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张楚的小说,给人一种既熟悉又陌生的修辞可信感。这种修辞可信感并非来自故事的传奇性和事件的轰动性,而是来自作家对民众熟知生活的戏剧性处理,来自隐藏与作家内心深处的空洞感,以及这种空洞感带来的残酷的诗意。日常生活的戏剧化处理使得张楚的小说带有某种程度的先锋性。这也是很多人在私下里讨论张楚小说时经常谈到的。但是细究起来,在先锋写作已经成为文学史常识的今天,仅凭这个概念标签无法确切表述作家的真正创作内涵。那么,张楚的小说到底“先锋”在什么地方呢?在笔者看来,这个秘密隐藏在文本的结构张力和作家的情感张力之中。
Zhang Chu’s novel gives a sense of rhetoric that is both familiar and unfamiliar. This rhetorical credibility does not come from the story’s legend and the sensation of the events, but from the writer’s dramatic handling of the well-known life of the populace, from the sense of emptiness hidden in the depths of the writer, and the cruelty caused by this emptiness Poetic. The dramatic treatment of everyday life has led Zhang Chu’s novel to some degree of avant-garde. This is what many people often talk about when discussing Zhang Chu’s fiction in private. However, as far as I can understand, when avant-garde writing has become common sense in literary history, the concept label alone can not accurately describe the author’s true creative connotation. So, Zhang Chu’s novel “Pioneer ” in what place? In the author’s view, this secret is hidden in the structural tension of the text and the writer’s emotional tension.