读得朱传辉新近的几篇小说,不禁暗自吃惊。惊的是,涉世未深的他在编辑工作之余,以默默操练的姿势向着小说挺进,向着城市现实的灯火和幽暗,向着精神冲突的内部和边缘,向着思考的深处,摸索着挺进。虽然作品并不算多,但我可以感觉到他挺进的步幅和速度。他大步跨过了对悲剧事件的现场逗留,跨过了对《我要回家》中那一例意外死亡的执意追索——在那篇作品里。尽管笔触打开了主人公闭锁的内心,深入其中从容地剖析性格和心理,揭示了一个孤独的灵魂对家、对爱的矛盾和迷惘。但那毕竟只是一个性格悲剧,它唤起的同情大概只能是对一把锈蚀的心锁的惋惜;跨过了对《月亮之死》中那 Zhu Chuhui read a few recent novels, can not help but secretly surprised. Surprisingly, he was inexperienced in the editorial work, he quietly practiced posture toward the novel, toward the urban reality of the lights and darkness, toward the spirit of conflict within and edge, toward the depths of thinking, to grope for advance. Although the work is not much, but I can feel the pace and speed of his advance. He strode across the scene of the tragedy and stayed behind the insistence on the unexpected death of “I’m going home” - in that work. Although the strokes open the innermost of the hero’s lock, deeply analyzing personality and psychology deeply reveals the contradiction and confusion of a lonely soul to his family and to his love. But after all, it is only a tragedy of character. The sympathy it arouses can only be a regret for a rusty heart lock; it has crossed the gap in the “death of the moon”