传统意象与现代体验的融合—— 曾翎龙作品对马华文化的书写

The Fusion of Traditional Imagery and Modern Experience: Malaysian Chinese Cultural Writing in Chen Lin Loong’s Works

Abstract

曾翎龙是马来西亚“七字辈”华人作家群中的重要作者之一，其创作横跨诗 歌、散文、小说等多个领域，并出版了诗集《有人以北》（2007 年），散文集《我 也曾经放牧时间》（2009 年）、《回味江湖》（2010 年）、《吃时间》（2018 年）以及 小说集《在逃诗人》（2012 年）。其多文类的创作实践与表达策略相互支撑，使作 品在当代马华文学中呈现出较高的辨识度。与部分前辈及同辈作家相比，曾翎龙 并不以强化“华人”元素作为叙述前提，但其作品仍自然流露出马华文化的独特 记忆；同时，他虽没有像新一代作家那样全面接受后现代的多元文化，却依然描 绘出深刻的后现代体验。本文认为，在曾翎龙的作品中，马来西亚华人文化与当 代个体体验构成一种深层结构：前者是其言说的根基，而后者则反映了其走向现 代性的心路历程，二者在张力之中一同构建了马华文学的“未来想象”空间。

关键词：马华文学，曾翎龙，传统意象，现代体验，文化记

Chen Lin Loong is a leading figure among Malaysia’s Chinese-language writers born in the 1970s. His work spans poetry, prose, and fiction, including the poetry collection You Ren Yi Bei (2007), the essay collections Wo Ye Cengjing Fangmu Shijian (2009), Huiwei Jianghu (2010), and Chi Shijian (2018), as well as the short story collection Zai Tao Shi Ren (2012). This cross-genre practice, together with his writing strategies, gives his work a high degree of recognizability in contemporary Mahua (Malaysian Chinese) literature. Compared with some of his predecessors and peers, Chen does not take the intensification of “Chinese” elements as a starting point; instead, his texts allow distinctive memories of Mahua culture to surface naturally. At the same time, although he does not fully embrace the postmodern cultural pluralism as the younger generation writers do, his work nevertheless conveys a strong sense of postmodern experience. This article argues that Chen’s writing is structured by a deep interplay between Malaysian Chinese culture and contemporary individual experience: the former provides the cultural ground of his expression, while the latter reflects his inner trajectory and lived process toward modernity. In the tension between these two dimensions, his work opens up a space for imagining the future of Mahua literature.

Keywords: Malaysian Chinese literature, Chen Lin Loong, traditional imagery, modern experience, cultural memory