hero, burdened by money worries, saddened by the careworn faces in the subway, reflects that "to think of money was to think as the world wanted you to think; then you'd never be your own master," and opposes to this world of necessity, which Mr. Bellow renders with so much honesty, the world of consciousness. "He went on to reflect how little people know about his, how they slept through life, how small a light the light of consciousness was."It is the special distinction of Mr. Bellow as a novelist that he is able to give us, step by step, the world we really live each day -- and in the same movement to show us that the real suffering of not understanding, the deprivation of light. It is this double gift that explains the unusual contribution he is making to our fiction.Mr. Kazin is the author of "On Native Grounds" and other works of literary criticism

A CANDID TALK WITH SAUL BELLOW Date: April 15, 1984, Sunday, Late City Final Edition Section 6; Page 52, Column 1; Magazine Desk Byline: By D.J.R. Bruckner Lead: D. J. R. Bruckner is an editor of The New York Times Book Review. The new stories Saul Bellow has been writing recently, collected in ''Him With His Foot in His Mouth and Other Stories,'' to be published next month, are marked by such personal feeling and most of them by such good humor and light= ness of mood that one wonders what is going on with Bellow. Ask him and you get an answer. ''All my axes are hanging on the wall now, unground,'' he says, ''and I have no urge to take them down. I seem to be going through some sort of change. I don't know what it is. The mood is lighter, more at ease. I suppose I am getting rid of the melioristic and reforming side of myself. Like many American writers I was always pulling for something. I wanted to add my mite to the general improvement fund. But I am much less concerned now. I have done my duty by democracy. Text: ''After all, I have seen how ineffective all this meliorism has been for two centuries, beginning with the Romantics and continuing right down through the bourgeois critics. Think about people like Shelley, Emerson, William Morris; has there been a writer in English who has not been an improving one? American writers have had a bad case of this and one can see why. The country was wild and untutored, and it needed advice. Whitman is the great example; he even felt he had to invent archetypes for the whole nation. He had a vision of what the country should be and he did his best to improve it. Of course, everybody has always been advising Americans - Teddy Roosevelt, Hugh Hefner, old Bernarr McFadden, the health faddist. ''But now the emphasis has shifted to making it. People have surrendered their personal moral objectives to government or schools or psychologists. It's a change that accelerated with the boom after the war. People had to play roles without a pattern or precedent. They might be yanked up suddenly to become manager of a plant or head of a company, so they needed advice. ''There has been a surrender to pragmatism; the true is what makes you successful and the false is what makes you fail. But I wonder what happens to faith, hope and charity in such a situation? People began to form their moral ideas not in the old way but by their professions and guilds; that tends to transfer sin to the corporation. During the recent F.B.I. sting operation to uncover corruption among Chicago judges, all the lawyers in town were terribly indignant about members of their own profession cooperating with the F.B.I. There was no indignation about the fraud, only about the cooperation. People think now about disloyalty to the group, not the offense, and actually disloyalty to the group is rather rare. But, then, maybe it's just the character of cynicism that's changed; maybe this means a wiping out of hypocrisy.'' IF THERE IS A CHANGE IN BELlow's mood and direction, there is nothing casual about it. He can laughingly say that ''all my writing life I have been trying to shed responsibility,'' but if one points to the emotional distance between the new stories and the somber anger of his last novel, ''The Dean's December,'' published in 1982, he says ''that was a cri de coeur . I just could no longer stand the fact that the city and the country were in decay under our very eyes and people would not talk about the facts. They might talk about money to change things, but never about what was actually happening. No one levels any more. So it was a cry. But I don't know whether anyone heard it.''

COOKERY, SEEN BY SAUL BELLOW Date: May 18, 1983, Wednesday, Late City Final Edition Section C; Page 1, Column 5; Living Desk Byline: By MIMI SHERATON Lead: CHICAGO THE Nobel laureate for literature in 1976, winner of a Pulitzer Prize in 1975 and the holder of three National Book Awards, Saul Bellow recently elaborated not on the state of the novel or the role of the writer in society but on his interest in eating and cooking and his penchant for scrubbing pots and kitchen sinks until they are free of grease. ''Never, never use steel wool,'' he warned. ''It leaves little threads of steel in the pots.'' The discussion began over bowls of steaming golden mushroom and barley soup cooked by Prof. Allan Bloom, Mr. Bellow's associate in a seminar on Nietzsche and nihilism at the University of Chicago. Mr. Bellow's contribution to the lunch was what he described as the best corned beef and Jewish rye bread in Chicago. ''And I won't tell you the name of the delicatessen,'' he went on as he unwrapped the lean, fine-grained, fragrant slices. ''But it's in East Rogers Park. As for the rye bread, it is the best in the city, but it's not nearly up to the standards of my cousin Louis. He had a fine old Russian-Jewish bakery in Chicago. It was the Imperial Baking Company and his rye bread was famous. He also made black Russian pumpernickel in huge ovals, each about the size of a threemonth-old infant. Carrying it home was hard work. No one makes that kind of pumpernickel anymore.'' Text: ''I learned to cook out of misfortune,'' said the 67-year-old writer, who was born in Canada and reared in Chicago. ''My mother died when I was 17 and she was ill for years before that. I was the youngest child, and so when I was 14 or 15 I had to prepare the family dinner after school, following her instructions. She taught me the fundamentals of good, simple Jewish cooking.'' Mr. Bellow's mother was born in Riga, Latvia, and his father was from Vilna, Lithuania. ''My mother made some wonderful things that I can still taste,'' he said, ''especially her turnip dishes and chremslach, the pancakes of nuts and vegetables that we ate with conserves. She pickled many foods, and there were always big crocks around with things like pickled beets, from which she made the special borscht called russell. ''I loved the pickled herring and the whitefish with dill that set in its own aspic and the sweet and sour salmon. We also had tzimmes made with prunes, carrots and beef, lots of sour cream and homemade horseradish so strong it brought tears to our eyes.'' ''I just can't stand grease in food or in sinks and pots,'' he added. Describing himself as a modest eater, Mr. Bellow, a trim and wiry man with the build of a tap-dancer, prepared himself half a corned beef sandwich with Dijon mustard and said: '' What I really like is a prolonged dinner with good conversationalists. I don't care what they think about food. I could have dinner with an anorexic and still enjoy myself.'' ''Saul enjoys the paterfamilias role at the dinner table,'' Professor Bloom commented. Describing himself as being ''smell-oriented'' and ''a spatula cook,'' Mr. Bellow said he often read while he cooked and so preferred things he could prepare with one hand.

BELLOW ON LOVE, ART AND IDENTITY Date: June 3, 1987, Wednesday, Late City Final Edition Section C; Page 17, Column 4; Cultural Desk Byline: By MERVYN ROTHSTEIN Lead: LEAD: In Saul Bellow's new novel, ''More Die of Heartbreak,'' a botanist is asked by a reporter about the problems of radiation levels, dioxin and harmful wastes. ''It's terribly serious, of course,'' the botanist says, ''but I think more people die of heartbreak than of radiation.'' Text: In Saul Bellow's new novel, ''More Die of Heartbreak,'' a botanist is asked by a reporter about the problems of radiation levels, dioxin and harmful wastes. ''It's terribly serious, of course,'' the botanist says, ''but I think more people die of heartbreak than of radiation.'' ''I think that's true,'' Mr. Bellow said, sitting in the lobby of a quiet midtown hotel. Yet the botanist is ridiculed in the press for what he says, and in the novel Mr. Bellow presents the statement in a humorous way. ''Well, I learned from reading George Bernard Shaw years ago,'' he said, ''that you can get away with murder as long as you can make people laugh.'' ''One of the subjects of the book,'' he continued, ''is the difference between a fabricated person and a true person. All through the writing of this book I was reading a lot of Nietzsche, and he makes some curious statements. He says that in a free society people are more free to make themselves up. He says that in older, more stable societies people didn't mind being a part of the general plan of the society, that they were governed by some kind of architectural faith and that they took their proper places in life, sometimes as an inconspicuous part of the whole structure, but that in a modern society people are released from all such necessities, and he mentions America particularly. They make themselves up. They leave nature and go toward art, is the way Nietzsche puts it. Well, the art is often not very good. It starts out with the project of inventing yourself gloriously and it ends up with a kind of fizzing out of the whole impulse.'' 'Access to Your Own Soul' It all goes by a blueprint, Mr. Bellow said. ''For a while I was a devoted reader of Playboy. Not for sexual reasons - it didn't do much for me in that department - but you could see that Playboy existed in order to advise young people on the make how to dress, what sort of apartment to have, how to furnish, where to dine, how to make a salad dressing, how to get your hair cut, how to entertain, how to date. The magazine was a source of instruction to people who have come up very quickly and haven't had time to look into these matters, which they needed for a successful corporate career or just for getting by socially, or whatever. So they go by a lot of slogans, which have been inculcated into them, and what happens to the true person? Culture means having access to your own soul. That's a very old-fashioned notion, but I think a great many people understand it.'' The novel concerns the relationship between the botanist, Benn Crader, and his nephew, Kenneth, as well as their many problems with their wives, lovers and ex-lovers. It's clear in the book that Mr. Bellow feels that there are many difficulties in contemporary relations between men and women.

