残雪（1953年5月30日－），本名邓小华，原名邓则梅，女，湖南耒阳人，生于长沙，中国当代作家，被誉为先锋派文学的代表人物。瑞典学院院士马悦然称她为“中国的卡夫卡”[1]，但她本人不喜此称号，认为自己“可以超越卡夫卡”。[2]由于作品在日本大量翻译，亦在日本享有很高的声誉，2009年《残雪研究》期刊在日本东京创刊。残雪的兄长为中国哲学家邓晓芒。

生平

残雪的父母是中共党员，1949年后在报社工作，父亲邓钧洪曾任新湖南报社社长，母亲李茵著有《永州旧事》。1953年5月30日，残雪出生于新湖南报报社的宿舍。邓钧洪为其取名邓则梅，后来残雪自己改名邓小华，“残雪”是邓小华走上文学之路后的笔名[3]。1957年父母被划为右派下放劳动，于是残雪便交由外祖母抚养。老人略带怪异的行为，对残雪性格的形成及后来写作的影响很大。

1970年残雪进入一家街道工厂工作，做过铣工、装配工、车工。1978年，与身为回城知青的丈夫结婚。1980年，残雪退出街道工厂，与曾为木匠的丈夫一起开起了裁缝店。

1985年，残雪发表了她的第一篇小说《黄泥街》。在她看来，这完全是“沾了改革开放的光”才得以发表。主流观点认为，残雪是当代中国女性主义意识最为尖锐的作家，其独特气质难以归类。残雪以她冷僻的女性气质与怪异尖锐的感觉方式，不仅与此前的中国女性的写作决别，而且与同时代的男性作家分庭抗礼。[4] 残雪的小说用变异的感觉展示了一个荒诞，变形，梦魇般的世界，阴郁，晦涩，恐惧，焦虑，窥探和变态的人物心理及人性丑恶的相互仇视与倾轧。她的作品不仅写出了人类生存的悲剧，而且写出了人的某种本质性的丑陋特点。[5]

1988年，残雪加入中国作协。

残雪的短篇小说《双重的生活》已经被改编重新创作为歌剧《泉》并于2010年在第十一届慕尼黑音乐节首演成功。《泉》由慕尼黑音乐节委约给中国作曲家王琳（又名王滢乔），剧本由王琳和残雪共同完成。

作品

 

残雪作品集：《从未描述过的梦境》

 

文集

• 《残雪文集》(四卷)，湖南文艺出版社，1998年
• 《残雪自选集》，海南出版社，2004年

长篇小说

• 《突围表演》，香港青文书屋，1990年
  • 《五香街》，海峡文艺出版社，2002年（即《突围表演》）
• 《单身女人琐事记实》，北京十月文艺出版社，2004年
• 《最后的情人》，花城出版社，2005年
• 《边疆》，上海文艺出版社，2008年
• 《吕芳诗小姐》，上海文艺出版社，2011年
• 《新世纪爱情故事》，作家出版社，2013年
• 《黑暗地母的礼物（上）》，湖南文艺出版社，2015年
• 《黑暗地母的礼物（下）》，湖南文艺出版社，2017年
• 《赤脚医生》，湖南文艺出版社，2019年

中短篇小说

• 《黄泥街》，台湾圆神出版社，1987年
• 《天堂里的对话》，作家出版社，1988年
• 《种在走廊上的苹果树》，台湾远景出版社，1990年
• 《思想汇报》，湖南文艺出版社，1994年
• 《辉煌的日子》，河北教育出版社，1995年
• 《奇异的木板房》，云南人民出版社，2000年
• 《美丽南方之夏日》，云南人民出版社，2000年
• 《蚊子与山歌》，中国文联出版公司，2001年
• 《长发的遭遇》，华文出版社，2001年
• 《松明老师》，海峡文艺出版社，2002年
• 《爱情魔方》，民族出版社，2004年
• 《从未描述过的梦境》，作家出版社，2004年
• 《双重的生活》，台湾木马文化，2005年
• 《传说中的宝藏》，春风文艺出版社，2006年
• 《暗夜》，华文出版社，2006年
• 《末世爱情》，上海文艺出版社，2006年

