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在浙江作家中，笔名为“浦子”的小说家潘家萍以其默默写作、不事张扬而出名。正是凭着这股执著不歇的劲头，关切社会变迁和观照人类命运的睿智细腻，他耗时16年，创作出系列长篇小说“王庄三部曲”《龙窑》《独山》《大中》。作品相继问世后，在文学界和阅读界引起较大反响。毫无疑问，“王庄三部曲”充分证明了浦子不可低估的创作实力。
“王庄三部曲”，百年浙江的文学表达
初版于2008年12月的《龍窑》，是浦子的长篇处女作，开始构思于2001年，6年后方才完稿，而题材的确立、素材的积累显然更久。这部作品讲述了晚清年间，一个失忆的外来男人王世民来到闭塞的古老小山村王庄，他带来了独有的制陶技艺，也带来了惊世骇俗的新理念、新思想，彻底搅动了村民的生活，各种奇特的故事不断发生，商品经济形态也在此初露端倪。然而，外来男人一直遭受着传统势力的钳制乃至疯狂打击。最终，喻指变革者的王世民不惜投身于冬天的窑火之中，以警醒世人。小说尽管以悲剧收场，但绝无消沉、沮丧、退让之感，寓意深刻的“龙”的意象无疑显现了不屈而强大的力量。这部作品于2011年入围了第八届茅盾文学奖。
相隔5年后推出的《独山》，延续了《龙窑》的叙述时间。它讲述了自辛亥革命到民国末年王庄发生的新变化，描写了玲娣、王传达、王传本等一群王庄人在跌宕起伏的时代中的命运传奇。王世民之子王传达遭山匪绑架，家人只得把田产房屋贱卖给其堂弟王传本。事实上，王传达毁家纾难，又殚精竭虑地使家境重归兴盛，且在风雨与坎坷中苦撑家族危局的种种行为，不单展现了这一人物起伏颠簸的生活实况和坚毅执拗的鲜明个性，更是作者试图通过艺术典型人物，揭示民族秉性的一种尝试和努力。
2017年1月出版的《大中》，延续了前两部作品的叙述时间，所叙写的是新中国成立至近几年的故事。由于“与新中国60余年历史贴身而行”，浦子担心与描摹对象挨得太近，容易陷入“短视”，几经斟酌，他“笨拙”地选择了平铺直叙的笔法。小说以王氏家族几代人在“镇反”、抗美援朝、“大跃进”、“文革”等历史阶段的沉浮为主要内容，突出王德青、王跃进等人的个人遭际，写出王庄人“在烈火中见精神”的非凡品质。浦子试图以家族史的形式记录时代变迁，并对百年中国历史发出一种近乎“天问”式的反省：历史的螺旋式演变中，普通人究竟需要做出怎样的牺牲？民族和人类究竟需要付出多大的代价？
“如果说文学是人类灵魂最深处的回声的话，那么‘王庄三部曲’就是这种回声的投影，它以独特的历史智慧和异乎诸家的铺辞展情才力，演绎了浙东人在百年历史溃败中的精神突围，向我们展现了浙东人精神中最深沉、最复杂的运动以及其生命深层的内在图腾。”这是学者朱首献的概括评价。事实上，“王庄三部曲”对于浙江百年历史和人文风俗的成功叙写，使它成为浦子30余年文学创作的巅峰之作，无疑也是新世纪以来浙江小说创作领域最重要的成果之一。
文学创作成就缘自数十年的默默耕耘
回顾浦子30余年的文学创作经历，不辞困难、不逐虚名、不懈追求，显然是最大的亮色之一。除了必需的天分，在文学创作道路上，为了达到某个目标，浦子甘愿付出比他人更多的心血乃是常事，而这也是他常常获得文学界和阅读界钦服的一大原因。
浦子1957年出生于离宁海县城不远的一个名为“冠庄”的小山村，这村子如今已融入县城。令浦子自豪的是，这个村子曾走出一代国画大师潘天寿。在冠庄长大的浦子自幼好读，在“文革”那个年代，得到几本好书十分困难，但他总会想方设法四处寻觅。“对于当时的我来说，有一本书读，那是再幸福不过的事情了！”直到现在回想起来，浦子依然感慨万端。但正是这自幼养成的捧书苦读的习惯，使得他对不少名著极为熟稔，文学基础颇为扎实。
1974年，高中毕业的浦子回乡当了农民，但他对文学作品的阅读没有停止，还利用闲暇写出了好几个剧本，村里的剧团把它们排练出来参加了县里的汇演。当他所在的人民公社成立电影放映队、需要能说能写的放映员时，浦子凭借其出众的写作能力而被选中。电影是一门综合艺术，浦子在从事放映工作的同时，又经受着艺术的熏陶，获得了书本中没有的、但对写作极其有用的文学滋养。“故事情节该怎么安排，人物性格该如何塑造，我在放电影的过程中受到了潜移默化的裨益。”浦子说。
恢复高考的好消息传来，浦子热切地投身考场。因估算自己的成绩尚不足考入大学，他选择了一所中专，没料想他的高考成绩进入大学绰绰有余，却悔之晚矣。从汽车驾驶技校毕业后，浦子做过乡村客运汽车售票员、汽车站业务员、货运站调度员，后来又在长途汽车公司办公室当了文秘……但不管干什么工作，“作家梦”始终不曾泯灭，默默笔耕是他业余时间最重要的事。
从上世纪80年代开始，浦子的中短篇小说陆续发表在省内外各文学刊物上，引起了多方关注。他在“国刊”《人民文学》发表小说时，在宁海县乃至宁波市文坛引起了震动。也就在这一时期，浦子调入宁海县委报道组，后又在宁海县委办公室和宁海县委宣传部工作，与现实生活的接触面更广了，与文学的距离也更近了。自然，他的笔耕也更勤奋了。
“我把文学当作自己的宗教。除了写作，我没有其他任何爱好。”浦子经常这样真挚地说。笔者曾多次与浦子一起参加文学采风活动，也曾与他围绕某个文学话题进行深入交流，深感他对文学和文学创作的极度虔诚。难能可贵的是，浦子对于文学的痴恋始终与关注社会现实、关切人类命运、思索历史发展相融合，他的作品选题、人物塑造、情节再现以及风俗风情描写，无不“接地气”，有着浓烈的人间烟火味儿。 在這片美丽的故土上寄寓文学情怀