历年普利策奖完全名单（转载） Fiction 2003 Middlesex by Jeffrey Eugenides 2002 Empire Falls by Richard Russo 2001 The Amazing Adventures of Kavalier & Clay by Michael Chabon 2000 Interpreter of Maladies by Jhumpa Lahiri 1999 The Hours by Michael Cunningham 1998 American Pastoral by Philip Roth 1997 Martin Dressler: The Tale of an American Dreamer by Steven Millhauser 1996 Independence Day by Richard Ford 1995 The Stone Diaries by Carol Shields 1994 The Shipping News by E. Annie Proulx 1993 A Good Scent from a Strange Mountain by Robert Olen Butler 1992 A Thousand Acres by Jane Smiley 1991 Rabbit at Rest by John Updike 1990 The Mambo Kings Play Songs of Love by Oscar Hijuelos 1989 Breathing Lessons by Anne Tyler 1988 Beloved by Toni Morrison 1987 A Summons to Memphis by Peter Taylor 1986 Lonesome Dove by Larry McMurtry 1985 Foreign Affairs by Alison Lurie 1984 Ironweed by William Kennedy 1983 The Color Purple by Alice Walker 1982 Rabbit Is Rich by John Updike 1981 A Confederacy of Dunces by John Kennedy Toole 1980 The Executioner’s Song by Norman Mailer 1979 The Stories of John Cheever by John Cheever 1978 Elbow Room by James Alan McPherson 1977 No Award 1976 Humboldt’s Gift by Saul Bellow 1975 The Killer Angels by Michael Shaara 1974 No Award 1973 The Optimist’s Daughter by Eudora Welty 1972 Angle of Repose by Wallace Stegner 1971 No Award 1970 Collected Stories by Jean Stafford 1969 House Made of Dawn by N. Scott Momaday 1968 The Confessions of Nat Turner by William Styron 1967 The Fixer by Bernard Malamud 1966 Collected Stories by Katherine Anne Porter 1965 The Keepers of the House by Shirley Ann Grau Nonfiction 2003 A Problem from Hell: America and the Age of Genocide by Samantha Power 2002 Carry Me Home: Birmingham, Alabama: The Climactic Battle of the Civil Rights Revolution by Diane McWhorter 2001 Hirohito and the Making of Modern Japan by Herbert P. Bix 2000 Embracing Defeat by John W. Dower 1999 Annals of the Former World by John McPhee 1998 Guns, Germs, and Steel by Jared Diamond 1997 Ashes to Ashes by Richard Kluger 1996 The Haunted Land by Tina Rosenberg 1995 The Beak of the Finch by Jonathan Weiner 1994 Lenin’s Tomb by David Remnick 1993 Lincoln at Gettysburg by Garry Wills 1992 The Prize: The Epic Quest for Oil, Money, and Power by Daniel Yergin 1991 The Ants by Bert Hölldobler and Edward O. Wilson 1990 And Their Children After Them by Dale Maharidge and Michael Williamson 1989 A Bright Shining Lie: John Paul Vann and America in Vietnam by Neil Sheehan 1988 The Making of the Atomic Bomb by Richard Rhodes 1987 Arab and Jew: Wounded Spirits in a Promised Land by David K. Shipler 1986 Common Ground by J. Anthony Lukas Biography 2003 Master of the Senate: The Years of Lyndon Johnson by Robert A. Caro 2002 John Adams by David McCullough 2001 W.E.B. Du Bois: The Fight for Equality and the American Century, 1919-1963 by David Levering Lewis 2000 Véra by Stacy Schiff 1999 Lindbergh by A. Scott Berg

终结，是阅读的开始 4月5日，美国作家、1976年诺贝尔文学奖得主索尔·贝娄（SaulBellow），在美国马萨诸塞州家中为自己89岁的人生画上句号。《重读索尔·贝娄》的作者、美国小说家菲利普·罗斯在接受媒体采访时称，“威廉·福克纳和索尔·贝娄两位小说家是20世纪美国文学的中枢”。“他的去世并不意味着他的终结，恰恰是我们阅读他的开始。”青年作家邱华栋对笔者说。　　索尔·贝娄被公认为是继福克纳和海明威之后美国文坛最重要的小说家之一，他的作品包含了丰富的社会内容和深邃的哲理思辨，是一个具有现实主义倾向的现代派作家。他曾经三次获得美国全国图书奖，一次获得普利策奖。1976年，他还以“对当代文化富于人性的理解和精妙的分析”获得诺贝尔文学奖。　　北京大学中文系教授陈晓明称，“索尔·贝娄是当之无愧的文学大师”。陈晓明说：“苏珊·桑塔格等评论家在上世纪60年代曾断言‘小说已死’，索尔·贝娄的小说是对‘小说已死’的抵抗。但不幸的是，索尔·贝娄已成过去。” 　　索尔·贝娄1915年出生于加拿大魁北克省蒙特利尔市的一个犹太移民之家。9岁时，芝加哥成为他的第二故乡。他1933年考入芝加哥大学，毕业后曾做过编辑、记者。他生命的大部分时间在明尼苏达大学、纽约大学、普林斯顿大学、芝加哥大学的讲坛上度过。在朋友的印象中，索尔·贝娄“做事认真谨慎，但偏于内向”。　　1985年，漓江出版社最早出版了索尔·贝娄的长篇小说《赫索格》。它表现了美国当代中产阶级知识分子的苦闷与迷惘；其后，江苏人民出版社和湖南人民出版社相继出版了索尔·贝娄的作品；2002年，河北教育出版社出版了14卷本的《索尔·贝娄全集》。自1941年的处女作《两个早晨的独白》开始，索尔·贝娄在60多年的时间里创作了10部长篇小说，还有若干中、短篇小说集，及散文、游记和剧本。　　《索尔·贝娄全集》的主编、77岁的翻译家宋兆霖先生介绍，索尔·贝娄60余年的创作生涯可以分为三个阶段：第一阶段的代表作是日记体小说《晃来晃去的人》和《受害者》。在《晃来晃去的人》中，二战中的犹太青年约瑟夫遍寻自由而不得，痛感“我们所追求的世界，永远不是我们所看到的世界；我们所期望的世界，永远不是我们所得到的世界”。此间索尔·贝娄受到存在主义文学思潮影响，其著作中可看到卡夫卡、陀思妥耶夫斯基的影子。　　索尔·贝娄的黄金时期在第二阶段，著有长篇小说《奥吉·马奇历险记》、《雨王汉德森》、《赫索格》、《赛姆勒先生的行星》、《洪堡的礼物》等。还推出了中篇小说集《只争朝夕》、短篇小说集《莫斯比的回忆》，及散文游记集《耶路撒冷去来》，剧本《最后的分析》等。其中，《奥吉·马奇历险记》全景式地展示上世纪20至40年代美国社会。《洪堡的礼物》写的是两代作家的命运，既批判了当代社会物质至上和精神堕落，也对物质、精神、人生、友谊等作了富于哲理的思考。　　上世纪80年代以后，索尔·贝娄进入创作的第三阶段，以中短篇小说和散文随笔为主。2000年，他以84岁高龄创作第10部长篇《拉维尔斯坦》。　　索尔·贝娄在上世纪80年代初被译介到我国。宋兆霖认为，索尔·贝娄的小说是以丰裕社会的中产阶级知识分子为主要背景的。因而他的声名远不如福克纳、海明威、马尔克斯和米兰·昆德拉大。自上世纪80年代末、90年代初就阅读了索尔·贝娄的邱华栋认为，他写出了只有美国才有的风景，美国才有的语言、美国才有的问题，和美国才有的文学表现形式。“一句话，我觉得他甚至可以就是美国。”

