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一对于一部作品来说,读者和评论界见仁见智是常有的事儿。譬如当年对贾平凹《废都》的评价就可以说是范本。有称该书是作者“心灵史”的,亦有以之为诲淫诲盗之作的。有意味的是,贾平凹在接受上海市《文学报》记者采访时赌气地说,没有任何一位读者真正读懂此书。本来诗无达诂,对同一部小说作出相异的评价正说明该书具有丰富的内涵,甚或可以见出作者都未必意识到的内容。从这个角度讲,张洁的《无字》并不是一个可以盖棺定论的铁案。
For a piece of work, it is not uncommon for readers and commentators to have different opinions. For example, the evaluation of Jia Pingwa's “waste capital” can be regarded as a model. There is a saying that the book is the author of “Soul History”, but also for the purpose of obscenity. What is interesting is that when Jia Pingwa admitted in an interview with Shanghai's Wen Da Bao, none of the readers actually read this book. Originally, there is no poem, and making a dissimilar evaluation of the same novel shows that the book has rich connotations, or can even see what the author may not realize. From this perspective, Zhang Jie's “No word” is not a cliche of the ironclad case.