这几年我在巴黎有一个家,每年会来住一阵子,不过直到今天这个城市从未出现在我笔下。或许要写巴黎我得离开远远的:如果说写作是因为想念、需要的话。或许得更投入,那么我应该从年轻时就住在这里:如果说赋予我们想像世界形体的是我们人生最初那几年,而非成熟期。我来解释清楚一点:一个场所必须变成内在场景,让想像开始在此定居,是为剧场。今天,巴黎在世界文学的许多篇幅中,和我们大家都读过,在我们生命中曾占一席之地的许多书本中都当过内在场景。与其说它是真实世界中的一个城市,巴黎,对我和上百万全世界各地的人一样,是透过书本得知的虚幻城市,一个经由阅读而熟识的城市。从小读《三剑客》,然后是《悲惨世界》,同时,或随即,巴黎变成了历史之城,法国革命之城;稍晚,在青少年读物中,巴黎又变成波特莱尔,流传上百年的伟大诗篇、绘画、不朽的小说之城,巴尔扎克、左拉、普鲁斯特……。 In recent years I have a home in Paris and will come to live for a while every year, but this city has never been seen in me until today. Maybe to write in Paris I have to leave far: if writing is because of missing, if necessary. Perhaps more input, then I should have lived here from a young age: If the images that gave us the imagination of the world are the first few, but not the maturing, of our lives. Let me explain it clearly: a place must become an internal scene, so imagine the beginning to settle here, is for the theater. Today, in many parts of world literature, Paris has read with us all, and in many books that have taken a place in our lives, we have had inner scenes. Rather than being a city in the real world, Paris, like many millions of people around the world, is an illusory city known through books, a city well-read through reading. From an early age he read “Three Musketeers,” then “Les Miserables,” and at the same time, or at the same time, Paris became the city of history, the city of French revolution; later in the youth reading Paris became Porter, Hundred years of great poetry, painting, city of immortal fiction, Balzac, Zola, Proust .......