北村：精神突围及其困境
摘要
论文从“理想人格的确立——爱与美的悲剧”这一角度入手,挖掘了北村创作的精神突围和困境。北村一方面确立了以追求艺术和爱情为核心的完美人格,另一方面又用现实的残酷摧毁了爱与美的理想,营造了巨大的生活悲剧;并在悲剧过后把人引向宗教的救赎之路。本文发掘了北村创作最主要的三个因素:偶然、极端和绝望;并通过对理想人格的解析,拆穿了爱情和艺术理想必然陷落的悲剧。这就仿佛看到北村一手拿着“理想主义”的矛,一手拿着“理想主义被毁灭”的盾,不断做着无畏的抗争,又永远难逃失败的厄运。每一次的精神突围都不过是把自己推入到更大的困境中。因此,宗教救赎在北村的笔下,并没有为人生增添新的光亮,而是涂抹了更大的悲凉。
From 1986 Bei Cun began publishing his works. As one pioneer writer, he didn’t have distinctive feature among so many peculiar and colorful creating styles. At 1993 earlier or later he converted to Christianity and set up style of“divinity writing”in novel field, which caused attention of literary world, however aroused no too much enthusiasm of critics. In nearly 10 years after 1994 merely 20 research papers on Bei Cun or so were issued; but from 2003 the critical papers emerged increasingly year by year, even reached almost 100 articles in three years.
Among these almost 100 commentaries on Bei Cun, most commentaries focus on his religion sentiment after his convertion, mainly centralizing on follows: one is his religion salvation mind, the other is the description on love tragedy throughout his works. The shattering of love makes the characters sober up and pursue mental sustenance in religion instead of facing to ridiculous life.
This article discusses the extension and link of above two expositions. In one way, relying on art as supporting point of life, Bei Cun creates a group of young people devoted fully to poem and music. They are persistent to love also persistent to poem writing. After receiving failures in the pursuing course of poem and love, facing to tragedies of love and beauty they gradually show fatigue and ugliness of life. While in the other way, when they are pursuing art and love, they are also creating their ideal personality. They deeply exploit the divinity in individual humanness so as to be entirely pure when facing love and poem and fight with miserable life based on the inner power. Bei Cun’s works illustrate people’s nicest dream and hope and create ideal personality loyal to love and art; also show a kind of desperation to life whenever and wherever under desperate and extreme situations.
Destroyed art and discarded love are linked together in Bei Cun’s works. While the characters’incisiveness determines that they are unable to survive in space without love and art. If they have no ability to find the solution in secular world, they are destined to choose death. Although people may place hope on otherworldly salvation, they can’t obtain any help from realistic difficulties, therefore they may sink into larger tragedies. In the strong endurance match of love and marriage, art and earthliness, love and art are weak and collapsed, so mind paradox and helplessness occur. People are always immersing in major sorrow, hard to relieve themselves and gain happiness.
In this article the first part analyzes two representative aspects Bei Cun created on perfect personality, referring to quest of art charm and pursuit of divinity in human nature. It displays the writer’s mental temperament of idealism, and the resolution and will fighting against the earthliness. Through dissolution of characters and story in literary world, from failure of art pursuit and love pursuit the second part concludes the hard progressing of poem and love in realistic secular life and money world, and makes people regret the tragedy ending of love and beauty falling into material world. In third part the author does discussion on several important benchmark factors in Bei Cun’s world of letters. Putting three factors as accidentalism, extremity and desperation together, the writer does comparison and analysis and discloses the follow points: one is the great role accidentalism plays in fate turning, and the hidden great inevitability; which indicates the randomness, blindness and unpredictability of fate. Meanwhile, we may clearly find that in Bei Cun’s works the holding of dream always implicates tremendous desperation. Poem and lover are regarded as supporting point and hope of life, but the tragedy of love and beauty are also destined to hopeless life; people immersing in so miserable life are full of bitterness in the hearts. In the last part the article illustrates the salvation and harm of religion on Bei Cun. On one hand, Bei Cun’s basic point“divinity writing”makes people see his unique style and sentiment of saving the world and human beings, and encourages people to look for eternality of love and beauty. On the other hand, following with the deepening of religion sense, the sermon feelings are more obvious, which continuously disturbs readers’reading consistency, badly affects truthfulness and damages the art characteristics of works.