浦子几近六旬，在浙江文坛，却是一位仍处于创作上升期的实力派作家，其独特的创作风格、充满自信和激情的个性，又赋予他无穷的艺术潜能。随着他创作经验的日益丰富，对文学创作规律的认识日益深刻，他对作品的质量要求更高了，趁“壮年”之际继续写出力作的愿望更迫切了。他的艺术潜能首先是由他的执著和激情带来的。
“作者是饱含着对生命、对脚下的土地、对世世代代的家园的拳拳感情，用生命的最大热情在写作。”评论家胡志军认为，浦子的成功，很重要的一点是把家乡冠庄作为自己的创作之根，从家乡的山山水水中汲取创作的灵感，再从家乡物事出发，透辟地观照整个民族乃至人类。的确如此，浦子写的就是家乡冠庄的历史变迁和人物命运。“独山”位于冠庄的北边，“大中”则是冠庄东边一座山峰的名称，甚至连“浦子”这个笔名，也来源于家乡一条名叫“回浦”的河流，他自称“回浦河的儿子”。
评论家李敬泽说：“在想象中，浦子使他的故乡绚丽辉煌，不像《百年孤独》那么孤独，也不像约克纳帕塔法那样破碎绝望，甚至不像高密东北乡那样经受远方的冲击，这里就是此地、就是此时，此时此地就是地久天长，永恒之中的人们像神一样行动，像神一样被记忆和怀想。它展现了远初的、本质的、朴野的创造力。”评论家雷达评论浦子说：“试图通过这次想象，在民间世界里找寻现代人久违了的勃发的原始强力。”河北作家关仁山的小说作品同样以“三农”题材为主，他对浦子的作品欣赏有加，由衷地感叹：“浦子热爱文学，尤其对小说这个文体情有独钟。他又是执著的，从他的创作历程来看，没有什么困难可以阻挡他的创作。从他的作品里，我们感受到了浓郁的生活气息，看到了民间文化的含量，看到了思想的翅膀的飞翔。”浦子的作品除了“王庄三部曲”和其他中短篇小说、长篇报告文学之外，还有大量散文随笔，这些散文随笔大都仍以家乡的风土人情为描摹对象，倾注了他对家乡挥之不去的钟爱。
浦子不无自信地告诉笔者，现在，他又在酝酿长篇新作，仍以家乡为背景，目光紧盯当代现实。“我的学习、生活、工作，一直没有走出由两边群山夹峙如小拇指般狭长的小县城。”浦子说，他文学创作的灵感来源于这片山水，所以也应该把自己的这份文学情怀寄寓在这美丽的故土之上。
（本文照片由作者和浦子提供）
Pan Jiaping is well known among his fellow writers in Zhejiang for his keeping a low profile and hard working at his novels. He has penned a trilogy set in Wangzhuang， a fictitious place where the ， and unfold epic stories. The trilogy is published under the penname Pu Zi.
His first novel was published in December 2008. He conceived the original idea in 2001 and completed the novel in six years. It is about a mysterious man who ends up in an ancient village in remote mountains， with his memory of the past lost. It is in the last years of the Qing Dynasty when modernism is lurking and the old empire， unable to cope with issues at home and abroad， is about to crash. The man doesn’t remember who he was and what he was. He is a master of ceramics. While the ceramic pieces he makes amaze the village， his unconventional ideas shock mountain villagers. Unconventional ideas touch off a series of strange events. The village fights back. In the end， the outsider kills himself in the Dragon Kiln. The tragedy， however， is not particularly depressing. The novel was nominated in 2011 for Mao Dun Literature Prize， the nation’s top novel honor issued every four years.