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索尔·贝娄生平与创作 http://post.baidu.com/f?kw=%CB%F7%B6%FB%B1%B4%C2%A6 索尔·贝娄是美国当代享有盛誉的犹太小说家。他 1915 年生于加拿大魁北克省的拉辛城，父母是俄国犹太移民。 9 岁时随家迁居美国芝加哥。动荡不定的城市生活，交错繁杂的文化传统和风俗影响，引起他的困惑多思和对社会问题的兴趣。 1933 年进入芝加哥大学学习，后转入西北大学，攻读人类学和社会学，毕业后当过编辑和记者。第二次大战期间曾在美国海军服役，战后长期在大学执教，是个造诣颇深、有学者气质的作家。贝娄的文学活动始于 20 世纪 40 年代中期。当时，第二次世界大战即将结束，在战争中发了财的“运气”似乎向美国展示了“金元帝国”的憧憬，但在精神文化领域，曾在三四十年代有过冲动和激奋的知识分子却陷入普遍的沮丧之中，这种沮丧与美国经济的繁荣极不协调，因而显得特突出。延续下去，也就成了马库斯·克莱因所称的“在异化之后”的一种普遍情绪。于是，一些面庞迥异，然而气质相似的“异化的犹太主人公”，或作为灰暗、痛苦的历史幽灵，或作为被疏隔和孤立的现代探索者，源源不断地出现在犹太作家的笔下。作为一个思想型的犹太作家，写作初期的贝娄像当时的许多西方知识分子一样，受风靡欧洲的非理性主义哲学思潮的影响，创作了一些具有明显的受存在主义思想影响的作品，以一种被评论界称之为“荒唐的现实主义”的笔法，深刻表现了当代美国社会以及人们的心理和情绪状态。这些作品思想和艺术虽不尽一致，但有一些共同点是很明显的：他笔下的社会，是那样嘈杂、紊乱、冷漠。小说主人公身处浩茫世界，却感到没有精神生活的空间。他们情绪烦躁，忧郁寡欢，但不知什么地方出了毛病；他们想与人倾诉，又厌恶周围的一切人；想有所作为，但又一事无成；想有所追求，但又漫无目标；想逃避现实，但又无处可逃。于是，他们大体都经历了这样一条人生道路：由不满现状开始，经过痛苦的内心煎熬，终于以对现实的妥协和自我感觉中的道德完善而得到解脱。发表于 1944 年的《晃来晃去的人》是贝娄的第一部长篇小说。作品以日记形式记叙了主人公约瑟夫 27 岁时的一段生活和心理活动。作品写他大学毕业，有 5 年婚龄。现已辞去了旅游公司的工作，正在等待应征入伍。由于正式通知迟迟未下，他便想用这段时间读点儿书，写点儿东西，享受一下个人自由。没想到“自由”反倒给他带来无穷的烦恼——空闲起来的他，既羞于靠妻子供养，又不愿做任何事情；所谓写作、读书，又都做不来；还无端跟邻居吵架，赶走朋友，冷落情妇，对一切人都看不顺眼。这种晃来晃去的生活使他感到“自己并不是处身在一个广阔的世界里，而是在一个封闭的、绝望的牢房中 …… 没有未来，只有过去！”于是，他来到兵役局，希望立即到军队去，以结束自己的“自由”。《晃来晃去的人》透现出“由抑郁造成的冷漠基调，以及精神孤儿身份的那种暗示”，充满了对社会的幻灭意识和急于摆脱生活的厌倦感。作者采用日记体的叙述方式，本身就构成强烈的反讽。如书中所说，“在曾经有过的时，他们习惯于经常谈论自己，不羞于记录他们的内部事务。而如今，记日记被认为是自我放纵、意志薄弱和低级趣味。因为，现在是一个无情的时代”。在这个时代，小说暗示出，人的“自我”如果不向内部发展，就必然会被扼杀；而向外发展，行动不再体现为自己意志的支配，悲剧就成了必然——现代社会中的人就生活在这样一种境遇之中。因此，《晃来晃去的人》便成了一种悲悼小说，隐含着现代人难以直言的痛苦。作品中的约瑟夫，是美国 40 年代文学中的“反英雄”典型，他无法接受社会的冷漠和无意义，更无法为改变这种冷漠和无意义做一点具体事，只好以冷摸和无意义来回敬这个社会。从他的精神状态，人们很自然地联想到法国作家加缪笔下的“局外人”。这表明，约瑟夫颇有些存在主义的色彩，同时，他又代表了“经济萧条和战争年代长大的那一代人的心声和最诚实的自白。”

《拉维尔斯坦》穿透灵魂的那一抹温情 “后现代殖民理论”的开创者爱德华·萨义德曾经这样说：“流亡是现代知识分子的典型状态——准确地说，是唯一一种值得我们尊敬的状态。”那么，除了流亡，知识分子是否还有其他的出路？这不仅是萨义德思考的问题，同时也是众多作家思考的问题。在我们这个时代，对知识分子的境况与内心作出最生动准确的描述的，正是索尔·贝娄。　　这位被公认为美国表现知识分子最具深度的作家，一生中创作的多部长篇小说都着力刻画了当代社会中知识分子的处境。《晃来晃去的人》、《赫索格》、《洪堡的礼物》等一系列作品，致力于表现知识分子内在的心灵冲突和灵魂挣扎，不仅引起了巨大的反响，同时也促使众多的知识分子更深入地反省自身。2000年，84岁高龄的他推出了最后一部长篇小说《拉维尔斯坦》，这仍然是一部与知识分子有关的书。　　这本书以美国著名学者，他的好友艾伦·布卢姆为原型，塑造了拉维尔斯坦这个文学史上的又一个知识分子形象。小说的情节极其简单，它的前两个部分主要是写主人公拉维尔斯坦在获得巨大的商业成功之后的一系列遭遇。后一个部分写叙述者齐克自己的一段濒临死亡的经历,两人的交往穿插其中。拉维尔斯坦，这位著名的学者，有着强烈的虚荣心，渴望过上一种奢华的生活。在齐克的建议下,他将自己的教学研究成果写成一本书，结果成了一本全球畅销书。随之而来的金钱，满足了他内心深处的贪婪。就在他名利双收、功成名就之时，命运和他开了一个玩笑：他被诊断出得了艾滋病。这时，处在生与死的临界点的他，请齐克为他写一部回忆录。　　所以，这本小说明显地具有一些传记与回忆录的特征，呈现出一种鲜明的“后现代主义”的色彩。甚至有人认为这本书是“以小说的形式出版的布卢姆传记”。　　时间、友谊与死亡，是索尔·贝娄在这本书中展现的主题。尽管拉维尔斯坦不可以像索尔仁尼琴、米沃什等人一样选择流亡。但是作为一个知识分子，他无疑要在内心经历更为深刻的流亡。他必须面临死亡到来之前的黑暗，同时他又不能摆脱过去所有那些时间对他造成的束缚。不过，幸好拉维尔斯坦与齐克之间的友谊让他们得到了一些安慰。因为另一个人的存在，他们并不是孤独的。　　因此，从某种意义上来说，索尔·贝娄并不是悲观的，他冷静而又从容的叙述之中透露出一丝温情。这种温暖的力量照亮了拉维尔斯坦，把他从黑暗的深渊之中夺回。知识分子之所以可以作为人类的良心，之所以可以摆脱内心的黑暗，或许正是因为这种乐观的态度。在这样的态度下，知识分子们才会更加深入到我们这个社会的内部，并且找寻到那些真理。对于这一点，索尔·贝娄是这样说的：“在你等待初生时的黑暗,与其后接纳你的死亡的黑暗,这两者之间的光明间隙中,你必须尽可能地去理解那个高度发展了的现实状态。”　　在这本书中文版的封面上，有这样几个字：索尔·贝娄参悟生死之作。没有想到的是，就在我还没有来得及将它看完书的时候，索尔·贝娄已经走完了他的一生，但他那穿透灵魂的文字却给我们留下了永恒的思考。余地/文 http://cul.sina.com.cn

