文化京漂的心聲

2006年7月，北京世界知識出版社出版了胡明剛和史壹可所著的《北漂者心聲》一書，這是一本別具一格的紀實文學作品，它如同投石激浪，在平靜的讀書界引起很大的反響，這本僅僅20余萬字的書，受到了廣大讀者的矚目和關注。

胡明剛和史壹可在談到這本書的寫作感受時說，這是他們花費精力最大的一本書，我們將它定位為中國第一部北漂文化的口述實錄，相信這本書獨特的形式和自然真切的表述，能讓每一個文化北漂人士和讀者在內心產(chǎn)生共鳴。

文化北漂群體發(fā)軔于上個世紀80年代，這是改革開放以來北京呈現(xiàn)的一道獨特的社會人文風景線。在新舊兩個世紀交替的轉型時期、在中國的首都，這個國際性大都會聚集了上百萬來自各地的有志之士，他們從事教育、影視、文學、繪畫、音樂、出版、文物等各個領域的工作，為實現(xiàn)自己的文化理想和生活目標，展開了艱苦卓絕的奮斗拼搏。在漂泊的歲月里，留存下刻骨銘心的情感記憶。胡明剛和史壹可身為文化北漂的一員，經(jīng)過了一番抉擇后，決定在這個特殊的群落里行走，他們提著錄音機，拿起筆桿和本子，傾聽和記錄了來自文化北漂最真切的心聲。

文化北漂“三人幫”

《北漂者心聲》這本書的簡介寫道：這是一本新舊世紀交替時期特殊年代、特殊地點中的特殊人群情感史、生命史和生活史。書里的一些文化北漂人士，盡管社會文化背景不同，生活態(tài)勢各異，但他們帶著失敗的創(chuàng)痛和悲傷、帶著成功的喜悅和歡愉，都在努力地拼搏著。文化北漂人士不同的生命傳奇、人生的遭際與沉浮、生活的體驗砥礪以及漂泊中對歷史社會文化的追溯和探尋，胡明剛和史壹可感同身受，他們在記錄整理這本書稿的時候，時常激動得不能自持。

來自浙江天臺的《北漂者心聲》作者之一的胡明剛，是個富有傳奇色彩的人物，2002年他來到北京從事編輯工作。他老家在天臺華頂山麓最偏僻的外胡村，因為家境貧寒，讀到高中畢業(yè)就在家務農，但他依然愛好讀書寫作，經(jīng)年不輟，因此認識了文化館的老師。后來他父母雙亡，就進入城市扛鐵水、做售貨員，在學校打字和在舞廳播放音樂，也在企業(yè)里做過文秘。隨著年歲的增長和生活閱歷的豐富，他的文學創(chuàng)作漸漸嶄露頭角，他的作品得到小說家錢國丹的關注，經(jīng)錢的推薦，胡明剛被聘為市文聯(lián)文學雜志的編輯，后來隨著生活的好轉，胡明剛的創(chuàng)作更上一層樓，不少散文隨筆在《中華散文》《文學報》《文藝報》《江南》《讀者》等報發(fā)刊表，并贏得許多獎項，2000年，他出版了《蛤蟆居隨筆》作品集，《文學報》把胡明剛當作“每月一星”作了重點推介。

胡明剛在生活最困難的時候遇到了愛人王慧勤。王慧勤與他一樣來自天臺鄉(xiāng)村，因為酷愛文學寫作兩個人走到一起。1997年王慧勤到魯迅文學院影視班進修，學業(yè)長進，老師為她介紹了一個很好的工作，而她毅然回到天臺，不計胡明剛的貧窮，與他締結婚姻。他們沒有婚禮、沒有宴席，只是在天臺街上攜著手到面館里吃了9元9角的兩碗面條，聽了一場二胡演奏會，然后胡明剛用自行車馱著她回家。爾后他們來到北京勉力工作，盡管生活不富裕，但依然過得有滋有味。王慧勤現(xiàn)在中國少年作家班從事文學教學輔導工作，業(yè)余從事兒童散文、童話和戲劇創(chuàng)作，先后創(chuàng)作童話劇《98點》以及《曼曼》《追魚》等電影劇本和散文集《山坡書》等。

與胡明剛合著《北漂者心聲》的史壹可，她的原名史迪可，來自山東青島，畢業(yè)于中央戲劇學院戲劇文學專業(yè)，她與王慧勤最為知己。胡明剛策劃這本書并請史壹可合作，她欣然同意。在北京史壹可有許多北漂朋友，她了解他們的內心感受，她覺得寫這么一部書非常值得，非常有意義。

胡明剛說，在這本書里他與王慧勤、史壹可是很獨特的“三人幫”，雖然名不見經(jīng)傳，但在這本書里各自都煥發(fā)了風采。

講述與傾聽是心靈的交會

《北漂者心聲》作為中國第一本文化北漂的口述實錄文學，此書的形式是獨特的。他們先根據(jù)實地采訪錄音整理成“采訪實錄”，完全保持了敘述者的個人講述風格，接著加上“采訪手記”，詳細記述采訪時的細節(jié)以及片斷感受，最后以“相關鏈接”配上有關講述者的照片以及相關的文學藝術作品，這樣就可以體現(xiàn)出本書的“貨真價實”特性。在這本書里，采訪者和講述者都處于一種最松弛、最自然的狀態(tài)，也許這種說話方式是漫無邊際的，但它擁有強烈的原聲效果，透露出真正的人文關懷。