If is set against the time in the early 20th century， then ， the second of the trilogy published in 2013， relates a story that takes place in the same village and five years later. ， which went on market in January 2017， gives accounts of what happens in the village from 1949 when the People’s Republic came into being up to now. This timeline at first got the novelist into a technical dilemma. He was worried that shortsightedness might have sneaked its way into the finale of the trilogy if he did not watch carefully. His solution was to tell the story against the historical events directly in a linear way. The three novels combine to pose a critical question： how much does an individual， a family， a nation， mankind， have to pay for sweeping and fundamental historical changes？ The trilogy is critically acclaimed. It is considered an epic about Zhejiang in the past 100 years. The trilogy represents the best of Pan Jiaping’s literary career. The three novels are among the best novels Zhejiang has produced in the 21st century.
Wangzhuang is patterned after Guanzhuang where the author was born in 1957. Situated not far from the seat of Ninghai County in eastern Zhejiang， the small village has long since vanished into the surging urban sprawl of the county capital. The biggest celebrity of the village is Pan Tianshou （1897-1971）， presumably the greatest traditional Chinese art education master of the 20th-century China. Pan Jiaping shares the surname with the master. Though growing up in the years when books were rare， he read some. After graduation from high school in 1974， Pan Jiaping came back to the village and worked as a farmer. He found time to read books and write a number of plays for the village troupe. When the local people’s commune wanted to find a film projectionist who could write， Pan was picked. The films he projected across the commune nurtured his literary mind.
When the Cultural Revolution （1966-1976） ended and colleges and universities began to recruit students， Pan signed up for the national college entrance examination. Thinking his score wouldn’t be good enough for colleges and universities， he picked a secondary technical school only to find regretfully that his score would have got him into a college. He learned how to drive at the school and came back to the village. He worked a number of jobs at a transportation business. In his spare time， he read diligently and kept writing short stories and novellas. After he published a short story in People’s Literature， the very top national literary periodical， people in Ninghai were deeply impressed. He was transferred to work as a journalist. This new job gave him a lot more time to write and read.
