張科

離龍年的春節(jié)還有三天，著名老報人、浙籍作家徐開壘離我們而去。前一晚他因身體不適被送到上海瑞金醫(yī)院,昏迷后再也沒有醒過來。九十高齡的老人平靜地告別了這個世界。

他是我熟悉的長者。此時此刻，他那清癯的面龐、滿頭的白發(fā)、儒雅的神態(tài)，連同那一本本的著作清晰地浮現(xiàn)在我的腦?！?/p>

1922年3月，徐開壘出生于寧波城內(nèi)一個銀行職員之家。這是一個帶有開明色彩的封建家庭。他在當(dāng)時寧波最大的小學(xué)“翰香小學(xué)”畢業(yè)后，進(jìn)了著名的“效實中學(xué)”。1936年10月，在讀初中二年級的時候，一朵偶然的生活浪花，激起了他最初的寫作靈感。他寫下了一篇短文《兩個泥水匠》，投寄給上海葉圣陶、豐子愷等人主編的《新少年》半月刊，結(jié)果不但很快發(fā)表，而且在眾多同類題材的稿件中，名列榜首。不久，他又寫了第二篇作品《這是事實》，再次在《新少年》上發(fā)表。這兩篇作品的發(fā)表成了徐開壘從事文學(xué)創(chuàng)作的發(fā)端，也是他走上散文創(chuàng)作道路的起點，如他自己所說：“由于這兩次鼓勵，決定了我以后長期從事文學(xué)創(chuàng)作和新聞寫作的命運?！?/p>

1983年8月,徐開壘參加中國作協(xié)上海分會組織的一次活動，來到了他的故鄉(xiāng)寧波。一個夜晚，我到他下榻的飯店去看望他。他告訴我,這是他第三次回故鄉(xiāng)?！拔业睦霞揖驮陟`橋腳下的君子街，從藥行街穿過用石板鋪砌的小巷，就是我家的寓所。這次我去看了這古老的住宅。我在這里度過了十五個年頭，記得每到上學(xué)時分，我就在巷口等候我的小伙伴同去學(xué)堂。母親對我的學(xué)業(yè)產(chǎn)生了極大的影響,是她一聲聲叮囑我一定要讀好書。而老師的不倦教授使我打下扎實的文學(xué)基礎(chǔ)。 ”說到小學(xué)里的語文老師張守瑜，他感激得動容。寧波是他童年生活的家園、文學(xué)生涯的搖籃。歲月悠悠，家樓安然。這里的每一扇門窗，都曾記錄他兒時的叫喊與歡笑，這里的一景一物，都會喚起他甘美的回憶與纏綿的鄉(xiāng)情。

離別故鄉(xiāng)去上海后，徐開壘由初中升入高中，又由高中考入暨南大學(xué)文學(xué)院。上世紀(jì)三四十年代,在風(fēng)雨如晦、大夜彌天的“孤島”時期,他在柯靈主編的《文匯報 ?世紀(jì)風(fēng)》副刊上發(fā)表了一系列散文篇什，抒訴民眾疾苦，描摹世態(tài)炎涼,呼喚黎明的降臨。

1949年徐開壘進(jìn)文匯報社，擔(dān)任記者、編輯，文藝副刊《筆會》主編?！陡傎悺贰兜袼芗覀髌妗贰缎掳步瓱艋稹贰秶鷫▍^(qū)隨筆》等散文作品唱出的是對新生活、新人物的頌歌，跳蕩著明快、昂揚的旋律，充滿了催人奮發(fā)向上的新生活的澎湃熱情和新時代的強烈氣息。

十年動亂時期，他被迫離開報社，擱筆達(dá)14年之久。在百卉流芳的春天，他回到報社工作，重新?lián)挝膮R報《筆會》副刊主編。他作品基調(diào)更深沉了，風(fēng)格更明麗了。《幽林里的琴聲》，是徐開壘自“文革”以來的第一篇作品。這篇作品成為徐開壘向新的散文創(chuàng)作目標(biāo)邁進(jìn)的起點。繼他的小說特寫集《孟小

ZHEJIANG CELEBRITIES浙籍名人

2000年，徐開壘在樓外樓金秋筆會上。

Xu Kailei at a writers get-together, a cultural program sponsored by Lou-wailou Restaurant, in the autumn of 2000