In Bei Cun’s writing world, two kinds of extreme confrontation always exist. He values and praises the persistent upholding on love and art, describes the dreams of ceaseless pursuit for art and ideal personality and passions for love; he also attacks and crashes the dreams, and pushes these people living for art and love to abyss of desperation again and again. Even the hope is gradually obvious, the depression and desperation of human beings are hard to be hidden.
Therefore his works’thought, value and sense don’t lie in the introduction of religion salvation, but lie in the viewing of difficulties and miseries human beings have, and problems of how to keep the dream on art and love and how to establish the personality of individual idealism, etc in the painful earthliness.
I don’t agree with the common view that after the convertion Bei Cun holds apparent religion salvation sense in the works. Actually religion sense is born for a serious and sympathetic writer. A numb heart will never produce the tiny pain in human minds. Speaking of Bei Cun, the imposed religion salvation sense at end of some works sometimes destroys the whole coherence and coordination. The involved content can’t replace the whole creation. If we say Bei Cun has pointed out a salvation way, this way is never salvation of religion, but a way of desperate life and depressed reality destructing together. I always think that God City created by Bei Cun may never solve miseries of human beings, while the divinity light always reminds people of the wreath on Xia Yu’s grave, which reflects some sadness instead of increasing promising.
Bei Cun’s literary world always has nicest expectation of human beings on love and dream; also has deepest sadness, destruction of love legend, failure of poem dream, pity and desperation God unable to solve. All characters in the stories break through in this imaginary world with the result of sinking into another difficulty.
Even so as a pioneer writer of 1980s, Bei Cun is still worth appreciating and praising because he may withstand the collapse of pioneer writers, and hold pioneer writers’camp, gesture and words, and care for minds, fates and miseries of human beings after 1990s.
From 1986 Bei Cun began publishing his works. As one pioneer writer, he didn’t have distinctive feature among so many peculiar and colorful creating styles. At 1993 earlier or later he converted to Christianity and set up style of“divinity writing”in novel field, which caused attention of literary world, however aroused no too much enthusiasm of critics. In nearly 10 years after 1994 merely 20 research papers on Bei Cun or so were issued; but from 2003 the critical papers emerged increasingly year by year, even reached almost 100 articles in three years.
Among these almost 100 commentaries on Bei Cun, most commentaries focus on his religion sentiment after his convertion, mainly centralizing on follows: one is his religion salvation mind, the other is the description on love tragedy throughout his works. The shattering of love makes the characters sober up and pursue mental sustenance in religion instead of facing to ridiculous life.
This article discusses the extension and link of above two expositions. In one way, relying on art as supporting point of life, Bei Cun creates a group of young people devoted fully to poem and music. They are persistent to love also persistent to poem writing. After receiving failures in the pursuing course of poem and love, facing to tragedies of love and beauty they gradually show fatigue and ugliness of life. While in the other way, when they are pursuing art and love, they are also creating their ideal personality. They deeply exploit the divinity in individual humanness so as to be entirely pure when facing love and poem and fight with miserable life based on the inner power. Bei Cun’s works illustrate people’s nicest dream and hope and create ideal personality loyal to love and art; also show a kind of desperation to life whenever and wherever under desperate and extreme situations.
Destroyed art and discarded love are linked together in Bei Cun’s works. While the characters’incisiveness determines that they are unable to survive in space without love and art. If they have no ability to find the solution in secular world, they are destined to choose death. Although people may place hope on otherworldly salvation, they can’t obtain any help from realistic difficulties, therefore they may sink into larger tragedies. In the strong endurance match of love and marriage, art and earthliness, love and art are weak and collapsed, so mind paradox and helplessness occur. People are always immersing in major sorrow, hard to relieve themselves and gain happiness.