政治与哲学：甘阳和刘小枫解读斯特劳斯(8) 注：　　[1] 甘阳：“时间、传统与现代性”，《读书》，1987年第1期。　　[2] “如何理解被年来汉语学界持续至今的中西冲突论？汉语思想家中已有论者(梁启超、冯友兰)识察到，中西文化的价值理念之争(体用之争)实质为古今之争，即传统与现代之争。”刘小枫：《现代性社会理论绪论》，上海：上海三联书店，2001年，页2。　　[3] 同上，页2-3。　　[4] 刘小枫：“回答‘应该如何生活’必须吗？——伯林与施特劳斯(一)”(www.law-thinker.com/detail.asp?id=643)。不过，他认为《绪论》的目的是为了搞清楚作为自己立场之反面的价值自由的理由。　　[5] 同上。　　[6] 甘阳：“政治哲人斯特劳斯：古典保守主义政治哲学的复兴”，“列奥·斯特劳斯政治哲学选刊”导言，载斯特劳斯：《自然权利与历史》，彭刚译，三联书店，页4-5。　　[7] 同上，页57-8。　　[8] 同上，页61。　　[9] 同上，页75。　　[10] 同上，页61。　　[11] 同上，页66。　　[12] 同上，页69。　　[13] 同上，页71。　　[14] 刘小枫：“斯特劳斯的路标(六)”(law-thinker.com/detail.asp?id=684)。　　[15] 甘阳，前注6引文。　　[16] 同上，页79。　　[17] 同上，页80。　　[18] 同上，页81。　　[19] 由此我们可以理解为什么甘阳花如此大的精力来关注北大的改革，相关论文参见甘阳、李猛(编)：《中国大学改革之道》，上海人民出版社，2004年。　　[20] 甘阳：“中国自由左派的由来”，载陈祖为等(编)：《政治理论在中国》，香港：牛津大学出版社，2001年，页218-232。　　[21] 甘阳，前注6引书，页26。　　[22] 同上，页81。　　[23] 一个新近的佐证就是甘阳明确地提出了“文明国家”的概念，参见甘阳：“从‘民族-国家’走向‘文明-国家’”，《书城》，2004年第2期。　　[24] 甘阳，前注6引书，页20。　　[25] 需要注意的是，甘阳在自己写文章讲“政治民族”的时候，似乎有意忽略了韦伯对“政治领导权”的强调，而仅仅强调经济民族再迈向政治民族过程中必须依赖“大众民主”。参见甘阳：“走向政治民族”，《读书》，2003年第10期。这样的讲法我们可以理解为一种显白教诲，之所以把政治民族的“政治领导权”这个真正的教诲隐藏起来，恰恰是为了避免这种“哲学的癫狂”导致狭隘的民族主义甚至德国当年的军国主义。 [26] 参加丁耘对甘阳的《将错就错》的解读。丁耘：“文化民族主义:刺猬的抑获狐狸的?”，《读书》，2003年第3期。　　[27] 刘小枫：“斯特劳斯的‘路标’”(law-thinker.com/detail.asp?id=684)。　　[28] 甘阳，前注6引文，注释44。　　[29] 刘小枫，前注27引文。　　(原载《开放时代》，2004年，第3期)

政治与哲学：甘阳和刘小枫解读斯特劳斯(7) 七、复兴古典政治哲学的正当性　　尽管甘阳的“隐微教诲”掩藏在种种政治意见的“显白教诲”中，但是，如果我们抓住了这个隐微教诲，进一步追问：为什么要复兴古典？为什么从政治向哲学的上升就必然上升到孔子的政治哲学中？换句话说，中国古典政治哲学复兴的正当性何在？这个正当性是政治的正当性，还是哲学的正当性？对这些问题，甘阳从来没有给出明确的回答。没有给出回答可能有各种原因，比如，害怕变成空疏的中国文化拯救世界之类的胡说八道。但是，没有给出回答并不意味着他对这个问题没有基本的态度。　　斯特劳斯显然是对甘阳产生重大影响的思想家。从我们对照刘小枫和甘阳对斯特劳斯的不同理解看，甘阳尤其强调政治哲学中“政治”的一面，尽管他在“导言”的结论中说要从“政治生活走向哲学生活”，但是，作为政治哲学的自由教育培养的是政治家和公民而不是哲学家，最后导向行动的生活而不是沉思的生活。从某种意义上，我们可以说，刘小枫所强调的政治生活的进行自由追问的这一哲学维度在甘阳这里差不多不存在了。换句话说，甘阳强调政治哲学重返“意见与偏见世界”和“赤裸裸的政治世界”的时候，追问什么是美好生活、什么是正当生活的哲学维度不见了。作为佐证，我们看甘阳对《自然权利与历史》一书的读法。他提供了一个从该书的第五章开始阅读的方法，在他看来，这种读法证明“斯特劳斯刻意安排这样一个从今到古、从古到今的循环结构。”[24]而这个循环结构的关键就是哲学上克服“诸神之争”的局面，而最后不能不返回这个“诸神之争”的局面。这个所谓的“循环论”似乎暗示着“诸神之争”的局面不可能在哲学上克服。重返“赤裸裸的政治世界”就意味着放弃哲学上解决诸神之争的努力，从而克服“哲学政治化”和“政治的哲学化”。　　政治哲学一旦重返“诸神之争”这个“赤裸裸的政治世界”，就意味着哲学上的相对主义或多元主义。在这个“赤裸裸的政治世界”，关于政治正义是不可能达成一致意见的。尤其我们注意到斯特劳斯所谓的政治基于“封闭社会”，那么不同的“封闭社会”之间必然无法获得普遍有效的政治正义的真理(这也是罗尔斯从“正义论”向“政治自由主义”退却的原因)。这是哲学家从云端下到地上，从哲人变成政治哲人所必须面对的悲观局面。因此，作为一个政治哲学家，必须有哲人的洞见，认识到现代多元主义这个事实，认识到现代性的本质就是虚无主义这个“铁定的事实”。在“导言”中，甘阳反复谈斯特劳斯对海德格尔关于现代性本质上属于虚无主义这个判断的认同，以及二者的不同解救办法。在这样的背景上，甘阳反复谈伯林不是没有道理。不过，谈论伯林的文化多元主义不过是甘阳的显白教诲，而隐微教诲则是海德格尔的虚无主义，之所以透过伯林的相对主义来表达海德格尔的虚无主义，这与其说是害怕哲学的毒药，不如说是担心“迫害”，因为与名声狼籍的海德格尔相比，“性情沉静”的伯林更容易被人们接受。如果仅就此而言，我们似乎可以说，甘阳实际上主张复兴中国古典政治哲学的正当性基础只能是政治的。而在这个“赤裸裸的政治世界”上，在这个敌我之间相互冲突的诸神之战中，复兴中国古典政治哲学的唯一正当性依据差不多是尼采的权力意志，这是前哲学的政治认同或文化认同：“我是中国人”。“我”作为“中国人”不需要任何哲学上的正当性，其正当性建立在前哲学的政治上。只有返回前哲学的政治认同或文化认同，只有依赖对中国古典政治哲学的深信不疑的信仰，我们才有可能将中国古典政治哲学带回到现代的政治生活中。正因为如此，我们才能理解甘阳为什么亲自翻译韦伯的“民族国家与经济政策”，强调“政治民族”争取政治领导权或文化领导权的政治意志或政治本能。[25]　　如果这样的话，从伯林到韦伯(包括韦伯所隐含的尼采、海德格尔和施米特)，是不是意味着甘阳试图在文化多元基础上主张一种文化民族主义呢？[26]而刘小枫用斯特劳斯来批判柏林、批判施米特是在支持甘阳还是反对甘阳呢？也许在刘小枫的眼里，甘阳或许是一个伪装的政治哲学家，是一个地地道道的政治神学家，他把斯特劳斯的政治哲学通过隐微教诲偷偷地变成政治神学。那么，斯特劳斯的政治哲学是否也是经过巧妙伪装的政治神学呢？他是怎么处理自己的犹太人身份的？他怎么知道要在苏格拉底哲学中寻找解决现代性危机的出路，而不是在孔子哲学中寻找呢？这是区分政治哲学与政治神学所必须回答的问题，这是考验政治哲学本身能不能经得起“自由的盘诘”。对此，刘小枫提出一个让人心惊肉跳的问题：“施特劳斯出身于正统犹太教思想传统，怎么可能倒向柏拉图式的哲人？他会不会暗中对苏格拉底—柏拉图哲学施割礼术，让哲学彻底拜倒在启示真理脚下？”[27]