妹》于1981年出版之后，反映他散文創(chuàng)作歷程的《雕塑家傳奇》散文集也于上世紀(jì)80年代初問世。接著他的新的散文集《圣者的腳印》《鮮花與美酒》以及《籠里》又相繼出版。這是徐開壘散文創(chuàng)作在更高水平和層次上的回歸。

名篇《雕塑家傳奇》《白玉蘭》寫的是浙江美院老一代著名雕塑家周輕鼎充滿傳奇色彩的藝術(shù)生涯。散文集《鮮花與美酒》是生活的賜予。新安江是作家上世紀(jì)50年代多次深入生活的地方,作家把新安江與葛洲壩連接起來，用激情和熱淚織成那動人的篇章《壩上一家人》。在《生命的樂章》《幽林里的琴聲》《團(tuán)圓》等作品中，作家那熾熱的情思，千絲萬縷，有時寄托于家事瑣聞，有時縈繞于明山秀水，有時交融于浩月幽林,有時凝聚于戈壁綠洲……

他每出版一本集子,都會用鋼筆工整地題簽后寄贈給我。如今在我的書柜中整齊地排列著他贈予的著作。有幾年我在省文聯(lián)從事文藝研究工作,當(dāng)他得知我準(zhǔn)備寫他的散文藝術(shù)論文時,很快把一些有關(guān)的資料寄給了我。

1976年秋“四人幫”被粉碎，徐開壘就到巴金家中約稿。巴金的《一封信》在《文匯報》發(fā)表后，就好像文壇復(fù)蘇的第一聲春雷，引起了各方很大的反響。他說，短短半個月內(nèi)，就引來了國內(nèi)外幾百封讀者來信，表示對這篇文章的贊揚和肯定，并抒發(fā)了對巴金的感情，單是要他們直接轉(zhuǎn)給巴金的信就達(dá)

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一百五十多封?！兑环庑拧房龅诙辏扉_壘主持的《文匯報》副刊先后刊出了盧新華的《傷痕》、宗福先的《入黨》、鄭義的《楓》等作品。當(dāng)時,文壇冰封并未消融，刊發(fā)這樣的作品需要勇氣和魄力。徐開壘態(tài)度鮮明，竭力主張發(fā)表。作為一位跨越幾個時代的資深報人，徐開壘對中國文學(xué)事業(yè)的繁榮和新中國報紙副刊的昌盛作出了自己的積極貢獻(xiàn)。

徐開壘先生是1988年離休的，但他離而不休，仍一如既往地在文壇上辛勤耕耘。那年應(yīng)上海文藝出版社之邀，得到巴金同意，徐開壘開始寫《巴金傳》。他告訴我,“這也是我創(chuàng)作生涯中，用力較大、費時較多、影響較大的作品”。

《巴金傳》耗費了徐開壘整整4年的時間，其間他由巴金之弟李濟(jì)生陪同訪問了巴老的出生地——成都，訪問了巴金的堂弟、侄子。徐開壘大體上弄清了巴老大家族百年來的變遷。此外，他還不辭辛勞地采訪了巴金先生的許多朋友，如上海的錢君匋、朱雯、趙家璧、師陀、王辛笛、柯靈、王西彥、黃裳等，還拜訪了北京的冰心和巴金青年時代摯友、四川大學(xué)的老教授盧劍波等人?！栋徒饌鳌返膶懽魃畹脗髦鞅救苏J(rèn)同,巴金

年寫的《最后的話》中說；“我 3991在

《巴金和他的同時代人》一書封面。封面上圖為徐開

壘與巴金在一起。

This is the cover of “Ba Jin and His Contemporaries”, a

book by Xu Kailei. In the picture is Ba Jin and Xu Kailei.