In this article the first part analyzes two representative aspects Bei Cun created on perfect personality, referring to quest of art charm and pursuit of divinity in human nature. It displays the writer’s mental temperament of idealism, and the resolution and will fighting against the earthliness. Through dissolution of characters and story in literary world, from failure of art pursuit and love pursuit the second part concludes the hard progressing of poem and love in realistic secular life and money world, and makes people regret the tragedy ending of love and beauty falling into material world. In third part the author does discussion on several important benchmark factors in Bei Cun’s world of letters. Putting three factors as accidentalism, extremity and desperation together, the writer does comparison and analysis and discloses the follow points: one is the great role accidentalism plays in fate turning, and the hidden great inevitability; which indicates the randomness, blindness and unpredictability of fate. Meanwhile, we may clearly find that in Bei Cun’s works the holding of dream always implicates tremendous desperation. Poem and lover are regarded as supporting point and hope of life, but the tragedy of love and beauty are also destined to hopeless life; people immersing in so miserable life are full of bitterness in the hearts. In the last part the article illustrates the salvation and harm of religion on Bei Cun. On one hand, Bei Cun’s basic point“divinity writing”makes people see his unique style and sentiment of saving the world and human beings, and encourages people to look for eternality of love and beauty. On the other hand, following with the deepening of religion sense, the sermon feelings are more obvious, which continuously disturbs readers’reading consistency, badly affects truthfulness and damages the art characteristics of works.
In Bei Cun’s writing world, two kinds of extreme confrontation always exist. He values and praises the persistent upholding on love and art, describes the dreams of ceaseless pursuit for art and ideal personality and passions for love; he also attacks and crashes the dreams, and pushes these people living for art and love to abyss of desperation again and again. Even the hope is gradually obvious, the depression and desperation of human beings are hard to be hidden.
Therefore his works’thought, value and sense don’t lie in the introduction of religion salvation, but lie in the viewing of difficulties and miseries human beings have, and problems of how to keep the dream on art and love and how to establish the personality of individual idealism, etc in the painful earthliness.
I don’t agree with the common view that after the convertion Bei Cun holds apparent religion salvation sense in the works. Actually religion sense is born for a serious and sympathetic writer. A numb heart will never produce the tiny pain in human minds. Speaking of Bei Cun, the imposed religion salvation sense at end of some works sometimes destroys the whole coherence and coordination. The involved content can’t replace the whole creation. If we say Bei Cun has pointed out a salvation way, this way is never salvation of religion, but a way of desperate life and depressed reality destructing together. I always think that God City created by Bei Cun may never solve miseries of human beings, while the divinity light always reminds people of the wreath on Xia Yu’s grave, which reflects some sadness instead of increasing promising.
Bei Cun’s literary world always has nicest expectation of human beings on love and dream; also has deepest sadness, destruction of love legend, failure of poem dream, pity and desperation God unable to solve. All characters in the stories break through in this imaginary world with the result of sinking into another difficulty.
Even so as a pioneer writer of 1980s, Bei Cun is still worth appreciating and praising because he may withstand the collapse of pioneer writers, and hold pioneer writers’camp, gesture and words, and care for minds, fates and miseries of human beings after 1990s.