Right now he is thinking about a new novel set in his home village at the present time. “My life is always in the county’s capital city， which is as thin and narrow as a finger flanked by mountains on both sides，” comments the writer. He gets all the inspiration for his novels from his life here.
“王庄三部曲”，百年浙江的文学表达
初版于2008年12月的《龍窑》，是浦子的长篇处女作，开始构思于2001年，6年后方才完稿，而题材的确立、素材的积累显然更久。这部作品讲述了晚清年间，一个失忆的外来男人王世民来到闭塞的古老小山村王庄，他带来了独有的制陶技艺，也带来了惊世骇俗的新理念、新思想，彻底搅动了村民的生活，各种奇特的故事不断发生，商品经济形态也在此初露端倪。然而，外来男人一直遭受着传统势力的钳制乃至疯狂打击。最终，喻指变革者的王世民不惜投身于冬天的窑火之中，以警醒世人。小说尽管以悲剧收场，但绝无消沉、沮丧、退让之感，寓意深刻的“龙”的意象无疑显现了不屈而强大的力量。这部作品于2011年入围了第八届茅盾文学奖。
相隔5年后推出的《独山》，延续了《龙窑》的叙述时间。它讲述了自辛亥革命到民国末年王庄发生的新变化，描写了玲娣、王传达、王传本等一群王庄人在跌宕起伏的时代中的命运传奇。王世民之子王传达遭山匪绑架，家人只得把田产房屋贱卖给其堂弟王传本。事实上，王传达毁家纾难，又殚精竭虑地使家境重归兴盛，且在风雨与坎坷中苦撑家族危局的种种行为，不单展现了这一人物起伏颠簸的生活实况和坚毅执拗的鲜明个性，更是作者试图通过艺术典型人物，揭示民族秉性的一种尝试和努力。
2017年1月出版的《大中》，延续了前两部作品的叙述时间，所叙写的是新中国成立至近几年的故事。由于“与新中国60余年历史贴身而行”，浦子担心与描摹对象挨得太近，容易陷入“短视”，几经斟酌，他“笨拙”地选择了平铺直叙的笔法。小说以王氏家族几代人在“镇反”、抗美援朝、“大跃进”、“文革”等历史阶段的沉浮为主要内容，突出王德青、王跃进等人的个人遭际，写出王庄人“在烈火中见精神”的非凡品质。浦子试图以家族史的形式记录时代变迁，并对百年中国历史发出一种近乎“天问”式的反省：历史的螺旋式演变中，普通人究竟需要做出怎样的牺牲？民族和人类究竟需要付出多大的代价？
“如果说文学是人类灵魂最深处的回声的话，那么‘王庄三部曲’就是这种回声的投影，它以独特的历史智慧和异乎诸家的铺辞展情才力，演绎了浙东人在百年历史溃败中的精神突围，向我们展现了浙东人精神中最深沉、最复杂的运动以及其生命深层的内在图腾。”这是学者朱首献的概括评价。事实上，“王庄三部曲”对于浙江百年历史和人文风俗的成功叙写，使它成为浦子30余年文学创作的巅峰之作，无疑也是新世纪以来浙江小说创作领域最重要的成果之一。
文学创作成就缘自数十年的默默耕耘
回顾浦子30余年的文学创作经历，不辞困难、不逐虚名、不懈追求，显然是最大的亮色之一。除了必需的天分，在文学创作道路上，为了达到某个目标，浦子甘愿付出比他人更多的心血乃是常事，而这也是他常常获得文学界和阅读界钦服的一大原因。
浦子1957年出生于离宁海县城不远的一个名为“冠庄”的小山村，这村子如今已融入县城。令浦子自豪的是，这个村子曾走出一代国画大师潘天寿。在冠庄长大的浦子自幼好读，在“文革”那个年代，得到几本好书十分困难，但他总会想方设法四处寻觅。“对于当时的我来说，有一本书读，那是再幸福不过的事情了！”直到现在回想起来，浦子依然感慨万端。但正是这自幼养成的捧书苦读的习惯，使得他对不少名著极为熟稔，文学基础颇为扎实。
1974年，高中毕业的浦子回乡当了农民，但他对文学作品的阅读没有停止，还利用闲暇写出了好几个剧本，村里的剧团把它们排练出来参加了县里的汇演。当他所在的人民公社成立电影放映队、需要能说能写的放映员时，浦子凭借其出众的写作能力而被选中。电影是一门综合艺术，浦子在从事放映工作的同时，又经受着艺术的熏陶，获得了书本中没有的、但对写作极其有用的文学滋养。“故事情节该怎么安排，人物性格该如何塑造，我在放电影的过程中受到了潜移默化的裨益。”浦子说。