政治与哲学：甘阳和刘小枫解读斯特劳斯（1）作者：水亦栎内容摘要：　　本文比较了甘阳和刘小枫对斯特劳斯的不同解读，尤其是通过对甘阳的《斯特劳斯政治哲学选刊导言》一文的写作艺术的分析，揭示出甘阳通过“双重保守主义”显白教诲以表达复兴中国古典政治哲学的思想，进而主张无论甘阳对斯特劳斯的政治解读还是刘小枫对斯特劳斯的哲学解读，都包含了对中国文明之现代命运的哲学思考。　　By comparing different reading Leo Strauss by Gan Yang and Liu Xiaofeng, especially by analyzing art of writing used by Gan Yang in Introduction to Political Philosophy of Leo Strauss, the author argues that Gan Yang keeps renaissance of Chinese Classical Political Philosophy as esoteric teaching behind the political liberalism and cultural conservatism as exoteric teaching, and either political reading by Gan Yang or philosophical reading by Liu Xiaofeng is based upon philosophical thinking of the fate of Chinese Civilization in modernity.　　就在我们人生旅程的中途，　　我在一座昏暗的森林之中醒悟过来，　　因为我在里面迷失了正确的道路。……　　踏进人生迷误的森林去的青年不能走正确的路，　　除非有一个已经走过这条路的长辈指点给他看。　　——但丁，《神曲》　　一、思想的两种风格　　熟悉甘阳先生的可能都知道，他属于述而不作的那一类思想者。当然这不是说他不写作，而是说他差不多到了惜墨如金的地步。如今，除了短评集《将错就错》，甘阳公开的文字就剩下零星的学术论文、几篇序言和一些论战文章了。但是，就是在这些单篇文章里，甘阳的学识和眼见却让人不能不佩服。当众多的作家们越来越关心某个领域的专业知识而变成学者的时候，甘阳却从来没有囿于某一个体制化的知识领域，相反，他关心的一直是一些根本的问题，是那些专业知识很少审查的前问题，是那些专业知识所依赖的整全知识。正是在这些领域，甘阳显示出自己的远见卓识。早在80年代的文化热中，作为知识界的领军人物之一，甘阳对整个文化比较热潮的一个高屋建瓴的把握就体现在为卡西尔的《语言与神话》一书写的序言“从‘理性的批判’到‘文化的批判’”一文中。当别人醉心于哲学、文学、诗歌、艺术、法律和建筑等等领域的具体文化比较时，他清点了“文化热”所依凭的西方思想脉络中的“文化”究竟是个什么东西。事实上，当90年代中后期大陆学界开始大谈解释学的时候，可能没有人注意到这些问题已经在甘阳这篇十年前的序言中清理过了。所不同的是，甘阳谈解释学可不是堕入否定客观真理的文化相对主义或者后现代主义(这正是90年代中后期大陆学界的整体图像)，而是希望将中国的传统思想作为一种解释学上的“前见”纳入到现代的思考之中，从而恢复中国传统思想的生命。[1]显然，甘阳后来放弃了这条恢复中国传统思想的“哲学道路”。　　十几年过去了，大陆知识界发生了巨大的变化，尤其是90年代以来社会科学取得了长足的进展，俨然取代了人文学科而成为显学。但是，社会科学所秉持的“价值自由”将社会科学自身撕裂了，由此形成了90年代中期以来知识界占山为王、诸侯格局、“城头变换大王旗”的局面。其时，这位当年知识界的领军人物，仿佛也变成军阀混战中的一支，从“乡土中国”到所谓的“自由左派”都能看到甘阳的影子，只不过我们看到的都是“走下神坛”的甘阳。尽管如此，他的思考依然是神龙见首不见尾，这一点与80年代知识界的另一位领军人物刘小枫先生形成了截然的对比。　　从《诗化哲学》、《拯救与逍遥》、文化基督教到《沉重的肉身》和《社会理论绪论》、再到斯特劳斯和斯密特，刘小枫把握中国文明之命运的心路历程清晰可见。而同样将中国文明的命运作为思考中心，甘阳在放弃了解释学的哲学道路之后，是彻底的绝望还是独辟蹊径，人们不得而知。如果你能理解80年代的甘阳，那么看他90年代陷入各种意识形态的争论，似乎不敢相信他们就是一个人，以至于有人说甘阳在海外十几年的书算是白读了。不过，《将错就错》在大陆的出版恰恰显示了他读书的功底，不仅是知识的渊博，更重要的是眼光的老辣。从甘阳的一贯做法来看，他很少从正面表述自己的思想和观点。他习惯于寻找甚至等待某个“时机”(chance)来表述自己的思想，这种时机除了论战、时评就是作序。论战要看论战的主题和对手，时评要看事件的重要性，而作序是要看著作本身。就论战而言，无论是乡土中国问题、中央地方关系问题，还是自由主义与新左派的问题，似乎都没有给他提供一个足够的问题域来展开自己的思想；就时评而言，北大改革似乎提供了一个重要的契机，但依然未能全面展开；就作序而言，无论是邹傥的《中国革命的再阐释》，还是韦伯的《民族国家与经济政策》都没有提供一个恰当的问题意识，尽管他表露出为邹傥的著作写作长序的愿望，而亲自动手翻译韦伯的“民族国家与经济政策”也似乎暗示了他的思考。我相信，甘阳一直在等待这样一个时机。终于机会到了，在斯特劳斯的《自然权利与历史》一书中，甘阳以罕见的篇幅作了一篇长序，表达了自己的思考。因此，这篇序言与其作为“列奥·斯特劳斯政治哲学选刊”的“导言”来读，不如当作理解甘阳思考的中国问题的导言来读。