引文
[1]北村:《我与文学的冲突》,《当代作家评论》,1995 年第 4 期。
[2]北村:《愤怒》,北京,团结出版社,2004 年版前言第 2 页。
[3]狄德罗:狄德罗哲学选集[M],北京,商务印书馆,1959 年版第 43 页。
[4]歌德:《歌德的格言和感想集》,中国社会科学出版社,1982 年版第 49页。
[5]北村:周渔的喊叫[M],北京,中国社会科学出版社,2001 年版第 17页。
[6]孙绍振《孙绍振专栏:小说内外之十二——<水土不服>绝望的写作》,《小说评论》,1996 年第 2 期。
[7][8]林舟:《苦难的书写与意义的探询一对北村的书面访谈》,《花城》,1996 年第 6 期。
[9]北村:《活着与写作》,《大家》,1995 年第 1 期。
[10]刘小枫:走向十字架的真[M],上海三联书店,1995 年版第 203 页。
[11]别尔嘉耶夫:论人的命运[M],学林出版社,2001 年版第 210 页
[12]鲁迅:《论睁了眼看》,《鲁迅全集》人民文学出版社 1981 年版 第 1卷第 242 页。
[1]吴义勤,《罪与罚——长篇小说<施洗的河>解读》,《当代文坛》,1994年 04 期
[2]谢有顺,《我们时代的心灵史——关于北村<施洗的河>的阐释》,《小说评论》,1994 年 03 期
[3]谢有顺,《救赎时代——北村与先锋小说》,《文艺评论》,1994 年 02 期
[4]陈渊,《“先锋派小说”的接受美学诠释》,《勋阳师范高等专科学校学报》,1994 年 01 期
[5]南帆,《先锋的皈依——论北村小说》,《当代作家评论》,1995 年 04 期
[6]朱必圣,《由怀疑到信仰——北村的重担和他的小说》,《当代作家评论》,1995 年 04 期
[7]修彬,《先锋的迁移——北村小说作品谈论会综述》,《福建文学》,1995年 01 期
[8]孙绍振《孙绍振专栏:小说内外之十二——<水土不服>绝望的写作》,《小说评论》,1996 年 02 期
[9]钱旭初,《北村的世界》,《江苏广播电视大学学报》,1997 年 02 期
[10]郭建军,《诗与爱情都已古老——从刘以箆<酒徒>说到北村的<玛卓的爱情>》,华侨大学学报(哲学社会科学版),1997 年 01 期
[11]祝业峰,《“上帝之城”与“世俗之城”——从一个侧面解读北村》,《淮南师范学院学报》,1998 年 02 期
[12]王志萍,《爱情母题的现代阐释——由北村<玛卓的爱情>谈起》,《新疆教育学院学报(汉文版)》,1998 年 03 期
[13]杨剑龙,《论北村的创作与基督教文化》,《宁夏大学学报》(社会科学版),2000 年 02 期
[14]瓮劲,《北村小说的流变:神性的书写》,《湘潭师范学院学报》(社会科学版),2000 年 S1 期
[15]王本朝,《北村与基督教文化》,《涪陵师专学报》,2001 年 02 期
[16]丛新强,《基督文化与北村的小说创作》,《济宁师专学报》,2001 年02 期
[17]张同庆,《深度质询和语言迷误——论<玛卓的爱情>》,《沙洋师范高等专科学校学报》2001 年 01 期
[18]张灿荣,《意义担当与审美的离弃——北村“婚恋”小说的情节困境》,《泉州师范学院学报》2002 年 01 期
[19]吴志宏,《灵魂挣扎下的存在考察——北村和他的爱情小说》,《写作》,2002 年 11 期
[20]黄雪敏,《切入当下直面生存——北村小说论》,《当代文坛》,2003 年05 期
[21]郭靓,《超我与本我间的飞奔——浅析北村小说<周渔的火车>》,《常熟高专学报》,2003 年 05 期
[22]汪树东,《北村小说的文化心理特征》,《福建论坛》(人文社会科学版),2003 年 02 期
[23]王玉明,《情爱的背后——评北村小说爱情主题创作》,《山东行政学院 山东省经济管理干部学院学报》,2003 年 05 期
[24]郝春燕,《超越新写实——北村的<伤逝>解读》,《石油大学学报》(社会科学版),2003 年 01 期
