武斗开始了。 紧邻的军医大学和这边分属两派， 外面有时会响起他们对射的枪声。 一天夜里， 家里的一扇窗户突然被什么东西打碎了。 后来哥哥在楼下弹玻璃球时， 在地上捡到了子弹头。 情势越来越险恶。父母决定把我送回到林区县城的奶奶家。
但是县城里也不再平静。 有“地主婆”被带到百货商店门口的石阶上批斗。一个壮硕的中年女人用木板敲着她的脸， 喊着。 老太太瘦瘦的， 满脸谦卑仓惶。 嘴角在木板的击打下开始流血。 我紧握着奶奶的手站在围观的人群里， 心疼得哭了。 晚上躺在土炕上，我听见奶奶对爷爷说， 幸亏我们败家， 房子， 地， 早早都卖了，不然站在那里的就会是我。 黑黑的夜里，我想象奶奶站在石阶上被打的情景，眼泪又流了出来。
小镇四面环山。 山里有河淙淙而下， 穿过街巷穿过山岭向东北蜿蜒着汇入图们江。 图们江隔开中朝两国。 这片土地上混居着汉族和朝鲜族百姓。 朝族话是我小时候听惯了的一种语言。 记得黄昏中的小镇， 炊烟四起， 暮霭沉沉， 背景里的声音，就永远是镇政府的大喇叭里用双语播出的新闻。 一遍汉语， 再一遍朝族话， 交错着在山谷里回荡。 在雨水充足的季节， 那些以嗒嗒嗒音结尾的句子， 仿佛坠着水滴， 穿过潮湿的空气蹦落到街头巷尾的泥泞里。 街对过的朝族人家， 女人背上背着婴孩， 在门口的炉灶旁操持晚饭。 男人就襟危坐在与炉灶相连的炕上， 抽着烟听广播。 奶奶端着一只空碗走过去， 用朝族话对那女人说， 我家小孙女又来了， 给我些金姆奇吧， 她喜欢你腌的小樱菜。 女人笑着取了一只更大的盆来，装了红红绿绿的一盆， 递给了奶奶。
朝鲜族中学被围攻的那个午后， 街对过的房门始终紧闭着。 那几个常和我们一起跳房子， 捉迷藏的朝族孩子也不见了踪影。 我不知道中学在小镇的什么方位， 只听过路的人说，那边打了起来。 汉族人围住了学校， 真刀真枪， 要给朝族学生一些颜色看看。又有人说，解放军来解围了， 夹在汉族和朝族中间挡子弹， 已经死了不只一两个。 果然有叭叭的声音从远处传过来。 奶奶爷爷都放下了手中的营生， 站在院门外张望， 聆听。三叔会不会在围攻的汉族人群里？ 这是他们最担心的事。
“我看见你家老三了，带着墨镜，穿着大皮靴，见着高丽就追上去用鞭子抽...” 谁带来了这个坏消息？ 我眼前出现一个凶神恶煞般的三叔。 几个叔叔里， 他其实最和蔼可亲， 对我也最好。 奶奶终于等不下去了， 不顾爷爷的劝阻，一个人向朝鲜族中学的方向去了。
那个午后凄凄惶惶。 大人们坐立不安， 无心生计。 晚饭的时间快到了， 奶奶的炉灶还是冰凉， 没有平日的烟火和饭香。 我的手掌被一根粗铁丝扎破了， 火辣辣的疼。 看见爷爷紧皱的眉头， 我忍着没告诉他。 我忍着， 忍着疼， 忍着满心的慌恐和凄凉， 在街上三三俩俩穿梭的人流里， 终于看到了奶奶。 她是缠足， 一个人蹒跚而来。 没有三叔。
天快黑了， 奶奶家的烟囱终于令人欣慰地冒出了炊烟。 我在街上和小孩跳皮筋， 等着爷爷喊我回家吃饭。 这时一辆解放牌卡车停在当街离我不远的地方， 三叔在车窗探出头向我招手。 他头上缠着绷带， 脸上还有血痕， “告诉奶奶， 我今晚不回家了， 让她别着急。” 我跑回家， 把三叔的样子和话学给奶奶听。 这事后来成了家人茶余饭后的谈资笑料。 那天多亏了小丫头， 他们总会这样说， 不然奶奶会怎样度过一个不眠的夜晚？ 有一个和我同龄的朋友说， 她对文革没有什么印象， 不记得忠字舞， 更不记得武斗。 可是我记得， 甚至一些细节， 子弹头， 老人嘴角的血， 被铁丝扎破的手掌， 还有车窗后三叔的脸， 都有点像梦魇般挥之不去。 后来回到父母处， 看见家附近的空地上悚然添了几处覆盖着白色花圈的新坟。 据说里面躺着的都是在武斗中牺牲的“烈士”。
有一些事我不能肯定， 比如三叔的墨镜。 那时有墨镜吗？ 靴子大概只是一般的黑胶皮水靴。 鞭子是有的。 小镇外是人民公社， 常有农民挥鞭赶着马车牛车进城。 可是三叔那一天缘何变得如此凶狠？ 我始终不知， 也不便问。
Monday, September 28, 2009
Thursday, September 10, 2009
The Piano Teacher
Jelinek is a downright pessimist. Many people consider her a feminist. If a feminist, her feminism does not appear to have the positive meaning of “women's liberation” or equality for women. Rather, her portrayal of women’s status quo is bleak and hopeless.
