楊璽

拿出珍愛的“豬油白”蓋碗，強(qiáng)雯泡了碗熱騰騰的蓋碗紅茶。雙手捧著茶杯，腋窩夾著書筆，她在自家陽臺(tái)上的那把轉(zhuǎn)椅落了座。

翻開不久前才買的《契訶夫小說全集》第八冊(cè)，強(qiáng)雯一邊細(xì)細(xì)品味，一邊拿筆勾畫。讀完《古塞夫》這篇短篇小說，強(qiáng)雯在第89頁的文末空白處寫下了這樣一段話——“這是一篇關(guān)于死亡的小說，充滿了小說的藝術(shù)性……尤其是最后古塞夫的死，突兀又詩意、殘忍又優(yōu)美，藝術(shù)地抨擊了當(dāng)下的黑暗，技巧很好?！?/p>

看書、寫書，書是強(qiáng)雯家的主角。除了書柜，客廳的茶幾、沙發(fā)，甚至音箱上，都堆滿了書。其實(shí)強(qiáng)雯大學(xué)念的是影像工程專業(yè)，不過后來覺得拍片太奔波，她“拋棄”攝像機(jī)當(dāng)了圖書編輯，正式和圖書打起了交道。也正是那幾年，日夜和漢字打交道的強(qiáng)雯，漸漸愛上了這一個(gè)個(gè)方塊字，開始試著寫小說。

2004年，強(qiáng)雯完成了她的首部小說《青澀》，并發(fā)表在《人民文學(xué)》2004年第4期上。

為了有更多的創(chuàng)作空間，強(qiáng)雯跳槽到報(bào)社當(dāng)起了文化記者。那些年，她的人生仿若開了掛——不僅進(jìn)入魯迅文學(xué)院青年作家班深造，她創(chuàng)作的小說也頻頻在《人民文學(xué)》《十月》《中國作家》《紅巖》等國內(nèi)重量級(jí)文學(xué)刊物上發(fā)表，并多次榮獲重慶文學(xué)獎(jiǎng)、巴蜀青年文學(xué)獎(jiǎng)、紅巖文學(xué)獎(jiǎng)等榮譽(yù)。

Taking out her cherished "lard white" covered bowl， Qiang Wen made herself a pot of black tea. Holding the teacup with both hands and a book and a pen in her armpits， she sit down in the swivel chair on her balcony.

Opening Volume 8 of Collected Works of Chekhov’s Novel， which was bought not long ago， Qiang Wen read it carefully， and drew some lines with a pen from time to time. Finishing reading the short story Gusev， Qiang Wen wrote such a line in the blank space on page 89： "This is a novel about death， full of the artistry of novel... Especially in the end， Gusev’s death was abrupt yet poetic， cruel yet graceful， artistically attacking the darkness with good skills."

Reading and writing books are the routines of Qiang Wen. Books make up the biggest part of her life. In addition to bookcases， the tea table， sofa and even sound box in her living room are full of books. In fact， Qiang Wen studied Imaging Engineering in university. But later she was so tired of shooting that she "abandoned" camera and became a book editor， beginning her career with books. It was also in those years that Qiang Wen， who dealt with characters day and night， gradually fell in love with the characters and began writing novels.

In 2004， Qiang Wen completed her first novel Youth and published it in the 4th issue of People’s Literature in 2004.

To acquire more space for creation， Qiang Wen jumped ship to a newspaper office and became a cultural journalist. In those years， she stunned others with incredible competence and capability --not only did she entered the young writers’ class of Lu Xun Literary Institute for further study， but her novels were frequently published in domestic heavyweight literary publications such as People’s Literature， October， Chinese Writers and Hongyan， and won many honors such as Chongqing Literature Prize， Bashu Youth Literature Prize and Hongyan Literature Prize.