[25]胡书庆,《心灵的奋飞与折断的文学翅膀——北村论》,《山东文学》,2003 年 12 期
[26]程箐,《对终极价值的不懈追寻——论北村小说的创作轨迹》,《中文自学指导》,2003 年 05 期
[27]扬红莉,《追问大众的救赎之途——北村近期创作探讨》,《石家庄师范专科学校学报》,2004 年 01 期
[28]张细珍,《“残缺的情感”中的神性企盼——论北村的几部爱情主题小说》,萍乡高等专科学校学报,2004 年 02 期
[29]黎保荣,《“不要孩子”——论北村小说中的“孩子”形象》,《当代文坛》,2004 年 05 期
[30]吴勇利、王向阳,《解读北村小说“苦难/救赎”的“神性书写”模式》,《喀什师范学院学报》,2004 年 05 期
[31]齐宏伟,《以终极关怀的热情透视世界的苦难和苦难的世界——从<长征>看北村的心灵写作》,《社会科学论坛》,2004 年 11 期
[32]刘树元,《精神的贯彻及心灵的张力——对北村小说的一种阐释》,《小说评论》,2004 年 06 期
[33]黎保荣,《论北村近期小说的变化》,《辽宁工程技术大学学报》(社会科学版),2004 年 06 期
[34]韩晓谅,《北村小说对爱情的探讨》,《邯郸师专学报》2004 年 04 期
[35]傅修海,《北村:写作的皈依与摇摆——从<施洗的和>到<强暴>》,《太原师范学院学报》(社会科学版)2005 年 01 期
[36]肖宁,《失爱的悲剧——北村现实小说中的男女情爱》,《当代文坛》,2005 年 02 期
[37]李红秀,《艺术的失衡与救赎——评北村<老木的琴>》,《当代文坛》,2005 年 02 期
[38]陈晓明,《在神性的别处写作》,《当代作家评论》,2005 年 02 期
[39]戴冠青、林国宏,《在心灵对话中寻求突破与超越——论北村小说的对话艺术》,《福建论坛》(人文社会科学版),2005 年 04 期
[40]仲玲,《浅析北村小说的叙事策略》,《黔东南民族师范高等专科学校学报》,2005 年 02 期
[41]毛鸽,《激荡在诗意与现实之间的存在冲突——读北村<玛卓的爱情>》,《宜宾学院学报》,2005 年 05 期
[42]阳蓉、吴泓,《“混乱”中凸现真爱——评北村小说<周渔的喊叫>》,《中山大学学报论丛》,2005 年 02 期
[43]于京一,《从“存在”到“解构”的艰难跋涉——试论北村小说的悲剧性品格》,《辽宁教育行政学院学报》,2005 年 05 期
[44]杨俊国,《从苦难走向救赎——北村小说<愤怒>中的三个意象阐释》,《山西广播电视大学学报》。2005 年 02 期
[45]夏小娟,《绝望的爱情——读<张生的婚姻>与<玛卓的爱情>》,《湖南税务高等专科学校学报》,2005 年 04 期
[46]施红玲,《谈北村<玛卓的爱情>的多声部叙事》,《西安文理学院学报》(社会科学版),2005 年 03 期
[47]杨泽文,《为弱势人群代言与呐喊》,《阅读与写作》,2005 年 07 期
[48]万孝献,《从旧约到新约——北村的皈依之路》,《湖南科技学院学报》,2005 年 09 年
[49]杨文忠,《性恶的探险——读北村的<强暴>》,《河南机电高等专科学校学报》,2005 年 06 期
[50]宋彦,《爱情的另一种言说——北村<周渔的喊叫>解读》,《齐鲁学刊》,2005 年 05 期
[51]张建秒,《无法栖居的失乐园——北村的爱情救赎》,《河南广播电视大学学报》,2005 年 04 期
[52]潘璐,《北村:价值向度重构的尴尬》,《成都理工大学学报》(社会科学版),2005 年 04 期
[53]张萍,《论北村小说中的精神寻求》,《泰安教育学院学报岱宗学刊》,2005 年 04 期
[54]王秀礼,《北村的复仇方式》,《时代文艺》,2005 年 06 期
[55]张恒学,《拿什么来拯救悲剧?——读北村的<愤怒>》,《云梦学刊》,2006 年 01 期
[56]王昌忠,《<伤逝>:鲁迅、北村同名小说艺术效果探析》,《山东理工大学学报》(社会科学版)2006 年 02 期
