在光怪陆离的城市面相中,赵言的《最城》(《钟山》长篇小说2014年A卷)是一座特异之城,它是新石器时代晚期的“理想国”;又是一个精神乌托邦;也是一座当代版的卡夫卡式荒诞城堡。《最城》的人类学、考古学背景又使它接续了《洛阳伽蓝记》、《东京梦华录》等古典文学的传统。另一方面,《最城》中历史与现实、现实与梦境的并置;对经典文本的戏仿;对宏大历史观念的解构等等,又使其具有鲜明的后现代风格。罗兰·巴特的文本理论指出了文学中作品与文本的分野,认为文本是一种动态的生产过程,是语言创造的一种体验,它没有定于一尊的固定意义。从这个角度看,《最城》把历史和城市文 In the face of bizarre cities, Zhao Yan’s “The City” (“Mountain” novel 2014 Volume A) is a peculiar city, which is “the ideal kingdom” of the late Neolithic Age. It is also a spirit Utopia; also a contemporary Kafka absurd castle. Anthropology and archeology background of “the most beautiful city” make it inherit the tradition of classical literature such as “Luoyang Ga Blue” and “Tokyo Dreamland”. On the other hand, the combination of history and reality in the “city”, reality and dreams; the imitation of classic texts; the deconstruction of grand historical concepts and so on, in turn, give it a distinctive post-modern style. Roland Barthes’ theory of text points out the distinction between works and text in literature, that text is a dynamic process of production, an experience of language creation, and it is not fixed in a fixed sense. From this perspective, “the most urban” puts history and urban texts