New York Times said that her writings focused on “sexual politics.” Sexual Politics is an interesting angle to comprehend the Piano Teacher. Politics is about relationship. It consists of social relations involving authority or power. Hegel said that human relations always lead to master-slave relationships. Jelinek once quoted Hegel and said that the relationship between man and woman was a Hegelian relationship between master and slave. In the Piano Teacher, the estrangement in sexual relations takes many different forms. Every possible logic is shattered in the anguish of feminine irremediable fate.
Absence of men – There is no men in Erika and her mother’s life. Her father’s death and her mother’s suffocating control play a large part in her life. Erika has no idea of what the proper female sex is and is incapable of settling for heterosexual normality. Without the other side of the relation - the master, the women are no longer salves. So the two women have engaged in internal strife, bulling, screaming, and slapping at each other. Mothers have been so fully shaped by patriarchal hierarchy that they usually are among its most willing perpetuators.
Dominant Slave – Klemmer falls in love with his piano teacher, Erika. During their first amorous encounter, Erika is the one who gives out direction. She later writes him a letter which spells out her masochistic yearnings and details instruction on what he has to do at their next encounter to meet her demands. The change of power game leaves the young student completely nonplussed, he must recognize his need to subjugate the object.
Men in power – There is a very clear idea in Klemmer’s mind about the proper composition of a relationship and what sexual intercourse is, Erika’s scenarios are received as disturbing because they challenge the innate value of Klemmer’s world. Torn between the outrage of humiliation, and the urge to save Erika from her misconceptions about sex, Klemmer bursts into Erika’s apartment, beats and rapes her. Violence and repression are Jelinek’s interpretation of male control.
The consequences of female autonomy – Erika is a loner who is incapable to enjoy life, sex, and passion. At the end, Erika stabs herself in the shoulder with a large kitchen Knife. She has adopted both violently opposed gender roles in a lose-lose configuration and promptly lost herself.
At the time of the Nobel Prize, Jelinek was asked whether she thought feminism had made any significant gains over the years. “Nothing,” she said, “would lead one to suppose that it had.” In the Presentation Speech, Professor Engdahl of the Swedish Academy said that “the difficulty to read Elfriede Jelinek is that there is no sympathetic writers voice that the reader can rest in and identify with. It is an awakening from reading the narcissism.”
* Chinese version
New York Times said that her writings focused on “sexual politics.” Sexual Politics is an interesting angle to comprehend the Piano Teacher. Politics is about relationship. It consists of social relations involving authority or power. Hegel said that human relations always lead to master-slave relationships. Jelinek once quoted Hegel and said that the relationship between man and woman was a Hegelian relationship between master and slave. In the Piano Teacher, the estrangement in sexual relations takes many different forms. Every possible logic is shattered in the anguish of feminine irremediable fate.
Absence of men – There is no men in Erika and her mother’s life. Her father’s death and her mother’s suffocating control play a large part in her life. Erika has no idea of what the proper female sex is and is incapable of settling for heterosexual normality. Without the other side of the relation - the master, the women are no longer salves. So the two women have engaged in internal strife, bulling, screaming, and slapping at each other. Mothers have been so fully shaped by patriarchal hierarchy that they usually are among its most willing perpetuators.
Dominant Slave – Klemmer falls in love with his piano teacher, Erika. During their first amorous encounter, Erika is the one who gives out direction. She later writes him a letter which spells out her masochistic yearnings and details instruction on what he has to do at their next encounter to meet her demands. The change of power game leaves the young student completely nonplussed, he must recognize his need to subjugate the object.
Men in power – There is a very clear idea in Klemmer’s mind about the proper composition of a relationship and what sexual intercourse is, Erika’s scenarios are received as disturbing because they challenge the innate value of Klemmer’s world. Torn between the outrage of humiliation, and the urge to save Erika from her misconceptions about sex, Klemmer bursts into Erika’s apartment, beats and rapes her. Violence and repression are Jelinek’s interpretation of male control.
The consequences of female autonomy – Erika is a loner who is incapable to enjoy life, sex, and passion. At the end, Erika stabs herself in the shoulder with a large kitchen Knife. She has adopted both violently opposed gender roles in a lose-lose configuration and promptly lost herself.
At the time of the Nobel Prize, Jelinek was asked whether she thought feminism had made any significant gains over the years. “Nothing,” she said, “would lead one to suppose that it had.” In the Presentation Speech, Professor Engdahl of the Swedish Academy said that “the difficulty to read Elfriede Jelinek is that there is no sympathetic writers voice that the reader can rest in and identify with. It is an awakening from reading the narcissism.”