文化北漂這個特殊的群體，每個人的表述各不相同，然而他們對自身的解釋是最真切、最透徹的。他們接受采錄時不需要提綱，只要找一個安靜的酒吧間或者一個小小的斗室，他們就打開話匣子海闊天空地閑聊，這種自由自在放縱的表達，體現(xiàn)了最真實本質的情感世界。這種采訪，避免了一問一答的機械式對話。

《北漂者心聲》的頭條人物是宋方金，他策劃過《動什么別動感情》和《猜心妙手》等很有影響的電視連續(xù)劇，他描寫山東農民造飛機的電視電影《飛》，獲得了2006年的全國性大獎。他向史壹可談起在北京搬家的故事，從南四環(huán)搬到西五環(huán)，從八大處搬到琉璃廠，然后又搬到北四環(huán)，搬家的過程就是翻來覆去的電影。他也回憶在老家兩個最讓他心靈震撼的故事：一個是想娶中央電視臺播音員為妻子的牧羊人；一個是因為沒有摩托車娶不到心愛姑娘喝老鼠藥自盡的小伙子，這一切都成了他劇本的素材。

現(xiàn)在供職于中央電視臺的傅鵬，熱衷于影視創(chuàng)作，所以到電視臺里當攝像師。中央電視臺的《百家姓》就是他參與拍攝的，他向史壹可講述了當下影視劇界的內幕以及空中拍攝羅布泊汽車越野賽的情景。在絲路文物展中，史壹可遇到了一位從事文物考古工作的老前輩寶世宜先生，寶先生向她談文物的收藏流徙以及北京城的變遷，讓她懂得了漂泊的不僅是人，還包括文物以及傳統(tǒng)文化的傳承。如此，一下子使北漂的內涵更富有深度和力度。此外，一對從事繪畫設計的兄妹曾權和曾海英，一個負責裝修，一個從事繪畫，兩個人相依為命，胼手胝足，更讓人有一種深深的感動。這些都是《北漂者心聲》的獨特亮點。

《北漂者心聲》的連環(huán)畫家李志武來自陜西鄉(xiāng)村，他是唯一將陳忠實的《白鹿原》和路遙的《平凡的世界》改編成連環(huán)畫的畫家。李志武向胡明剛講述了陜西的鄉(xiāng)土風物以及他創(chuàng)作這兩部連環(huán)畫的生命藝術感念。盡管漂泊北京，但他對故鄉(xiāng)的黃土高原一往情深。文藝創(chuàng)作應該是有根的，北漂者也離不開這個根。北京民間教育公益機構“一耽學堂”的總干事逄飛先生來自沈陽，他組織義工在北京幾個大中院校和社區(qū)開展傳統(tǒng)文化普及工作，舉辦傳統(tǒng)文化經(jīng)典讀誦等活動，成績顯著，中央電視臺對此給予廣泛的報道。為體驗義工的生活，胡明剛做采錄時還特意跟著逄飛以及義工一大清早上香山，對著太陽誦讀《大學》，感覺到一種文字與陽光融合在一起的氛圍，并擁有超然欲飛的心境。另外，從事圖文制作和電影研究的黃文萊，從事美術教學和創(chuàng)作的魏尚河和劉軍、王暉迪，在酒吧歌唱的李東，從事報紙美術編輯的薄卉，搞裝置藝術的易力，在琉璃廠治印的天臺老鄉(xiāng)朱宏偉等，他們都是年輕人，內心豐富充滿激情，他們在講述自己故事的同時，更多地展示出內心的隱秘世界。

文化北漂訪談錄在繼續(xù)

《北漂者心聲》這本書讓許多讀者認識了非常真誠坦率的北漂朋友。這本書沒有回避、矯飾、渲染，也沒有世故、虛偽和造作。有朋友曾經(jīng)提議采訪一些成功名人，但胡明剛他們認為，成功是沒有一個固定標準的，所謂的成功人士難免會在談話中竭力遮蔽一些東西，難免要掩飾自己，這是違背《北漂者心聲》的選擇標準和初衷的。胡明剛說，他和史壹可記錄的只是過程而不是結果，過程比結果更重要。該書在采錄傾聽的過程中并不是一帆風順的，比如設備故障、錄音效果不清晰等等，再加上敘說者鄉(xiāng)音濃重以及混亂和重復，這都加重了整理中的困難和耗費精力。

王慧勤曾經(jīng)在童話劇《98點》中寫了一只提著錄音機的狼，它在森林里采錄世界上最美好的聲音。在二十多年前胡明剛也做這樣的狼，他提著錄音機在天臺山野搜集民歌童謠，現(xiàn)在這幾條狼從原始的鄉(xiāng)野到達北京，面對的是鋼筋水泥森林和匆匆擦肩而過的人群。他覺得無論歌唱還是說話，都是人們內心的一種表達。他們進一步傾聽和搜錄文化北漂的聲音，希望在不久的將來出版《北漂者心聲》系列。他們十分珍惜北漂的生活和北漂的聲音，因為這是社會、時代的風雅頌，這是一筆寶貴的物質財富和精神財富。

Oral Histories of Cultural Drifters in Beijing

Nothing is new about this piece of news: July 2006 saw the release of The Aspirations of Drifters in Beijing coauthored by Hu Minggang and Shi Yike and published by the World Culture Publishing House.

