木心是誰?這位橫空出世的國學大師到底是何方神圣?各地讀者“揭密”木心的行動隨著《哥倫比亞的倒影》一書的暢銷和斷檔的空白等待中，拉開序幕。

日前通過各種渠道，打聽到這位被陳丹青稱作“師尊”的大師日前寓居美國紐約，是在美國藝術圈赫赫有名的華人畫家，他剛剛于去年結束一場歷時4年、轟動美國耶魯、芝加哥等地的《全美博物館巡回個展》。

2月9日上午10時許(美國東部時間前晚的21點)越洋采訪了木心，揭開籠罩在這位大人物身上的“神秘面紗”：這位學貫中西的國學大師是可以說一口杭州話的杭州人，而他目前最大的心愿便是回國，而且杭州是他回國頤養(yǎng)天年的首選地!

回國首選是杭州

撥通木心美國紐約家中的電話時，鈴聲沒響幾下電話就接通了。筆者用英文簡短介紹自己來自錢江晚報時，剛才還用英文應答的木心忽然冒出一句杭州話：“你好你好，我是杭州人。”讓筆者一下子驚住了。

“你們到處找木心是誰?而我呢，一個人躲在美國燒飯吃?！蹦拘南壬穆曇袈犉饋盹L趣、年輕，筆者心里早先傳染自陳丹青等人的“畢恭畢敬”的壓力開始消失了。而電話線那頭，木心先生也為“聽到了久違的家鄉(xiāng)聲音”而非常開心，稱筆者給他帶去了“祖國的聲音”。

“我是杭州人，現在還能說一口杭州話。我出生在浙江烏鎮(zhèn)，但童年、求學以及第一份工作都在杭州。”木心先生早年在杭州國立藝專(現中國美術學院)上學，師從林風眠先生，30年代末曾在杭州高級中學任教。木心說，自己兒時跟家人住在杭州佑圣觀路、梅花碑一帶，最喜歡去的地方是西湖邊的葛嶺，那兒的美景仍常出現在他夢境。

“現在年紀大了，要準備‘收拾’自己了，所以我想回國了。這些年，只要我一回國，第一個去的地方就是杭州。去年，我曾到過杭州，想去找佑圣觀路，可是找來找去都沒找到。杭州變化太快了，杭州真的是很美。以后回國了，我最想去的地方就是杭州?，F在浙江烏鎮(zhèn)政府給了我一座小房，而我呢，最想的還是在杭州梅花碑附近有一間小房子，把我的畫作都收進去。”

苦等簡體版20年

《哥倫比亞的倒影》是木心的第一部簡體版散文集，選編了《九月初九》《哥倫比亞的倒影》《上海賦》等最能表現他行文風格的散文13篇。20年前，木心的作品登陸臺灣，首先發(fā)表在《聯合文學雜志》，引起內地文壇震動，一度人人爭問木心是誰。

筆者：聽說你出了12本繁體版作品，但目前為止，你只出了1本簡體字版本。是否特別偏愛繁體?

木心：繁體跟簡體只是技術手段而已。畫畫是我的主業(yè)，我本來不想寫文章，1984年我偶爾寫了幾篇散文，被臺灣的出版商發(fā)現了，他們開始向我約稿。結果沒想到一發(fā)不可收，一共在臺灣出了12本作品。

筆者：《哥倫比亞的倒影》是您最好的作品嗎?

木心：應該說不是，但肯定代表了我的行文特點，為了讓大家知道我的作品風格，我已委托廣西師大將我在臺灣地區(qū)出版的12本散文濃縮成8本，《哥倫比亞的倒影》是第1本，其余7本將陸續(xù)出版。但它們收錄的都是我20年前的作品，等8本出完之后，我還將把我最新的作品翻譯整理出來，它們曾經以英文發(fā)表在美國的報章雜志上。

筆者：您的作品一面世即暢銷，據出版社說，目前為止1萬冊已經都訂出去了，在很多書店，它都位居暢銷書榜首。

木心：這是個好消息。但應該說在我意料之中。

筆者：意料之中?