為什么堅持在傳記的十四卷做事，低調(diào)做人。他溫文爾雅,對朋友、對

末作為附錄插進(jìn)與徐開壘同下輩平和樸實，是一個心地善良的長者。

志的對談呢？我想讓讀者明這次筆會從上海虹橋開到杭州西子湖

白一件事情，我不能離開人民畔、又到紹興蘭亭，我們朝夕相處,這是

……”1993年，53萬字的《巴我與徐開壘先生接觸時間最長的一次。

金傳》終于完成。傳記先是在“月是故鄉(xiāng)明”。徐開壘對浙江、

《小說界》連載，爾后于1996對故鄉(xiāng)充滿著深厚的感情。上世紀(jì)八十

年6月出版，2003年先后兩次年代初浙江日報副刊約他為“寄語故再版再印。鄉(xiāng)”專欄寫文章，他很快就寫了《歲月沖

2000年9月20日,一場桂花香里的淡不了我對她的懷念——我和我的寧金秋筆會聚集了一批曾經(jīng)在中國現(xiàn)當(dāng)代波故鄉(xiāng)》一文，回憶了他在故鄉(xiāng)的生活文學(xué)史上留下了足跡的老一輩學(xué)者、文和自己的創(chuàng)作歷程，深情地寫道：“故鄉(xiāng)人。徐開壘從他居住的上海新華路文緣永遠(yuǎn)在我的記憶之中，因為我的生活從村被接到樓外樓上海虹橋分店參加筆這里開始，我學(xué)習(xí)文學(xué)創(chuàng)作也是在這里會開幕式。他面容清癯，儀態(tài)和藹，顯得邁開第一步。 ”1984年應(yīng)邀在浙江文藝很開心。第二天晚上,錢江晚報記者在他出版社出版了散文集《圣者的腳印》。下榻的金溪山莊采訪了他。我記得那天他他在書跋中寫道：“這本書由浙江文藝主要談了如何看待歷史散文問題,也談到出版社出版，我更期待著浙江鄉(xiāng)親們對散文的題材、語言和特色。在樓外樓的廳我熱情的關(guān)切，與誠懇的幫助。 ”他寫堂、席間，在滿覺隴的桂花樹下，在城隍的《巴金傳》在全國各地?zé)徜N、脫銷。閣的茶樓，我們聊當(dāng)時的文學(xué)現(xiàn)象,聊散1992年1月27日他又為《浙江日報》增刊文的欣賞與創(chuàng)作。他多次明確地說：“散寫了《我寫〈巴金傳〉——向浙江鄉(xiāng)親們文是作家直接表達(dá)感情的文學(xué)形式，匯報》一文。1993年《東?！吩驴s他寫它比任何文學(xué)形式更需要真情實感?！备澹麑懥恕秾幉?我的母親》一文，抒發(fā)他還強調(diào)“不要忘記，散文也應(yīng)當(dāng)寫人了他對故鄉(xiāng)的縷縷情思：“寧波故鄉(xiāng)，我物”，“散文也可以塑造藝術(shù)典型”。的母親，它永遠(yuǎn)牽連著我們每一位離鄉(xiāng)

參加這次筆會時，他把出版不久游子的赤誠之心?！钡纳⑽募栋徒鸷退耐瑫r代人》送給作為著名的散文作家，徐開壘在散我。打開還散發(fā)著油墨香的集子，我發(fā)文園地里辛勤躬耕，不懈地探索和追求現(xiàn)他遨游在回憶的大海里，從各個不同散文藝術(shù)。他的作品得到許多前輩名家視角，為讀者留下了巴金、曹禺、冰心、和評論家的首肯、贊許，被稱為“真正的王統(tǒng)照、豐子愷、葉圣陶、柯靈、沈尹散文”。他的散文構(gòu)思精巧,蘊藉含蓄,默、王任叔等文化名人的印象，一片斷、言近而旨遠(yuǎn)，調(diào)高而韻長，其風(fēng)格清麗一剪影，寫得文質(zhì)并茂，情意深長。與明媚并存，雅淡與疏朗相長。冰心把

徐開壘先生一輩子誠摯處世，認(rèn)真徐開壘譽為“功力很深的散文家”，確是知人論文的評語。

作為新聞記者，他有機會深入到社會基層的各個角落，結(jié)識、采訪各種各樣的人物與事情。紀(jì)實體的特點，是和他從事的新聞記者職業(yè)一脈相承的。這是徐開壘迥別于一般散文作家的地方。

1991年春，徐開壘與徐遲在朱雯家作客。

Xu Kailei and Xu Chi pose for a picture at the home of Zhu Wen in the spring of 1991.