出書講重慶言子的故事Publishing a Book about Chongqing Dialect

去年，強(qiáng)雯出了一本新書。和以往的小說不同，這本書擺的是龍門陣，從書名《重慶人絕不拉稀擺帶》就能猜到，講的是重慶言子。這本書收錄了85個(gè)重慶言子，于方言中融匯民俗、掌故，無論是人情世故，還是性格飲食，讀來都饒有趣味。

強(qiáng)雯生在北碚，打小聽著重慶言子長大。幾年前，一家雜志邀她寫些有關(guān)重慶方言的故事。寫故事的過程中，強(qiáng)雯發(fā)現(xiàn)小時(shí)候常聽到的重慶言子，正日漸被大家淡忘，特別是年輕一代。于是，她決定系統(tǒng)梳理一番重慶言子。

沒有調(diào)查就沒有發(fā)言權(quán)。為了摸清重慶各地的方言，強(qiáng)雯足足花了兩年多時(shí)間，到重慶各個(gè)區(qū)縣走村串戶、查閱資料，從當(dāng)?shù)赝翆＜?、村里老人口中搜羅了一堆“土得掉渣”的重慶言子——

行（hang）勢，在重慶方言中，是能干之意。但這能干半是贊譽(yù)，半是擠兌，有好攬事、好出風(fēng)頭、豪強(qiáng)霸占之意。

貓殺（mao sa），最開始形容莽撞、冒進(jìn)、不顧后果之人，后來漸漸演變?yōu)閰柡?、能干、有超越常人之勇的意思?/p>

殺角（go），指快結(jié)束、掃尾了；該背時(shí)，是活該受罪之意；吃豁皮，是白撿便宜的意思……

“重慶言子多帶自我調(diào)侃色彩，表面上聽起來有點(diǎn)俗，但骨子里滿滿都是進(jìn)取、樂觀以及知恥而后勇的精神?！睆?qiáng)雯說，還有些言子看似土得掉渣，但出處卻十分雅致，不少名著中都有重慶言子的影子：比如豬八戒就在《西游記》中說過重慶言子“挺尸”——“吃了飯兒不挺尸，肚兒沒板脂”；“將息”一詞也在《水滸傳》第四回中出現(xiàn)——寫魯智深大鬧五臺(tái)山，“打傷了的和尚，自去將息”；《紅樓夢(mèng)》里，也有類似的重慶言子，如“老辣”“臊皮”等。

Last year， Qiang Wen published a new book， which， unlike previous novels， makes leisurely conversation. As can be guessed from the title The People of Chongqing Will Never Do Things Sloppily， it is about Chongqing dialect. The book contains 85 Chongqing dialects， integrating folk customs and anecdotes. It is interesting to read whether for its worldly wisdom or personality and diet.

Qiang Wen was born in Beibei and grew up listening to Chongqing dialect. A few years ago， a magazine invited her to write some stories about Chongqing dialect. In writing the story， Qiang Wen found that Chongqing dialect， which she often heard when she was a child， was being fading from people’s ears， especially the younger generation. Therefore， she decided to sort out Chongqing dialects in a systematic manner.

No investigation， no right to speak. To get a full view of Chongqing dialects in all parts of Chongqing， Qiang Wen spent more than two years walking from village to village in all districts and counties， consulting large volumes of materials， and collecting a pile of "countrified" dialects from local experts and the elderly in villages --

"Hangshi" means highly capable in Chongqing dialect. However， it is half praise and half ridicule， suggesting that someone is having too many irons in the fire， likes to show off and forcibly occupy things with power.

"Maosa" was first used to describe people who are reckless， aggressive and careless of the consequences， but later it describes people who are powerful， capable， and braver than others.

"Shago" refers to the end； "Gaibeishi" means that someone deserves to suffer；"Chihuopi" means getting something for free...