* Chinese version
《钢琴教师》
耶利内克是一个彻底的悲观主义者。 你可以说她是女权主义， 但她的女权不包含解放平等这样正面的意义， 而只是对女性自身境遇的一种自嘲， 充满了无奈和绝望。
《纽约时报》说她的作品专注于性政治。 我想可以从“性政治”这个角度来解构《钢琴教师》。 政治就是各种关系之间的权利结构。 黑格尔说人与人之间的关系总是导致主仆关系。 耶利内克曾经引用黑格尔的话，说男女关系就是主人和奴仆, 支配和被动的关系。 在《钢琴教师》里, 性政治出现了这样几种可能：
男性缺失: 艾里卡和母亲的生活中没有男性。尤其是艾里卡, 从小就被母亲禁锢起来, 对与异性交往处于无知状态。 男性缺失的结果是母女之间的倾轧和艾里卡的变态。母亲在多年父权体系的浸淫下，自己义无反顾地变成了强权的维护者和执行者。 四十年来， 她事无巨细，严格控制着艾里卡的生活。没有男性支配，艾里卡不仅仍然被奴役， 更要承受性压抑，她不得不用自残、偷窥的方式发泄心中的苦闷和愤怒。
女性试图支配: 年轻的克雷莫尔爱上了自己的钢琴老师。 这时艾里卡不知天高地厚地想要在这种关系中处于支配地位。和克雷莫尔的每一次接触，艾里卡都试图做强势的一方，给出指示。她甚至给克雷莫尔写信，讲述自己受虐的渴望，并详细告诉克雷莫尔该如何做来满足她的欲求。权力游戏中角色的非常规转换让克雷莫尔不知所措。
男性支配: 克雷莫尔非常清楚男女关系中的正常等级结构。奴仆试图支配是对主人的羞辱, 对既定价值体系的挑战，所以克雷莫尔在激愤中强暴了他的老师。 他要让女人知道什么是正常意义的性。耶利内克对男性支配的解读就是暴力和强迫, 也是最令她愤怒的一种关系。
女性失落: 每一个可能的逻辑都不能救赎女性的宿命。在书的结尾，艾里卡无所适从, 于是安静而决绝地把刀子刺进了自己的胸膛。 获得诺贝尔奖后，耶利内克曾被问到女性主义的现状， 她说她认为这么多年来，女性主义没有获得任何显著的进步。 正如艾里卡的刀子， 女性的每一次复仇最终都是砍向自身。女性反抗的结局都是不可避免的失败。
* 艾尔弗雷德.耶利内克（Elfriede Jelinek） 是奥地利小说家、剧作家兼诗人， 2004年诺贝尔文学奖获得者。《钢琴教师》是她的代表作之一， 发表于1983年。
* 英文版
《纽约时报》说她的作品专注于性政治。 我想可以从“性政治”这个角度来解构《钢琴教师》。 政治就是各种关系之间的权利结构。 黑格尔说人与人之间的关系总是导致主仆关系。 耶利内克曾经引用黑格尔的话，说男女关系就是主人和奴仆, 支配和被动的关系。 在《钢琴教师》里, 性政治出现了这样几种可能：
男性缺失: 艾里卡和母亲的生活中没有男性。尤其是艾里卡, 从小就被母亲禁锢起来, 对与异性交往处于无知状态。 男性缺失的结果是母女之间的倾轧和艾里卡的变态。母亲在多年父权体系的浸淫下，自己义无反顾地变成了强权的维护者和执行者。 四十年来， 她事无巨细，严格控制着艾里卡的生活。没有男性支配，艾里卡不仅仍然被奴役， 更要承受性压抑，她不得不用自残、偷窥的方式发泄心中的苦闷和愤怒。
女性试图支配: 年轻的克雷莫尔爱上了自己的钢琴老师。 这时艾里卡不知天高地厚地想要在这种关系中处于支配地位。和克雷莫尔的每一次接触，艾里卡都试图做强势的一方，给出指示。她甚至给克雷莫尔写信，讲述自己受虐的渴望，并详细告诉克雷莫尔该如何做来满足她的欲求。权力游戏中角色的非常规转换让克雷莫尔不知所措。
男性支配: 克雷莫尔非常清楚男女关系中的正常等级结构。奴仆试图支配是对主人的羞辱, 对既定价值体系的挑战，所以克雷莫尔在激愤中强暴了他的老师。 他要让女人知道什么是正常意义的性。耶利内克对男性支配的解读就是暴力和强迫, 也是最令她愤怒的一种关系。
女性失落: 每一个可能的逻辑都不能救赎女性的宿命。在书的结尾，艾里卡无所适从, 于是安静而决绝地把刀子刺进了自己的胸膛。 获得诺贝尔奖后，耶利内克曾被问到女性主义的现状， 她说她认为这么多年来，女性主义没有获得任何显著的进步。 正如艾里卡的刀子， 女性的每一次复仇最终都是砍向自身。女性反抗的结局都是不可避免的失败。
* 艾尔弗雷德.耶利内克（Elfriede Jelinek） 是奥地利小说家、剧作家兼诗人， 2004年诺贝尔文学奖获得者。《钢琴教师》是她的代表作之一， 发表于1983年。
* 英文版
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