散文及评论

• 《灵魂的城堡：理解卡夫卡》，上海文艺出版社，1999年
• 《解读博尔赫斯》，人民文学出版社，2000年
• 《残雪散文》，浙江文艺出版社，2000年
• 《地狱的独行者》，北京三联书店，2003年
• 《艺术复仇》，广西师大出版社，2003年
• 《残雪访谈录》，湖南文艺出版社，2003年
• 《置身绝境的操练》，十月文艺出版社，2004年
• 《温柔的编织工：残雪读卡尔维诺与波赫士》，台湾边城出版社，2005年
• 《残雪文学观》，广西师范大学出版社，2007年
• 《趋光运动：回溯童年的精神图景》，上海文艺出版社，2008年
• 《黑暗灵魂的舞蹈：残雪美文自选集》，文汇出版社，2009年

译作

• 《斯大林晚年离奇事件》(与邓晓芒合译)，新华出版社，2005年

作品外文译本

• 《天堂里的对话》，美国西北大学出版社，1989年
• 《苍老的浮云》，日本河出书房新社，1989年
• 《布谷鸟叫的那一瞬间》，日本河出书房新社，1990年
• 《残雪小说集》，意大利理论出版社，1991年
• 《绣花鞋》，美国霍特出版社，1997年
• 《天空里的蓝光》，美国新方向出版社，2006年

参考文献

1. ^ 马悦然.
2. ^ 残雪：我可以超越卡夫卡.
3. ^ 卓今. 残雪评传. 湖南文艺出版社. ISBN 9787540440282.
4. ^ 杨匡汉主编. 共和国文学五十年.
5. ^ 陈思和主编. 中国当代文学史教程.

• 卓今. 残雪评传. 湖南文艺出版社. ISBN 9787540440282.
• 杨匡汉主编. 共和国文学五十年.
• 陈思和主编. 中国当代文学史教程.

外部链接[编辑

• 残雪的新浪博客
• 残雪在麻省理工大学的个人页面
• 杨小滨：〈宏大话语与卑琐现实的喜剧：论残雪先锋派时期小说〉。
• 杨小滨：〈永久萦绕的噩梦：论残雪先锋派时期小说〉。
• 李天明：〈残雪《山上的小屋》的象征意义〉。
• 翰·唐纳蒂契：〈残雪,爱的难度〉。
• 近藤直子：〈陌生的叙述者——残雪的叙述法和时空结构〉。