[57]唐小林,《论北村的基督宗教诗学》,《社会科学研究》,2006 年 03 期
[2]北村:《愤怒》,北京,团结出版社,2004 年版前言第 2 页。
[3]狄德罗:狄德罗哲学选集[M],北京,商务印书馆,1959 年版第 43 页。
[4]歌德:《歌德的格言和感想集》,中国社会科学出版社,1982 年版第 49页。
[5]北村:周渔的喊叫[M],北京,中国社会科学出版社,2001 年版第 17页。
[6]孙绍振《孙绍振专栏:小说内外之十二——<水土不服>绝望的写作》,《小说评论》,1996 年第 2 期。
[7][8]林舟:《苦难的书写与意义的探询一对北村的书面访谈》,《花城》,1996 年第 6 期。
[9]北村:《活着与写作》,《大家》,1995 年第 1 期。
[10]刘小枫:走向十字架的真[M],上海三联书店,1995 年版第 203 页。
[11]别尔嘉耶夫:论人的命运[M],学林出版社,2001 年版第 210 页
[12]鲁迅:《论睁了眼看》,《鲁迅全集》人民文学出版社 1981 年版 第 1卷第 242 页。
[1]吴义勤,《罪与罚——长篇小说<施洗的河>解读》,《当代文坛》,1994年 04 期
[2]谢有顺,《我们时代的心灵史——关于北村<施洗的河>的阐释》,《小说评论》,1994 年 03 期
[3]谢有顺,《救赎时代——北村与先锋小说》,《文艺评论》,1994 年 02 期
[4]陈渊,《“先锋派小说”的接受美学诠释》,《勋阳师范高等专科学校学报》,1994 年 01 期
[5]南帆,《先锋的皈依——论北村小说》,《当代作家评论》,1995 年 04 期
[6]朱必圣,《由怀疑到信仰——北村的重担和他的小说》,《当代作家评论》,1995 年 04 期
[7]修彬,《先锋的迁移——北村小说作品谈论会综述》,《福建文学》,1995年 01 期
[8]孙绍振《孙绍振专栏:小说内外之十二——<水土不服>绝望的写作》,《小说评论》,1996 年 02 期
[9]钱旭初,《北村的世界》,《江苏广播电视大学学报》,1997 年 02 期
[10]郭建军,《诗与爱情都已古老——从刘以箆<酒徒>说到北村的<玛卓的爱情>》,华侨大学学报(哲学社会科学版),1997 年 01 期
[11]祝业峰,《“上帝之城”与“世俗之城”——从一个侧面解读北村》,《淮南师范学院学报》,1998 年 02 期
[12]王志萍,《爱情母题的现代阐释——由北村<玛卓的爱情>谈起》,《新疆教育学院学报(汉文版)》,1998 年 03 期
[13]杨剑龙,《论北村的创作与基督教文化》,《宁夏大学学报》(社会科学版),2000 年 02 期
[14]瓮劲,《北村小说的流变:神性的书写》,《湘潭师范学院学报》(社会科学版),2000 年 S1 期
[15]王本朝,《北村与基督教文化》,《涪陵师专学报》,2001 年 02 期
[16]丛新强,《基督文化与北村的小说创作》,《济宁师专学报》,2001 年02 期
[17]张同庆,《深度质询和语言迷误——论<玛卓的爱情>》,《沙洋师范高等专科学校学报》2001 年 01 期
[18]张灿荣,《意义担当与审美的离弃——北村“婚恋”小说的情节困境》,《泉州师范学院学报》2002 年 01 期
[19]吴志宏,《灵魂挣扎下的存在考察——北村和他的爱情小说》,《写作》,2002 年 11 期
[20]黄雪敏,《切入当下直面生存——北村小说论》,《当代文坛》,2003 年05 期
[21]郭靓,《超我与本我间的飞奔——浅析北村小说<周渔的火车>》,《常熟高专学报》,2003 年 05 期
[22]汪树东,《北村小说的文化心理特征》,《福建论坛》(人文社会科学版),2003 年 02 期
[23]王玉明,《情爱的背后——评北村小说爱情主题创作》,《山东行政学院 山东省经济管理干部学院学报》,2003 年 05 期
[24]郝春燕,《超越新写实——北村的<伤逝>解读》,《石油大学学报》(社会科学版),2003 年 01 期
[25]胡书庆,《心灵的奋飞与折断的文学翅膀——北村论》,《山东文学》,2003 年 12 期
