文学创作:倾诉还是隐藏?
To Tell and Not To Tell

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“她的小说刚出版时,她丈夫感到非常受伤……”

“作者的父亲被他所写的东西恶心到了……”

“他的妻子火冒三丈……”如此种种。

类似这样的事情是否不仅仅是八卦新闻?我们能否通过观察作者的家人及其所爱之人的反应了解到关于其文学作品的信息?比方说,当克里斯蒂娜•斯特德的伴侣看到她在《莱蒂•弗克斯的运气》中将他在上一段婚姻中生的女儿塑造成一个淫荡的性滥交者,会作何感想;当爱玛•哈代看到他父亲托马斯•哈代在《无名的裘德》中探讨她的性问题时,会有何反应;当福克纳的《士兵的报酬》出版时,他的父母是否感觉难堪。

“Her husband was deeply hurt when she published her novel…”

“The author’s father was disgusted by what he had written…”

“His wife was furious…” etc.

Is information like this ever more than gossip? Can we learn anything about literature by reflecting on the responses of the writer’s family and loved ones? What Christina Stead’s partner thought about *Letty Fox, Her Luck*, for example, where the writer presented his daughter by a previous marriage as a promiscuous sexual opportunist. Or how Emma Hardy reacted when she saw her sexual problems discussed in the pages of *Jude the Obscure*. Or the embarrassment of Faulkner’s parents when he published *Soldiers’ Pay*.

在一部小说或任何文学作品的创作阶段,常常会有一些一般读者意识不到的个人恩怨影响着作家的创作决定。但是,如果一部小说出版以后会影响作者与最亲近的人之间的关系,作者还能否全然不计后果地将它写出来?其中的故事有无可能经过“改编”?显然,虚构叙事力求满足两个彼此对立的需求:倾诉与隐藏。

  • 文学创作:倾诉还是隐藏?

  • To Tell and Not To Tell