　　Deng Xiaohua (Chinese: 邓小华; pinyin: Dèng Xiǎohuá; born May 30, 1953), better known by her pen name Can Xue (Chinese: 残雪; pinyin: Cán Xuě), is a Chinese avant-garde fiction writer and literary critic. Her family was severely persecuted following her father being labeled a rightist in the Anti-Rightist Campaign of 1957.[1] Her writing, which consists mostly of short fiction, breaks with the realism of earlier modern Chinese writers. She has also written novels, novellas, and literary criticisms of the work of Dante, Jorge Luis Borges, and Franz Kafka. Can Xue has been described as "China’s most prominent author of experimental fiction",[2] and some of her fiction has been translated and published in English.
　　
　　Life
　　Deng Xiaohua was born in 1953, in Changsha, Hunan, China. Her early life was marked by a series of tragic hardships which influenced the direction of her work. She was one of six children born to a man who was once the editor-in-chief of the New Hunan Daily (Chinese: 新湖南日报; pinyin: Xīn Húnán Rìbào). Her parents, like many intellectuals at the time, were denounced as rightists in the Anti-Rightist Campaign of 1957. Her father was sent to the countryside for two years in retribution for allegedly leading an anti-Communist Party group at the paper. Two years later, the entire family was evicted from the company housing at the paper and moved to a tiny hut below the Yuelu Mountain, on the rural outskirts of Changsha. In the years that followed, the family suffered greatly under further persecution. Her father was jailed, and her mother was sent along with her two brothers to the countryside for re-education through labor. Deng was allowed to remain in the city because of her poor health. After being forced to leave the small hut, she lived alone in a small, dark room under a staircase. By the time of the Cultural Revolution, Deng was thirteen years old. Her formal education was permanently disrupted after completing primary school.[1][3]
　　
　　Can Xue describes the horrors of her youth in detail in her memoirs titled "A Summer Day in the Beautiful South" which is included as the foreword to her short story collection Dialogues in Paradise. Throughout this period, her entire family “struggled along on the verge of death.” Her grandmother, who raised her while her parents were gone, soon succumbed to hunger and fatigue, dying with severe edema, a grotesque swelling condition. While the family was forced to scavenge food, eventually eating all of the wool clothes in the house, Can Xue contracted a severe case of tuberculosis.[4]
　　
　　Later, she was able to find work as a metalworker. Ten years later, in 1980, after giving birth to her first son, she quit work at the factory. She and her husband then started a small tailoring business at home after teaching themselves to sew.
　　
　　She began writing in 1983, and published her first short story in 1985,[1] at which point she chose the pen name Can Xue. This pen name can be interpreted either as the stubborn, dirty snow left at the end of winter or the remaining snow at the peak of a mountain after the rest has melted. Publishing under a pen name allowed Can Xue to write without revealing her gender. According to Tonglin Lu (a Professor of Comparative Literature at the University of Montreal) once critics found out she was a woman, her “subversive voice within the supposedly subversive order [of avant-garde fiction]”[5] made them uncomfortable. (Tonglin Lu coined this "double subversion."[5]) Not only was she writing avant-garde fiction, but she was also a woman—so male writers and critics attempted to analyze her works by psychoanalysis of the author, and some even went so far as to suggest she was certifiably insane.[5] In 2002, she said, "Lots of [the critics] hate me, or at least they just keep silent, hoping I'll disappear. No one discusses my works, either because they disagree or don't understand.”[6]
　　
　　More recently, however, many critics have paid tribute to her work,[5] drawn to the careful precision she uses to create such a strange, unsettling effect on the reader.
　　
　　Work
　　Can Xue's abstract style and unconventional narrative form attracted a lot of attention from critics in the 1990s. A variety of interpretations of her work have been published, but political allegory has been the most popular way of understanding her early short stories. Many of the images in her stories have been linked to the Cultural Revolution, the Anti-rightist Movement and other turbulent political movements of the early People's Republic of China. However, direct references to these events are uncommon.[7] The author herself explicitly denies most forms of political commentary others claim to have found in her work, stating once in an interview, "There is no political cause in my work."[8]
　　
　　On the contrary, Can Xue says she treats each story as a kind of life experiment in which she is the subject.[9] “In very deep layers,” she says, “all of my works are autobiographical.”[6] As for those who struggle to find meaning in her stories, Can Xue has this to say: "If a reader feels that this book is unreadable, then it’s quite clear that he’s not one of my readers.”[10]
　　