木心：我有心理準備，我知道會受歡迎，這其實不是我木心的問題，而是讀者水準的問題。內地讀者的水準高起來，以前沒看到這樣的文學，看到了就喜歡了。我以前不敢出，因為覺得時機沒到。選擇在這個時候出書，我等了20年，書好賣說明我出簡體版的時機選對了，國內經濟在發(fā)展，對文化、知識以及民族國家記憶的渴望在上升，我的書才受歡迎。這是個好消息。

比新派還要新派

筆者：陳丹青介紹您，說您是我們時代唯一完整地銜接了古典漢語傳統和五四文化傳統的作家。從您的作品中看，有著深厚的古文底子，國學大師在人們印象中都是很“古派”的，您自己覺得是不是這樣?

木心：我不是“古派”的學者。我是借古說未來，說古的方向是發(fā)展到未來去，而不是回顧過去。我寫古代不是留戀過去，而是借古代力量沖到前面，我比新派還要新派。我喜歡古文，但我不是復古主義者。我想我一點破，可能讀者便能從我的古意中讀出新意了。

筆者：有人說現在國內的國學研究已經斷層了，像您這樣學貫中西的學者幾乎找不到了。您認為現在的教育中是不是少了傳統國學的教育?

木心：我從小在家里父母請家庭教師接受教育，小時候家里的藏書非常多。父母親又特別給我請了夏承燾這樣的老師來教，從小我的古文就是有系統地學。這跟現在學校里的古文教育不同，但現在大家都開始重新覺得讀文言文很有味道，跟以前視其為“四舊”相比，就已經很進步了。

筆者：您似乎不屬于中國文學史上的任何一個階段。您與別的作家的最大不同是什么?

木心：可能我從小看的是一些世界性的書，我看著圣經、希臘神話、莎士比亞的作品長大，再加上少時的古文底子，我和國內的作家可能不太一樣。

陳丹青搞文學“前途無量”

木心也是在美華人精英圈中赫赫有名的“國學大師”，有不少學者會定期到他的寓所去聽他講《世界文學史》，一些對中國感興趣的外國人也會來造訪，陳丹青便是在他寓所聽課的鐵桿學生之一。

筆者：說說您跟陳丹青的交往?

木心：1982年我到美國。2年后，我認識陳丹青。他是在我寓所聽課的學生之一，他是很認真的學生，聽課筆記做得很完整。文學是他的愛好，是我鼓勵他開始寫作的。

筆者：陳丹青去年有一本《退步集》很暢銷，作為老師，您有什么評價?

木心：藝術都是共通的，文學、音樂、美術都是一個審美的行為。陳丹青是搞藝術的，他搞文字同樣出色，同樣前途無量。

有關鏈接：

木心，本名孫璞，1927年生，浙江桐鄉(xiāng)人。上海美術?？茖W校西畫系畢業(yè)，1982年移居紐約，從事美術及文學創(chuàng)作。著有《散文一集》《瓊美卡隨想錄》《即興判斷》《溫莎墓園》《素履之往》《巴瓏》《會吾中》等。

名家推崇

木心先生有高遠的抱負，他要打破傳統意義上的散文界限，在散文創(chuàng)作中融入詩、小說、評論諸多因素，使之成為一種嶄新的文體。鮮明亮麗的文字背后，深邃的思想，形而上的思考汩汩而出。寫散文于木心先生，就像是散步，“閑庭信步”。

——陳子善

第一次讀到木心先生的文章時，詞窮，腦子里居然跳出“驚為天人”四字。從實處去看，那詞藻，那語氣，那眼光，那凝重的輕輕松松，清清爽爽，我沒見過。他常在人們說夠了的地方接著寫下去，寫出獨有的好天好地。

——陳村

我們幾代人已經被深深包圍并浸透在我們的閱讀經驗之中。初讀木心先生，驚異、贊美者有之，不習慣、不懂得而茫然漠然者也有之。當我們打開木心先生的書，很可能不是我們閱讀木心，而是他在閱讀我們。木心先生在閱讀什么呢?閱讀我們的“閱讀經驗”。

——陳丹青

My Phone Interview with Mu Xin

By Han Xiaojun

Who is Mu Xin? Many Chinese readers are asking this question after the first edition of his first collection of essays entitled Reflections of Columbia sold out on the Chinese mainland. Little is known about him except for the brief fact that he is a master of Chinese literature and landscape artist with profound knowledge of Chinese classics.