The so-called drifters have been a cultural phenomenon in the country’s capital for more than 2 decades. Since the reform and opening-up， probably a million of aspirants have uprooted themselves from wherever they previously resided in the country and moved to Beijing to try their luck in the fields of education， film and television， literature， arts， music， press， and cultural relics in the hope of realizing their dreams. The phenomenon became noticed and the term “drifters in Beijing”has been coined.

So what’s new about the book? Well， it is the first documentation of oral histories of some cultural drifters in Beijing. It is new for the two authors. It is their first book. And the way the two authors put together the book was special， though it was not that original. They recorded the interviews and produced transcripts which maintain individual styles. Then they added interviewers?notes to offer brief comments and give detailed accounts of some interesting details that occurred during specific interviews. The last touch is photographs of these drifters and a list of their cultural works， recognized or otherwise， if there is any. Now and then some narrations appear discursive， but the way they go keeps the original emotions and reveals the narrators?focuses.

The two authors did not prepare specific outlines to guide themselves through interviews. A quiet bar or a small room would be ideal. The drifters had stories to tell. Once they started reminiscing， summarizing， analyzing， skipping or going into details， they just let themselves ramble about everything under the sun.

The first drifter in the book is Song Fangjin， a successful producer of television plays. The television feature film Flying won him a 2006 national award. In the interview， Song related the anecdotes of his moving from one place to the other in Beijing. Put together by the producer， these relocation stories were a film itself. He talked about two men in his hometown: a sheepherder， obsessed with the voice and look of a CCTV news anchoress， dreamed of marrying her one day; a young man killed himself with rat poison because he couldn’t afford to buy a motorcycle， the very precondition for marrying his sweetheart. The dream and the tragic suicide later appeared in his television productions.

The drifters that appear in the book are from different fields and different backgrounds. One thing they have in common is their youthful passion. Fu Peng， a cameraman at CCTV， talks about inside stories and his experience of shooting an auto relay across the dessert from the air. Zeng Quan and Zeng Haiying used to work together as a brother and sister team of art designers. Now the brother does decorating business and the sister engages herself in painting. They have shared life together in the years of drifting in Beijing. Li Zhiwu， an artist of picture-story books from northwestern Shanxi Province， converted two literary masterpieces by two writers of his home province into picture-story books. Huang Wenlai works as a graphic designer and film researcher. Wei Shanghe， Liu Jun， Wang Huidi are all art teachers and creative artists. Li Dong is a singer who tours bars and nightclubs. Bo Hui works as an art designer for a newspaper. Yi Li is an art decorator. Zhu Hongwei is a seal engraver.

Naturally， the two authors are drifters themselves. Hu Minggang， a native of Tiantai， Zhejiang， is a legendary figure himself. He grew up in the remotest mountain village in the region. After graduation from high school， he came home to farm. But the young man kept his writer’s dream alive. After his parents passed away， he did various jobs in Tiantai and kept writing. An established novelist noticed him and recommended him to work as an editor. Gradually he began to publish essays. His wife Wang Huiqin also came from a mountain village. The two came together for their shared passion for literature. Wang studied film and television production in Beijing in 1997 and got a good job offer. But she came back to Tiantai and married Hu. They got married by taking a stroll hand in hand in the town and having a noodle celebration for 9.90 yuan at a noodle restaurant and then the groom carried the bride home on a bike. The couple came to Beijing in 2002. Hu now works as an editor and Wang works as a teacher of literature for talented teenage writers.

Shi Yike， the other author of the book， is a graduate of the Central Academy of Drama. A native of Qingdao， she is an intimate friend of Wang Huiqin. When Hu Minggang suggested they collaborate in writing a book about drifters in Beijing， she agreed with pleasure. Some drifters in the book are actually her friends or acquaintances.

At first， it was suggested to the writers that they could focus on the successes of some drifters. But they disagreed. They thought so-called successful people would hide something in face-to-face talks， which would go against the authors?intention and standards. The book would highlight the drifting process， not the end result of the drifting. They conquered some difficulties in authoring the book. The recorder did not work now and then. The quality of some recordings was poor. Some heavily accented words were hard to catch in playing back. Some disordered and redundant parts in narrations needed straightening out.

The two authors are pleased with the book. And they plan to publish sequences. After all， there are nearly a million drifters in Beijing they have not yet interviewed.

(Translated by David)