"Chongqing dialect is full of selfteasing words or phrases， which on the surface， sounds a bit vulgar， but at the core， is enterprising， optimistic and features facing the reality and catching up，" said Qiang Wen， added that there are some dialects which seem countrified but with elegant sources. Chongqing dialect can find its expression in many a famous work： For example， in Journey to the West， Zhu Bajie once said the word "tingshi" （literally lying stiff like a corpse） in Chongqing dialect-- in the article， he once muttered "My belly’ll remain unfilled if I not lie down for a while after eating"； The word "jiangxi" also appeared in the fourth chapter of Water Margin -- Lu Zhishen’s uproar at Wutai Mountain， "the wounded monk goes to heal"； In the Dream of the Red Chamber， there are also words in Chongqing dialect such as "laola" and "saopi".

跟著考古書去旅行Travel with Archaeological Books

讀書、碼字之余，強(qiáng)雯還有很多愛好：水墨、書法、古箏、自駕游。

強(qiáng)雯在家里掛了很多自己的書法，甚至墻上的掛歷，也是她自己畫的鯉魚荷花圖。

近些年，強(qiáng)雯熱衷于自駕游，幾乎每個(gè)月都會(huì)開著自家小汽車，到重慶周邊區(qū)縣或周邊省市自駕游。不過，強(qiáng)雯去的地方往往很小眾很冷門。

“別人都是跟著旅游指南玩，我是跟著考古書去旅行?！?018年以來，強(qiáng)雯都是跟著《四川重慶古建筑地圖》去自駕游的。

這本地圖共收錄了川渝兩地近300個(gè)古建筑，有寺廟、城墻、寶殿、故居、造像、古橋等。強(qiáng)雯粗略算了算，其中有一半她都已經(jīng)實(shí)地去看過了，而且說起來如數(shù)家珍：“四川省隆昌縣的石牌坊群，是我國現(xiàn)存最密集的牌坊群落之一。那里的牌坊不僅數(shù)量多，類型也豐富，有德政坊、節(jié)孝坊、功德坊、貞節(jié)坊、孝子坊、百壽坊、山門坊、鎮(zhèn)山坊……資中縣是個(gè)尚武之地，也許是因?yàn)橛形鋸R，當(dāng)?shù)睾芏嗳硕荚诰毐P破門武術(shù)。”

“每到一個(gè)地方，都會(huì)去搜集些素材?！睆?qiáng)雯正在寫一部與考古有關(guān)的作品，已經(jīng)寫了十來萬字，“我想以作家的視野、文學(xué)的角度去詮釋考古，希望給讀者帶來不一樣的感受?！?/p>

Apart from reading and typing words， Qiang Wen has many other hobbies： ink painting， calligraphy， guzheng and road trip.

Qiang Wen hung a lot of her own calligraphy works at home， and even the calendar on the wall was drew by herself， a carp and lotus picture.

These years Qiang Wen has been keen on road trips. She said that she would drive her car to the surrounding districts and counties of Chongqing or the surrounding provinces and cities almost every month. However， Qiang Wen often goes to some unpopular and niche places.

"Other travel with the a guidebook， yet I travel with the archaeological book." Since 2018， Qiang Wen has followed the Map of Ancient Architecture in Chongqing and Sichuan to travel.

This map includes nearly 300 ancient buildings in Sichuan and Chongqing， including temples， city walls， halls， former residences， statues， ancient bridges， etc. Qiang Wen made a rough calculation and found that she had already seen half of these destinations on the spot， and acquired a lot of knowledge about them： "The stone archways in Longchang County， Sichuan Province are one of the densest archway clusters existing in our country. They are not only large in number， but also rich in type -- there are Dezheng Archway， Jiexiao Archway， Dezheng Archway， Zhenjie Archway， Xiaozi Archway， Baishou Archway， Shanmen Archway， Zhenshan Archway... Zizhong County is a place that values martial arts. And perhaps because there are some martial arts temples， many local people are practicing martial arts."

"Everywhere I go， I will collect some materials." Qiang Wen is now working on an archaeological work， and has already written more than 100，000 words. "I want to interpret archaeology from the perspectives of writer and literature， hoping to bring different feelings to readers."