　　Can Xue has also written part of the libretto for at least one opera. In 2010, Can Xue and Lin Wang (web) co-wrote the libretto for a contemporary chamber opera Die Quelle (The Source) commissioned to Lin Wang by Münchener Biennale. The opera is based on Can Xue's published short story ″the Double Life″. In this opera, a young artist named Jian Yi was deconstructed into different aspects played by different roles. They crosstalk to each other on stage; drying and bubbling-up of the spring symbolize loss and regain of one's own identity. Lin Wang composed the music for Die Quelle (85' in length). Chinese instruments Sheng, Guzheng and Sanxian were used. An unusual feature is combination of English pronunciation and Chinese intonation in this opera. Die Quelle was premiered on May 9, 2010 in Munich Biennale and broadcast live.[11]
　　
　　Reception
　　Amanda DeMarco stated that the extent to which Can Xue's work is radical is overstated. DeMarco also claims the animals in Frontier "appear in such wild profusion that it would be impossible to assign them a symbology. Can Xue’s writing is not metaphorical in this sense. There is no organized system of correspondence or meaning within it that would allow individual elements to be explained back into the realm of the logical. Often her works are compared to performances, to dance, or to visual art." However, the reviewer still described the experience of reading the author's books as rewarding, explaining that the tools of literature used in experimental writing to chart the human being extend beyond the capacities of language as logic. DeMarco said that at "the sentence level, [Frontier] is a wonderful, carefully hewn thing, lucid and pure".[2]
　　
　　American novelist and editor Bradford Morrow has described her as one of the most "innovative and important" authors in contemporary world literature.[12]
　　
　　Bibliography
　　As of 2009, Can Xue had published a total of three novels, fifty novellas, 120 short stories, and six book-length commentaries.[13] Only a few volumes of fiction, mostly short stories, have been translated into English.
　　
　　Novels
　　
　　突围表演 (1988); later published as 五香街 (2002). Five Spice Street, translated by Karen Gernant and Chen Zeping (Yale, 2009).
　　最后的情人 (2005). The Last Lover, translated by Annelise Finegan Wasmoen (Yale, 2014).
　　边疆 (2008). Frontier, translated by Karen Gernant and Chen Zeping (Open Letter, 2017).
　　新世纪爱情故事 (2013). Love in the New Millennium, translated by Annelise Finegan Wasmoen (Yale, 2018).
　　Novellas
　　
　　苍老的浮云 (1986). Old Floating Cloud.
　　黄泥街 (1987). Yellow Mud Street.
　　种在走廊上的苹果树 (1987). Apple Tree in the Corridor.
　　Short story collections
　　
　　天堂里的对话 (1988). Dialogues in Paradise, translated by Ronald R. Janssen and Jian Zhang (Northwestern, 1989).
　　Compilations in English
　　
　　Old Floating Cloud: Two Novellas, translated by Ronald R. Janssen and Jian Zhang (Northwestern, 1991). Compiles Yellow Mud Street and Old Floating Cloud.
　　The Embroidered Shoes, translated by Ronald R. Janssen and Jian Zhang (Henry Holt, 1997).
　　Blue Light in the Sky and Other Stories, translated by Karen Gernant and Chen Zeping (New Directions, 2006).
　　Vertical Motion, translated by Karen Gernant and Chen Zeping (Open Letter, 2011).
　　I Live in the Slums, translated by Karen Gernant and Chen Zeping (Yale, 2020).
　　Awards and honors
　　2015 Best Translated Book Award, winner, The Last Lover, translated from the Chinese by Annelise Finegan Wasmoen[14]
　　References
　　 Lilly Xiao Hong Lee & Clara Wing-chung Ho (2003). Biographical Dictionary of Chinese Women, Volume 2. M.E. Sharpe. pp. 26–28. ISBN 9780765607980.
　　 DeMarco, Amanda (2017-05-03). "Xue Generis: Can Xue and the Dangers of Literary Exceptionalism". BLARB. Retrieved 2021-01-09. "Critics focusing on Can Xue are often scholars or translators of Chinese literature; they assure us that she is “peerless” as a writer of experimental literature in China"
　　 Rong, Cai (2004). The Subject in Crisis in Contemporary Chinese Literature. University of Hawaii Press. p. 98.
　　 Can Xue (1989). "A Summer Day in the Beautiful South". Dialogues in Paradise. Northwestern University Press.
　　 Lu, Tonglin (1993). Gender and Sexuality in Twentieth-Century Chinese Literature and Society. Albany, NY: State University of New York Press. p. 176. ISBN 978-0791413722.
　　 McCandlish, Laura. "Stubbornly Illuminating 'the Dirty Snow that Refuses to Melt': A Conversation with Can Xue". Retrieved January 17, 2014.
　　 Tian Ming Li (1994). "A Tormented Soul in a Locked Hut: Can Xue's Short Stories" (Adobe Portable Document Format). University of British Columbia.[permanent dead link]
　　 McCandlish, Laura (2002). "Stubbornly Illuminating "the Dirty Snow that Refuses to Melt": A Conversation with Can Xue". MCLC Resource Center.
　　 "Contemporary Chinese Writers: Can Xue". MIT. Retrieved January 17, 2014.
　　 "Modernist Mystery Street". PRI’S The World. Retrieved October 2010. Check date values in: |accessdate= (help)
　　 http://www.muenchener-biennale.de/archiv/2010/programm/events/event/detail/die-quelle/
　　 James, Evan (2017-06-08). "The Mysterious Frontiers of Can Xue". The New Yorker. Retrieved 2021-01-09.
　　 "Can Xue Chronology". Contemporary Chinese Writers. MIT Foreign Languages and Literatures Section. Retrieved 26 December 2012.
　　 Chad Post (May 27, 2015). "BTBA 2015 Winners: Can Xue and Rocío Cerón!". Three Percent. Retrieved May 28, 2015.