恢复高考的好消息传来，浦子热切地投身考场。因估算自己的成绩尚不足考入大学，他选择了一所中专，没料想他的高考成绩进入大学绰绰有余，却悔之晚矣。从汽车驾驶技校毕业后，浦子做过乡村客运汽车售票员、汽车站业务员、货运站调度员，后来又在长途汽车公司办公室当了文秘……但不管干什么工作，“作家梦”始终不曾泯灭，默默笔耕是他业余时间最重要的事。
从上世纪80年代开始，浦子的中短篇小说陆续发表在省内外各文学刊物上，引起了多方关注。他在“国刊”《人民文学》发表小说时，在宁海县乃至宁波市文坛引起了震动。也就在这一时期，浦子调入宁海县委报道组，后又在宁海县委办公室和宁海县委宣传部工作，与现实生活的接触面更广了，与文学的距离也更近了。自然，他的笔耕也更勤奋了。
“我把文学当作自己的宗教。除了写作，我没有其他任何爱好。”浦子经常这样真挚地说。笔者曾多次与浦子一起参加文学采风活动，也曾与他围绕某个文学话题进行深入交流，深感他对文学和文学创作的极度虔诚。难能可贵的是，浦子对于文学的痴恋始终与关注社会现实、关切人类命运、思索历史发展相融合，他的作品选题、人物塑造、情节再现以及风俗风情描写，无不“接地气”，有着浓烈的人间烟火味儿。 在這片美丽的故土上寄寓文学情怀
浦子几近六旬，在浙江文坛，却是一位仍处于创作上升期的实力派作家，其独特的创作风格、充满自信和激情的个性，又赋予他无穷的艺术潜能。随着他创作经验的日益丰富，对文学创作规律的认识日益深刻，他对作品的质量要求更高了，趁“壮年”之际继续写出力作的愿望更迫切了。他的艺术潜能首先是由他的执著和激情带来的。
“作者是饱含着对生命、对脚下的土地、对世世代代的家园的拳拳感情，用生命的最大热情在写作。”评论家胡志军认为，浦子的成功，很重要的一点是把家乡冠庄作为自己的创作之根，从家乡的山山水水中汲取创作的灵感，再从家乡物事出发，透辟地观照整个民族乃至人类。的确如此，浦子写的就是家乡冠庄的历史变迁和人物命运。“独山”位于冠庄的北边，“大中”则是冠庄东边一座山峰的名称，甚至连“浦子”这个笔名，也来源于家乡一条名叫“回浦”的河流，他自称“回浦河的儿子”。
评论家李敬泽说：“在想象中，浦子使他的故乡绚丽辉煌，不像《百年孤独》那么孤独，也不像约克纳帕塔法那样破碎绝望，甚至不像高密东北乡那样经受远方的冲击，这里就是此地、就是此时，此时此地就是地久天长，永恒之中的人们像神一样行动，像神一样被记忆和怀想。它展现了远初的、本质的、朴野的创造力。”评论家雷达评论浦子说：“试图通过这次想象，在民间世界里找寻现代人久违了的勃发的原始强力。”河北作家关仁山的小说作品同样以“三农”题材为主，他对浦子的作品欣赏有加，由衷地感叹：“浦子热爱文学，尤其对小说这个文体情有独钟。他又是执著的，从他的创作历程来看，没有什么困难可以阻挡他的创作。从他的作品里，我们感受到了浓郁的生活气息，看到了民间文化的含量，看到了思想的翅膀的飞翔。”浦子的作品除了“王庄三部曲”和其他中短篇小说、长篇报告文学之外，还有大量散文随笔，这些散文随笔大都仍以家乡的风土人情为描摹对象，倾注了他对家乡挥之不去的钟爱。
浦子不无自信地告诉笔者，现在，他又在酝酿长篇新作，仍以家乡为背景，目光紧盯当代现实。“我的学习、生活、工作，一直没有走出由两边群山夹峙如小拇指般狭长的小县城。”浦子说，他文学创作的灵感来源于这片山水，所以也应该把自己的这份文学情怀寄寓在这美丽的故土之上。
（本文照片由作者和浦子提供）
Pan Jiaping is well known among his fellow writers in Zhejiang for his keeping a low profile and hard working at his novels. He has penned a trilogy set in Wangzhuang， a fictitious place where the ， and unfold epic stories. The trilogy is published under the penname Pu Zi.