他就像一只蜜蜂，總是最先尋覓到那植根于生活的沃野上散香滴露的鮮花，最早聞到花的芬芳，吸吮花的乳汁，然后經(jīng)過加工，釀制成美酒，把鮮花與美酒涯。 ”這是杜甫《江畔獨步尋花》中的兩句詩。徐開壘先生把“鮮花與美酒”作為他的一部散文集的書名?，F(xiàn)在我用鮮花與美酒為開壘先生送行，以表達(dá)我對他的思念與敬意?！?/p>

奉獻(xiàn)給人民大眾?！皥蟠鸫汗庵刑?，應(yīng)須美酒送天

Journalist and Writer Xu Kailei Passes Away

By Zhang Ke

Three days before Spring Festival this year, Xu Kailei, a veteran newspaper jour-nalist and writer of Zhejiang origin, passed away. Feeling uncomfortable the night before, he was sent immediately to Ruijin Hospital of Shanghai. He lapsed into coma and did not wake up. The 90-year-old man died peacefully. I have known him for years. In my minds eye, I can see his gaunt face, silver hair, and gracious manner.

Xu Kailei was born in March 1922 in Ningbo, a port city in eastern Zhejiang. As his father worked in a bank, the family had the money to send him to the largest primary school and a very good middle school for education. In October 1936 when he was a second year student in junior high school, he wrote an essay and contributed it to New Youngsters, a Shanghai-based biweekly edited by Ye Shengtao and Feng Zikai, two preeminent literary masters. To Xus surprise, the essay was published as the number one in the same section. Soon, his second essay was published in the bi-weekly. The publishing of the two essays inspired Xu and he made up his mind to be an essayist.

At 15, he went to Shanghai to continue his education. In the 1930s and 1940s, he wrote many essays that were published in the literary page of Wenhui, an influential newspaper of Shanghai. In 1949, he joined the newspaper and became a journalist, editor and later editor of the literary page of the newspaper. He was forced out of the newspaper due to political upheavals. By the time the Cultural Revolution (1966-1976) came to end and he came back to Wenhui, 14 years had elapsed.

With him at helm of the literary page, Wenhui published quite a few very good es-says and stories that brought repercussions to the national literary circles.

Shortly after the downfall of the Gang

寫作《巴金傳》時的徐開壘。

This is Xu Kailei during the years of writing “A Biography of Bai Jin”.

of Four in October 1976, Xu Kailei visited Ba Jin and asked Ba to write for the literary page. Ba wrote “A Letter.” Two weeks after

2000年秋，徐開壘在紹興蘭亭留影。

Xu Kailei visits Orchid Pavilion in Shaoxing in the autumn of 2000.

he talked about various aspects of essay writing. It was during this get-together, Xu gave me a collection of his essays about Ba Jin and his contemporaries. It had just come out. I had known him

years and this get-together was the longest time I spent with him.

In the late 1970s and the 1980s, Xu Kai-lei wrote quite a few essays and published a few collections of short stories and essays. I have most of his essay collections and my bookcase at home testifies to his literary achievements in these years.

Though he worked in Shanghai, Xu Kailei cared about his home province. The literary page of Zhejiang Daily published the publishing of this story in the literary page, hundreds of letters flooded in, includ-ing 150 letters to Ba Jin with the care of the newspaper. In 1977, the literary page published some breakout short stories. As a veteran newspaperman and writer, Xu made his contribution to the literary prosperity in the 1980s.

The year 1988 marked his retirement from Wenhui, but he was commissioned to write a biography of Ba Jin, at the invitation of Shanghai Literature and Art Press and with the approval of Ba Jin.

It took him four years to write the biog-raphy. During the time, he visited Chengdu, a central city in southwestern China where he interviewed Ba Jins relatives. Moreover, he also interviewed a group of literary mas-ters to know better about people and events in the life of Ba. In 1993, the 530,000-char-acter work was serialized in World of Short Stories. Then it came out as a book in June 1996. It was reprinted twice in 2003.

He came to Hangzhou to attend a get-to-gether of literary masters on September 20, 2000. The next evening, he was interviewed by a journalist of Qianjiang Evening News and I was there. He talked about how we should understand ancient essays and then a few of his essays. In 1984, Zhejiang Lit-erature and Art Press published a collection of his essays. In 1992, he wrote an essay about his writing of Ba Jins biography and it was published in Zhejiang Daily. In 1993, East Sea, a literary monthly of Zhejiang, published his essay about his hometown Ningbo.

As an essayist highly commended by many literary masters of the old genera-tion, Xu wrote essays that reflect his tireless pursuit of a graceful style, concise expres-sions of profound thought and emotion. His essays are also highly flavored by a real-ism that reflects his journalist background, which makes him different from some es-sayists without journalism background. □