京翰·西安小寨校區(qū)·輔導(dǎo)班有沒有具體位置在哪聯(lián)系電話多少

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<<兄弟>>后記

《兄弟》后記

Epilogue of Brothers

譯者: 賴小琪

五年前我開始寫作一部望不到盡頭的小說，那是一個(gè)世紀(jì)的敘述。2003年8月我去了美國(guó)，在美國(guó)東奔西跑了七個(gè)月。當(dāng)我回到北京時(shí)，發(fā)現(xiàn)自己失去了漫長(zhǎng)敘述的欲望，然后我開始寫作這部《兄弟》。這是兩個(gè)時(shí)代相遇以后出生的小說，前一個(gè)是文革中的故事，那是一個(gè)精神狂熱、本能壓抑和命運(yùn)慘烈的時(shí)代，相當(dāng)于歐洲的中世紀(jì)；后一個(gè)是現(xiàn)在的故事，那是一個(gè)倫理顛覆、浮躁縱欲和眾生萬象的時(shí)代，更甚于今天的歐洲。一個(gè)西方人活四百年才能經(jīng)歷這樣兩個(gè)天壤之別的時(shí)代，一個(gè)中國(guó)人只需四十年就經(jīng)歷了。四百年間的動(dòng)蕩萬變濃縮在了四十年之中，這是彌足珍貴的經(jīng)歷。連結(jié)這兩個(gè)時(shí)代的紐帶就是這兄弟兩人，他們的生活在裂變中裂變，他們的悲喜在爆發(fā)中爆發(fā)，他們的命運(yùn)和這兩個(gè)時(shí)代一樣地天翻地覆，最終他們必須恩怨交集地自食其果。

Five years ago I began writing a seemingly endless novel that depicted a story covering a whole century. In August, 2003, I went to America and began my travel of seven months. After I returned to Beijing, I realized that I had lost the desire to note down the story about my trip. Then I began writing Brothers. This book covers two stories in two different eras. One is in Chinese Cultural Revolution when people were ever-furious about mental revolution and their instincts had been cruelly pressed. It was a time of misery that could mirror the Medieval Times in Europe. The other story was in the context of modern society that was fully of moral collisions, expanding vanity and growing desires. It is even more striking than the current Europe. A westerner could only experience these two different eras after living four hundred years, while a Chinese could make it by only living forty years. Upheavals and changes of four hundred years had condensed into the life of forty years in Chinese history. Therefore, the past forty years is a precious and impressive time. The bond connecting these two different eras is the two brothers I referred to in my book. They are living in endless collisions, happiness and miseries. Their destinies were turned up and down with the changes of the eras and eventually, they had to pay the price for what they had done.

起初我的構(gòu)思是一部十萬字左右的小說，可是敘述統(tǒng)治了我的寫作，篇幅超過了四十萬字。寫作就是這樣奇妙，從狹窄開始往往寫出寬廣，從寬廣開始反而寫出狹窄。這和人生一模一樣，從一條寬廣大路出發(fā)的人常常走投無路，從一條羊腸小道出發(fā)的人卻能夠走到遙遠(yuǎn)的天邊。所以耶穌說：“你們要走窄門?！彼嬲]我們，“因?yàn)橐綔缤?，那門是寬的，路是大的，去的人也多。引到永生，那門是窄的，路是小的，找著的人也少。”

At first I was intended to compose a novel of 100,000 words, but my blooming thinking had dominated my pen that finally streamed out more than 400,000 words. Writing is such a thing that you may begin with a tiny thinking but go into a broader way gradually. But when you begin with a very broad mind, you may go into a narrow way little by little. It is just like our life that when you start out from a very broad and straight way in your journey, you may probably lead yourself to nowhere, but when you embark on a small and snaking road, you will walk to an unexpectedly fantastic destination. Therefore, Jesus once said, “We should start from a narrow door, because the wide and large door which is full of people often leads to death, while the narrow and small one where you could hardly witness human footprints often leads to immortality.

我想無論是寫作還是人生，正確的出發(fā)都是走進(jìn)窄門。不要被寬闊的大門所迷惑，那里面的路沒有多長(zhǎng)。

Therefore, I think whether for writing or for our life, the best way to start our journey is to go through the small and narrow door. Do not be fascinated by the wide and large door, because it will lead you to nowhere shortly after you go through it.

余華

Composed by Yu Hua

2005年7月11日

On July 11, 2005

　　【京翰·西安小寨校區(qū)地址】

西安市雁塔區(qū)，小寨十字南長(zhǎng)安中路與雁塔西路交匯處，東北角世紀(jì)經(jīng)典大廈2層。