犹太作家索尔·贝娄：战后美国文坛骄子 2005年4月6日，美国犹太作家，1976年诺贝尔文学奖获得者索尔·贝娄在美国马萨诸塞州布鲁克林的家中去世。再过两个月零五天就是他90岁的寿辰，他未等到这个日子，就匆地与读者告别了。他的去世，给美国文学界、知识界带来巨大震动。人们纷纷发表纪念和哀悼文章，对他为美国文学所做出的贡献给予了高度评价。美国著名的犹太作家菲利普·罗，在贝娄去世前一天这样说：“20世纪的美国文学是由两位小说家支撑的——威廉·福克纳和索尔·贝娄。”美国有线新闻因特也为此发了专稿，称贝娄“主宰了战后20世纪美国文学”。　　第二次世界大战后，美国涌现出一大批优秀的犹太小说家。他们的崛起，几近形成了有其深刻文化背景的文学运动。索尔·贝娄无疑是这场运动的中坚人物。他的父母原是俄国犹太人，1913年，为了脱沙俄政府对犹太人的迫害，从俄国圣彼得堡移居到了加拿大的蒙特利尔。贝娄在父母到加拿大两年后出生。9岁那年，他又跟随父亲迁移到了美国的芝加哥。芝加哥繁华，但父亲的美国梦”还是很快就破灭了。一家人辛勤劳作，但由于美国的经济尚未从一战中完全复苏，加之社会上对犹太移民存有的歧视和偏见，全家人只能在贫民区找到栖息之地，还不时要靠亲朋好友的接济才能勉强度日。这位在贫民区长大移民的孩子，从童年时代起便对犹太人、特别是犹太移民所遭遇到的种种苦难有着深刻体验。所以，当贝娄在艰难中顽强地读完中学、大学，并最终成长为一名作家后，面对游于美国主流社会之外的犹太移民的生存境遇，他总是有话要说。　　1941年，贝娄在《党派评论》上发表了自己的第一个短篇小说《两个早晨的独白》之后，其创作势头蒸蒸日上，成为迄今为止唯一一位3次获得国家图书奖的美国犹太作家。贝娄是一位勤奋、多产的作家，一生共创作了19部作品，其中13部为长篇小说。尤其是长小说《赫佐格》不仅在1964年获得美国国家图书奖，而且还在翌年荣获了国际文学奖，成为获此殊荣的第一位美国作家。1976年，贝娄成为诺贝尔文学奖得主。瑞典皇家科学院在颁奖词中对他的创作予以充分肯定，认为随着他的第一部长篇小说《晃来晃去的人》的问世，美国的叙事艺术开始摆脱了僵硬、雄浑的气息，预示着某种与众不同的创作风格的到。不过，耐人寻味的是，贝娄在答谢演说中对自己的创作风格几乎未置一词，相反对当下的社会、文学以及作家面对诸如此类问题所遭遇的尴尬等话题发表了大量的看法。　　从贝娄“顾左右而言他”的发言不难看出，他其实一直遭受着民族身份的困扰。从4岁开始，他便在家庭的影响下开始学习希伯来语和犹太经典，对自己民族传统有着深刻的认同感。但是犹太移民如果想在美社会中生存，就必须信奉与本民族传统相悖的所谓“美国生活方式”。正如他在《晃来晃去的人》一书中所表达的主题：犹太人既不愿放弃自己的传统宗教，但又无法抵御“美国生活方式”的诱惑。在两者间“晃来晃去”的结果，最终使自己变成一个惶惶不可终日的丧失“身份”的人。这一矛盾即便在贝娄的生活和工作中也能凸显出来。他曾公开声明不愿意被称为美国犹太作家或太裔美国作家，也就是说贝娄反感在作家称呼中加上“犹太”这一限定词。有批评家认为，包括贝娄在内的许多美国犹太作家都不喜欢这个称谓，其原因是这一称谓本身“含有一种贫穷、无知和地方主义等意思”。贝娄不愿被称为美国犹太作家的真实原因无法猜测了，但从中我们不难体会到犹太作家比美国本土作家要承受更多来于社会、心理方面的压力，或者更确切地说，犹太人的整部历史让他学会了如何避免麻烦、躲避灾难。　　当然，贝娄不愿被人称为美国犹太作家并不意味着他在有意识地回避其犹太性，相反，在作品中，他总是念念不忘表现自己的犹太性。在贝娄所创作的13部长篇小说中，除了《雨王汉德森》外，其余的12部长篇小说都直接或间接地描写了美国犹太人，特别是犹太知识分子的生存状况和精神危机。从他的第一部小说《晃来晃去的人》到绝笔之作《拉维尔斯坦》，无论是在人物描绘，还是在场景设置、语言运用上都无不流露出深厚的犹太文化底蕴。　　索尔·贝娄走了，留给我们的是一批丰富的文学瑰宝。美国20世纪战后文学因贝娄而引人注目，美国犹太民族因贝娄而骄傲。贝娄的作品是世界文学遗产中的一个重要组成部分，他“对人类的理解和对当代文化的细腻分析”将成为认识人类和社会的重要参照，也将永远值得我们探讨研究。　　选自人民日报乔国强

索尔·贝娄：一个刚刚来到地球的“外星人” 美国著名犹太裔作家，1976年诺贝尔文学奖获得者，索尔·贝娄（Saul Bellow）4月5日在美国马萨诸塞州的家中去世，享年89岁。贝娄曾三获美国全国图书奖，一获普利策奖，更在1976年以“对当代文化富于人性的理解和精妙的分析”成为诺贝尔奖得主。　　贝娄擅长描写大都市知识分子的生活和心态，探索现代人的精神危机和出路，多层次、富有质感地刻画人物的心理活动，对美国表面物质繁荣之下的精神危机进行了最为深入和独到的观察。他不仅拥有深厚的犹太文化传统、极其渊博的知识谱系，更通过对美国社会的观察和分析，形成了独特的“贝娄式风格”，即“既富于同情，又带着嘲讽，喜剧性的嘲笑和严肃的思考相结合，滑稽中流露悲怆，诚恳中蕴含玩世不恭。文体既口语化，又高雅精致，能随着人物的性格与环境的不同而变化。” 　　1915年，贝娄出生于加拿大的蒙特利尔，父母都是来自俄国的犹太移民。1924年，贝娄随全家迁往美国芝加哥，并在这里度过了他一生中的绝大部分光阴。1937年，他毕业于西北大学，获人类学和社会学学士学位。随后，除了短期担任政府部门工作和在海军服役外，基本上一直在大学教书。　　虽然从小在犹太家庭长大并接受了正统的犹太教育，但是贝娄却逐渐发现，芝加哥才是他精神上的真正栖息地。他说：“我们在这里讨论着自己对社会、艺术、宗教和哲学的看法。”而他与芝加哥的关系，就好像狄更斯和伦敦，乔伊斯和都柏林那样密不可分。　　1941年，贝娄发表处女作《两个早晨的独白》，由此开始了他长达60年的创作生涯。1944年，贝娄在海军服役期间完成了自己的第一部长篇小说《晃来晃去的人》，描述了一位辞去工作、等待应征入伍的犹太青年约瑟夫的故事：他整日无所事事，依靠妻子生活，无目的的自由使他失去生活的重心，最终成为“晃来晃去的人”，充分显示了主人公的孤独和异化感。而随后出版的《受害者》则明显是受到了陀斯妥耶夫斯基的影响。贝娄在回忆这两部小说时表示，它们基本上属于学徒练手的作品，虽然总体上写得不错，但情节设置方面却颇有不足，并且也没有摆脱欧洲旧式传统的束缚。　　在古根海姆奖金的资助下，1948年，贝娄来到巴黎，正是在巴黎，贝娄开始思索自己的未来，普遍认为，正是在巴黎期间，贝娄经历了一种佛教上所谓顿悟的过程。就在偶然间，贝娄想起了童年一位名叫查基的朋友：“（他）说话滔滔不绝，总是兴高采烈地说自己安排的情节很棒。”于是他开始琢磨，如果以查基的口吻写出一部小说将会是什么模样。后来贝娄说：“其实这本书在我的面前已经成型了，我只需要拎个小桶去接他说的话就行了。”而这部用小桶接过来的小说就是出版于1953年的《奥吉·玛琪历险记》。作品通过主人公马奇的“历险”故事，讲述了他寻找自我本质的过程：马奇虽然希望成为一个全面发展的人，却依然无法摆脱传统价值观念的束缚，最后沦为了随大流的一员。此书不仅是贝娄的成名之作，也是他的第一本畅销书，牢牢地奠定了他杰出小说家的地位。《雨王汉德森》于1959年出版，小说讲述了一个美国人因为讨厌现代文明，独自跑到了非洲，在那里当上了“雨王”的古怪经历，反思了美国物质社会的精神错乱与错位问题。而让人称奇的是，贝娄根本没有去过非洲，他完全是靠着一些资料和想象以及一些人类学的知识，完成了这样一部作品。在贝娄的眼中，这部小说是自己创作生涯中的转折点，因为从这部作品开始，他可以收放自如地控制自己的创作天才。　　1964年出版的《赫索格》为贝娄赢得了美国全国图书奖。小说深刻地反映了中产阶级知识分子在现代资本主义条件下信仰的失落和对前途的迷惘，塑造了现代西方文学中一个典型的“反英雄”形象。在回顾这部作品时，贝娄说，“这本书只是灵机一动的产物。有一天，我在写东西时突然想到，如果能够通过一部小说，来反映美国的精神状态和知识分子的话，那应该是很有趣的。”不过，同年完成并在百老汇上演的剧本《最后的分析》却并不成功。用贝娄的话说：“开始的时候像只百灵鸟，可结束的时候却成了只鸵鸟。”