After pulling every string， I finally learned that the master now lives in New York and that his four-year solo art show in museums across America just ended last year. I phoned him at 10 lock on the morning of February 9， 2006. This telephone interview unveiled some surprising details about the writer. He is from Hangzhou; he speaks Hangzhou dialect fluently， and Hangzhou， known as a paradise on earth in China， will be his first choice for an easy life in old age if he chooses to go back home.

My first words were in English. After learning that I was a journalist with Qianjiang Evening News， he suddenly spoke in Hangzhou dialect， to my astonishment. He joked with me， \"You are asking around who Mu Xin is\" Well this Mu Xin is in the United States cooking for himself right now.\"He said I brought the sound of the motherland to him.

Mu Xin was the penname of Sun Pu born in 1927 in Wuzhen， a water town in Tongxiang， Zhejiang Province. He graduated as a western painting major from Shanghai Institute of Fine Arts and moved to New York in 1982.

He grew up in Hangzhou， went to school in Hangzhou， and found his first job in Hangzhou. During his childhood years， his family lived in southern part of the city. He loved West Lake. Even now， he said， the beautiful scenery of the lake and surrounding hills still appeared in his dreams.

\"Now I am old，\"he said， \"I want to settle myself and return to my country. The first stop of my home trips in the past years has always been Hangzhou. I went to Hangzhou last year. I failed to find the street where my family once lived. There have been great and fast changes in Hangzhou. Hangzhou will be my choice when I come home. I wish to have a small house around the street where I once lived and store my paintings there.?Reflections of Columbia is Mu Xin's first book published in simplified Chinese characters and on the mainland. It contains 13 representative essays that can best showcase his style.Mu Xin's essays were first published in Taiwan and caused a big stir then. In 1984， Mu Xin wrote a few essays and got them published. The publishers in Taiwan took great interest in his writings and asked him for more. So far he has published 12 collections of essays in original complex Chinese characters in Taiwan.

Mu Xin has contracted with a publisher in Guangxi Autonomous Region in southwestern China to condense the 12 books into 8. Reflections of Columbia is the first. All the eight include essays he wrote 20 years ago. After the eight， he will translate his new essays which have been published in America back into Chinese and introduce them to mainland readers.

The first edition sold out pretty fast. It stayed on top of bestseller lists at various bookstores. Hearing this feedback， Mu Xin said it was good news and it was what he had expected. He explained that he had expected that his essays would be warmly received， for he knew the mainland readers were now well prepared for his essays.have waited for this readiness for 20 years. I did not put my books on the mainland market because I thought the time had not yet matured. The sellout means that I made the right choice at the right time. My essays are highly appreciated because， with the booming economy， the people have become more eager for culture， knowledge and the national memory. This is really good news.?His profound knowledge of China's literary classics came from his private education received at home in his childhood years. Xia Chengtao， a celebrated Chinese master， was his private teacher for a while. His father had a large collection of books. The systematic training in ancient Chinese prose prepared Mu Xin for his essays. Mu Xin said he was not a scholar of the past. He wrote about the past， but his focus was not on the nostalgic past and he did not mean to go back to the ancient glory. His writing was new. He believed that readers can read something fresh in his seemingly ancient styled essays.

Within the elite Chinese community in New York， Mu Xin enjoys a reputation as a prominent master of Chinese literary studies. He held regular lectures at his house.

Experts on the mainland find it hard to classify Mu Xin， who is different from any other writer on the mainland. There are mixed reviews. Some laud his works. Some don't. Mu Xin attributed his difference to both his knowledge of Chinese and the books such as Bible， Greek Myths and Shakespeare's works he read in his childhood years.

(Translated by David)