[26]程箐,《对终极价值的不懈追寻——论北村小说的创作轨迹》,《中文自学指导》,2003 年 05 期
[27]扬红莉,《追问大众的救赎之途——北村近期创作探讨》,《石家庄师范专科学校学报》,2004 年 01 期
[28]张细珍,《“残缺的情感”中的神性企盼——论北村的几部爱情主题小说》,萍乡高等专科学校学报,2004 年 02 期
[29]黎保荣,《“不要孩子”——论北村小说中的“孩子”形象》,《当代文坛》,2004 年 05 期
[30]吴勇利、王向阳,《解读北村小说“苦难/救赎”的“神性书写”模式》,《喀什师范学院学报》,2004 年 05 期
[31]齐宏伟,《以终极关怀的热情透视世界的苦难和苦难的世界——从<长征>看北村的心灵写作》,《社会科学论坛》,2004 年 11 期
[32]刘树元,《精神的贯彻及心灵的张力——对北村小说的一种阐释》,《小说评论》,2004 年 06 期
[33]黎保荣,《论北村近期小说的变化》,《辽宁工程技术大学学报》(社会科学版),2004 年 06 期
[34]韩晓谅,《北村小说对爱情的探讨》,《邯郸师专学报》2004 年 04 期
[35]傅修海,《北村:写作的皈依与摇摆——从<施洗的和>到<强暴>》,《太原师范学院学报》(社会科学版)2005 年 01 期
[36]肖宁,《失爱的悲剧——北村现实小说中的男女情爱》,《当代文坛》,2005 年 02 期
[37]李红秀,《艺术的失衡与救赎——评北村<老木的琴>》,《当代文坛》,2005 年 02 期
[38]陈晓明,《在神性的别处写作》,《当代作家评论》,2005 年 02 期
[39]戴冠青、林国宏,《在心灵对话中寻求突破与超越——论北村小说的对话艺术》,《福建论坛》(人文社会科学版),2005 年 04 期
[40]仲玲,《浅析北村小说的叙事策略》,《黔东南民族师范高等专科学校学报》,2005 年 02 期
[41]毛鸽,《激荡在诗意与现实之间的存在冲突——读北村<玛卓的爱情>》,《宜宾学院学报》,2005 年 05 期
[42]阳蓉、吴泓,《“混乱”中凸现真爱——评北村小说<周渔的喊叫>》,《中山大学学报论丛》,2005 年 02 期
[43]于京一,《从“存在”到“解构”的艰难跋涉——试论北村小说的悲剧性品格》,《辽宁教育行政学院学报》,2005 年 05 期
[44]杨俊国,《从苦难走向救赎——北村小说<愤怒>中的三个意象阐释》,《山西广播电视大学学报》。2005 年 02 期
[45]夏小娟,《绝望的爱情——读<张生的婚姻>与<玛卓的爱情>》,《湖南税务高等专科学校学报》,2005 年 04 期
[46]施红玲,《谈北村<玛卓的爱情>的多声部叙事》,《西安文理学院学报》(社会科学版),2005 年 03 期
[47]杨泽文,《为弱势人群代言与呐喊》,《阅读与写作》,2005 年 07 期
[48]万孝献,《从旧约到新约——北村的皈依之路》,《湖南科技学院学报》,2005 年 09 年
[49]杨文忠,《性恶的探险——读北村的<强暴>》,《河南机电高等专科学校学报》,2005 年 06 期
[50]宋彦,《爱情的另一种言说——北村<周渔的喊叫>解读》,《齐鲁学刊》,2005 年 05 期
[51]张建秒,《无法栖居的失乐园——北村的爱情救赎》,《河南广播电视大学学报》,2005 年 04 期
[52]潘璐,《北村:价值向度重构的尴尬》,《成都理工大学学报》(社会科学版),2005 年 04 期
[53]张萍,《论北村小说中的精神寻求》,《泰安教育学院学报岱宗学刊》,2005 年 04 期
[54]王秀礼,《北村的复仇方式》,《时代文艺》,2005 年 06 期
[55]张恒学,《拿什么来拯救悲剧?——读北村的<愤怒>》,《云梦学刊》,2006 年 01 期
[56]王昌忠,《<伤逝>:鲁迅、北村同名小说艺术效果探析》,《山东理工大学学报》(社会科学版)2006 年 02 期
[57]唐小林,《论北村的基督宗教诗学》,《社会科学研究》,2006 年 03 期