His first novel was published in December 2008. He conceived the original idea in 2001 and completed the novel in six years. It is about a mysterious man who ends up in an ancient village in remote mountains， with his memory of the past lost. It is in the last years of the Qing Dynasty when modernism is lurking and the old empire， unable to cope with issues at home and abroad， is about to crash. The man doesn’t remember who he was and what he was. He is a master of ceramics. While the ceramic pieces he makes amaze the village， his unconventional ideas shock mountain villagers. Unconventional ideas touch off a series of strange events. The village fights back. In the end， the outsider kills himself in the Dragon Kiln. The tragedy， however， is not particularly depressing. The novel was nominated in 2011 for Mao Dun Literature Prize， the nation’s top novel honor issued every four years.
If is set against the time in the early 20th century， then ， the second of the trilogy published in 2013， relates a story that takes place in the same village and five years later. ， which went on market in January 2017， gives accounts of what happens in the village from 1949 when the People’s Republic came into being up to now. This timeline at first got the novelist into a technical dilemma. He was worried that shortsightedness might have sneaked its way into the finale of the trilogy if he did not watch carefully. His solution was to tell the story against the historical events directly in a linear way. The three novels combine to pose a critical question： how much does an individual， a family， a nation， mankind， have to pay for sweeping and fundamental historical changes？ The trilogy is critically acclaimed. It is considered an epic about Zhejiang in the past 100 years. The trilogy represents the best of Pan Jiaping’s literary career. The three novels are among the best novels Zhejiang has produced in the 21st century.
Wangzhuang is patterned after Guanzhuang where the author was born in 1957. Situated not far from the seat of Ninghai County in eastern Zhejiang， the small village has long since vanished into the surging urban sprawl of the county capital. The biggest celebrity of the village is Pan Tianshou （1897-1971）， presumably the greatest traditional Chinese art education master of the 20th-century China. Pan Jiaping shares the surname with the master. Though growing up in the years when books were rare， he read some. After graduation from high school in 1974， Pan Jiaping came back to the village and worked as a farmer. He found time to read books and write a number of plays for the village troupe. When the local people’s commune wanted to find a film projectionist who could write， Pan was picked. The films he projected across the commune nurtured his literary mind.
When the Cultural Revolution （1966-1976） ended and colleges and universities began to recruit students， Pan signed up for the national college entrance examination. Thinking his score wouldn’t be good enough for colleges and universities， he picked a secondary technical school only to find regretfully that his score would have got him into a college. He learned how to drive at the school and came back to the village. He worked a number of jobs at a transportation business. In his spare time， he read diligently and kept writing short stories and novellas. After he published a short story in People’s Literature， the very top national literary periodical， people in Ninghai were deeply impressed. He was transferred to work as a journalist. This new job gave him a lot more time to write and read.
Right now he is thinking about a new novel set in his home village at the present time. “My life is always in the county’s capital city， which is as thin and narrow as a finger flanked by mountains on both sides，” comments the writer. He gets all the inspiration for his novels from his life here.