《当代世界文学名著鉴赏辞典》 http://hep.physics.sc.edu/~liu/Library/14/16/index.html出版说明《当代世界文学名著鉴赏辞典》是一部普及型的专用工具书。近年来，我国翻译出版世界各国著名文学作品的工作有了很大发展。然而，已经出版的作品远远没有涵盖世界文学宝库的全部，尤其是许多当代世界文学名著至今仍付阙如，这不能不说是一大缺憾。为了普及世界文学知识，为了使读者了解不同国别和地区自1945年至1990年以来出版的作品概貌，更为了解决有求知欲望但又苦于受时间、资料以及外文阅读能力限制的读者的困难，我们组织编写了这部工具书。本书的读者主要是大、中学生和众多的外国文学爱好者，对教师和专业工作者亦有一定的参考价值。科学性、知识性和艺术性相结合是这部辞书的特色。书中共收入世界各国当代作家220 多位，当代世界文学名著250 余篇，总字数107 万。以中、长篇小说为主，同时包容少数诗歌和戏剧作品。条目以作品为线索，按国别和出版时间先后进行排列。其中诗歌作品发表年代不清的，均不标出，排在本国作品后面。每一条目约1000字左右，分为作者简介、内容概要、作品鉴言三部分。由于是精选1945年后各国出版的洼作（个别重要作家作品选1940年以后），所以本工具书注重选择在国际或作家本国较有影响的代表作品和获奖作品。有相当一些作品，目前我国尚无译本和评介文章。当然，限于资料和篇幅的缘故，有少数国家的优秀作品未被收入。中国当代文学名著也没有收入。我们拟出一本中国当代文学名著鉴常辞典，以补其缺。本辞书中的作者及作品中人物译名，主要以《姓名译名手册》为准，作品译名则以目前国内通用的译名为准。本辞书在编撰过程中得到了许多专家、学者和外国文学研究人员的热情支持和帮助。他们对本书的条目选定提出了不少具体意见，协助组稿并亲自撰写条目。朱雯教授为本书撰写了前言，施蛰存教授为本书题写了书名。在此，我们谨向关心本书及为本书组稿和撰稿的所有人员致以深深的谢意。但愿我们的努力，能使众多的中国读者拓宽视野，充实新的知识，那么，一切的付出便是有价值的。辽宁人民出版社一九九○年十月

《索尔·贝娄全集》中文版书影[图]

外国文学作家肖像馆（多图）莎士比亚

著名外国文学作家肖像集锦（图）威廉·莎士比亚

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有谁喜欢索尔·贝娄的么？谈谈看法吧

索尔·贝娄的主人公与当代中国人的生存状态有什么相似之处？索尔贝娄的主人公大多是犹太人，但索尔贝娄本人并不愿意被人称为犹太作家，他描写的实际上是整个人类所面临的生活困境，之所以选择犹太人作为自己的主人公，是因为作者对犹太人的生活状况更为熟悉一些。我个人觉得自己的生活状况有时就象他笔下的那些晃来晃去的人，有时并不知道自己究竟要什么，而且往往因为无法承受自由之苦，不知大家有什么感受，一起来发表观点吧。

尤利西斯的凝视 --评索尔·贝娄之《拉维尔斯坦》这个虚无主义和价值相对主义盛行的时代，很难想像还有什么人去寻求人性最高的善；社会分工的越来越严密，真正的自由教育和人文教育丧失，在大学里那些学习人文科学和社会科学的学生已经不可能学到有关了解自身、人性、社会以及提升智慧和灵魂的知识。这是芝加哥大学著名学者艾伦·布卢姆（新保守主义教父施特劳斯嫡传弟子）在《走向封闭的美国精神》（中国社会科学出版社，1994年）一书中的基本论断，这本书曾于1987年畅销美国，被称为“最动听、最精致、最博学，而又最危险的传单”，这评论颇有些夸张，由于书的主要思想是全面反思美国高等教育如何导致民主的失败，如何导致今日大学生心灵的枯竭，所以其危险不过是针对学院里的教授而言。而任何一个有过大学文科教育经历的大学生可能阅读此书时都会有很强的共鸣，原来曾经的“高等教育”没有提供给自己任何力量，生活中遭遇的各种困境都没办法用其在大学里的思维训练解决。这种感觉对于智者如索尔·贝娄（布卢姆的好友）也同样如此，这本书曾由他大力推荐，其力作《赫索格》（漓江出版社，1985年）在某种程度上表达了和布卢姆著作的同样思想。 1976年诺贝尔文学奖获得者索尔·贝娄是一个相当内省和认真的人，对于生活和思考中碰到的困境从来不采取逃避，希望用知性上的思考而非生活直觉解决问题，但如《赫索格》（这本书的主人公可以看做是贝娄现实的写照）里所描述，他同样缺乏思索和解决这些困境的能力，所以贝娄总是需要一个知性上比他更强的人做他的精神导师，需要一个完全意义上独立自主的人作为他的参照或者榜样。这与《尤利西斯》中的斯蒂芬漫游寻求精神之父一样，只不过斯蒂芬最后的结果是找到一个庸常的好人。而对于贝娄来说，从席尔斯到布卢姆，都是芝加哥大学第一流的学者和智者，这些人在智力上对贝娄指引，而反过来，由于作家的职业本能和贝娄一直处于从属地位而导致的反叛，这些人又一个个被贝娄旁观进而写进他的小说，用贝娄自己的话说，“我正是拿这些书生的迂腐取乐”。当然，这些书生也包括贝娄本人（如《赫索格》中的主角）。但要说“取乐”似乎有些过分，贝娄小说中对于席尔斯、布卢姆这些对人性、社会、政治有着深刻洞察的智者并对自己精神世界有所指引的人都是非常尊重的，毕竟贝娄还不是那种希望通过对这些人生活的糟糕描述来拉平他们与自己之间精神世界的无聊作家，他的描写很大程度上仿佛尤利西斯的凝视，静观而又内省。索尔·贝娄的《拉维尔斯坦》写于1999年，是为了纪念布卢姆（逝于1992年）而作，书中的拉维尔斯坦可视作布卢姆本人，而齐克就是贝娄的化身。这本书几乎没有什么情节，对于布卢姆的思想也并没有什么深入的探讨，这不能说贝娄没有努力，他曾经为了写这本小传试图去刻苦学习西方思想名著，不过这些都被布卢姆阻止了，可能对于布卢姆来说，这些不是作为作家的贝娄所能做的事情，布卢姆希望贝娄写出的是像《约翰逊传》那样活生生的传记。出于这个理由，《拉维尔斯坦》一开始，主人公已经到了生命的最后阶段，正如《走向封闭的美国精神》的出版为布卢姆带来的巨大收入，“金钱对于拉维尔斯坦，就像从特快列车尾部平台上撒出来的一样”，他举办昂贵的宴会，给同性恋密友买最好的跑车；他盘踞在豪华客厅的沙发上一边不停抽烟和他许多身居要职的学生（包括美国国防副部长沃尔福维茨、共和党军师小克里斯托）长时间通电话，了解唐宁街或克里姆林宫的动向———对他那些视他为精神之父的老学生继续进行政治教育；他和巴黎高层学者圈交游，接受里根和撒切尔夫人的会见；他穿着职业杀手才会披挂的精致皮外套，穿行在芝加哥的街道上；他自高自大、玩世不恭而又愤世嫉俗。但正如贝娄所描述：他针对每个邻居写下一行——一批小资产阶级的典型们，为隐藏的畏惧所支配，每个人都有一座虚荣的圣坛，图谋说服别人认可他心目中自己的形象；毫无趣味的、算计的个性（这个术语要比“灵魂”好———你能够与个性打交道，然而思考这些个别的灵魂，却是你要躲避的事情）。他们只为愚蠢虚荣而活着———没有对于城邦的热爱，毫无感恩图报之心，也没有任何可以为之献身的事物。因为，要记住，强烈的情感是摈弃社会道德规范的。人类的伟大英雄人物赫然耸现，俯视着我们，全然不同于街道上的人，我们“正常的”普通的同时代人。拉维尔斯坦对于他每天与之打交道的人的评价，带有这种强烈的热爱或无限的愤怒的底色。他提醒我，“愤怒”的字眼出现在《伊利亚特》的第一行中———愤怒的阿喀琉斯。这里可见拉维尔斯坦深切真诚的信念的主要支柱。所有人之中最伟大的英雄，哲学家们，过去是并且永远是无神论者。按照拉维尔斯坦的排列顺序，哲学家之后是诗人和政治家。大历史家如修昔底德。军事天才如凯撒———“有史以来最伟大的英雄”———凯撒之下，是马克·安东尼，凯撒的短暂继位者，“世界三大柱石”之一的他认为爱情的价值高于帝国政治。拉维尔斯坦推崇古代希腊罗马。他更喜欢雅典，不过极端尊重耶路撒冷。这里是他的一些基本假设，以及他的教师职业的基础。如果我对于他的一生的描述，遗漏了上述内容的话，那么我们看见的仅仅只是他的怪癖和缺点……

索尔·贝娄遗作《拉维尔斯坦》[照片] 译林出版社以出版该书。可去当当书店购买。

西方人眼中的索尔·贝娄　　20世纪美国文学的支柱是由两个小说家构成的：威廉·福克纳和索尔·贝娄，他们是20世纪的梅尔维尔、霍桑和马克·吐温。 ——美国作家菲利浦·罗斯　　如果文学的灵魂应该是最纯真、最清澈、最繁忙也是最深远的，那么贝娄的贡献在于修复了美国文学的灵魂。 ———美国女作家辛西娅·奥齐克　　贝娄的名望、文学修养、出众的智力和高尚的道德品质，造就了他的伟大作品。 ——英国作家和评论家马尔科姆·布雷德里　　贝娄完成了自海明威和福克纳风格以来美国散文小说中第一个主要的新风格，把知识分子过度的虚张声势与辛辣猛烈的犹太街道风格混为一体，所有这些用的均是喜剧性的语言，这种语言甚至在迅速远离意第绪语时也能不时回首瞻顾。而且，有一种嘲笑的声音贯穿其著作始终，既有自我内省又有自我揭露，结果他和犹太移民生活资料的关系总是保持着好奇和探询性。——美国评论家欧文·豪　　贝娄从未忽视过在咄咄逼人的现实世界里价值标准的受到威胁的地位，这正是他经常描写的。但是他并不认为人类的行为举止或者科学的突飞猛进，预示着一场全球性的浩劫。不管怎么说，他是个乐观主义者，而且也是一个坚信人性善良的反对派领袖。真实当然应该暴露，但真实并不总是充满敌意的。正视真实并不一定完全等于勇敢地迎接死亡。 ——瑞典学院诺贝尔文学奖授奖词

索尔·贝娄的世界并非完全绝望[转帖] 在当代美国文坛上，索尔·贝娄被认为是继福克纳和海明威之后最主要的小说家。他的作品包含了丰富的社会内容和深邃的哲理思辨，是一个具有现实主义倾向的现代派作家。他曾三次获美国全国图书奖，一次普利策奖；１９７６年，他还以“对当代文化富于人性的理解和精妙的分析”获得诺贝尔文学奖。从他的整个创作思想和创作方法看，贝娄是一位具有现实主义倾向的现代派作家。在贝娄的创作发展过程中，乔伊斯·普鲁斯特等现代派作家给了他很大的影响，他还接受了萨特存在主义的某些观念。他曾说过，“每一个现代的作家都具有一种关于历史的理论，我想，一直到最近为止，我的历史理论在很大程度上是属于现代主义的”。他在作品中描写了“异化世界”和“寻找自我”，塑造了一系列充满矛盾的“反英雄”，也即“非传统英雄式”主角，运用了多种的意识流手法，在人与社会、人与人、人与自然和人与自我的关系中，都在一定程度上反映出现代主义的观念。与些同时，贝娄也继承了现实主义文学的某些传统，对福楼拜、狄更斯、托尔斯泰、德莱塞等现实主义作家充满敬意。他不像乔伊斯那样要彻底摆脱政治历史和现实社会的影响，也不像普鲁斯特那样倾注于主观的内心生活。他并不同意现代主义作家声称的文学是作家的自我表现，是宣泄欲望的观点，他强调文学的认识价值，认为作品应有具体的社会历史内容，并明确表明，他要立志成为一个“社会的历史家”，主张文学作品应该反映社会的历史真实。他接受诺贝尔文学奖时的受奖演说，最后一句话是：“还是康拉德说得对，艺术试图在这个世界里，在事物中以及在现实生活中，找出基本功的、持久的、本质的东西。” 贝娄的作品题材广泛、色彩纷呈，但主要的是从各个视角、各个层面深刻地描绘当代社会的形形色色，揭露当代文明的种种弊端，批判当代生活特别是城市生活的各种丑恶，表现当代人特别是知识分子的精神危机。正如他自己所说，他的兴趣在于“揭示人类生存境况的秘密”。二次大战以后，伴随着科学技术的飞速进步，美国的物质文明有了极大的发展，可是在这种“丰裕社会”中，由于物质主义和实利主义的进一步泛滥，愈来愈多的人只知不顾一切地追求个人利益和物质享受，根本不去关心生命的目的和存在意义，人越来越失去人的尊严和价值，人和人之间的关系变得愈来愈冷漠无情。灵魂被摧残，精神被瓦解，“人类所有高贵的道德情操，往往会被人怀疑为一种欺骗手段”，从而出现了种种社会问题和精神危机。贝娄作为一位有高度社会责任感历史使命感的作家，本着自己对当代社会的敏锐观察，对当代文化的深刻理解和对当代人的心理的精妙分析和思考，通过自己的作品，深刻地展示了当代社会中个人与社会、自我与现实之间难以调和的矛盾，阐明了人的价值与尊严在异化的生存条件和环境中所面临的重重困境，表明了现代人的生存状态和生存心理以及现代人现代社会的思考，特别是一向以人道主义作为精神支柱的知识分子产生的精神危机，他们的异化感、危机感、沉沦感和他们的苦闷与迷惘。贝娄本着自己作家的责任与良知，对世界前途深怀关注，对人类充满忧虑，对社会现实作了严肃探索，对社会道德作了真诚评价，对人生作着执着追求，对人性作了深入开掘，正如他自己所说，“要求能有一种更加广泛、更加灵活、更加丰富、更有条理、更为全面落实的叙述，阐明人类究竟是什么，我们是谁，活着为什么等等问题。” 贝娄小说中的主人公，大多为对当代社会的政治、经济、文化、道德等感到迷惑或失望的犹太知识分子，也即赫索格式的人物。这些人都继承了古老的犹太文化的精髓，受过欧洲传统文化的熏陶，接受的是现代美国的教育，生活在纷乱喧嚣的现代都市中。他们大多有着一套高尚的理想，相信人生的价值在于维护人的尊严，追求某种高于现实的生活。可是在当代社会中，人道主义理想已被现实生活生活击得粉碎，他们的“高尚理想”、“高贵情操”和“诚实善意”，已经与现实生活格格不入，被人认为“脑子有毛病了”，甚至被人怀疑为“一种欺骗手段”。他们痛恨这个世界的“荒诞、冷漠”和这种生存环境的“重压、无奈”，他们的精神支柱受到了破坏，心理状态失去了平衡，于是他们一面在这个风雨飘摇的世界里漫游，一面不断试图寻到一个赖以生存的立足之地。可是他们的追寻毫无结果，一个个都成了现实生活社会不合时宜的失败者，成了反英雄，成了没有立足之地的“晃来晃去的人”。可是他们并没有抛弃使人成为有人性的价值标准和存在，人们就能获得自由，从而肩负起做人的责任，产生出行动的愿望，树立起对未来的信念。

欢迎大家光临索尔贝娄吧！