<div style="font-size: small; "><blockquote style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0.8ex; border-left-width: 1px; border-left-color: #cccccc; border-left-style: solid; padding-left: 1ex; "><div><div><span style="font-family: pmingliu, serif; font-size: 12pt; "> 二 月中旬到大稻埕的「小藝埕」，聆聽一場朗誦表演會。</span><wbr style="font-family: pmingliu, serif; font-size: small; "><span style="font-family: pmingliu, serif; font-size: 12pt; ">演出者是來自中國四川，現居德國的作家廖亦武。</span><wbr style="font-family: pmingliu, serif; font-size: small; "><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖是中國當代最奇特的「民間故事」收集者，打滾社會邊緣 的餘生詩人，也是走唱江湖的賣藝者，他表演的樂器包括口琴、</span><wbr style="font-family: pmingliu, serif; font-size: small; "><span style="font-family: pmingliu, serif; font-size: 12pt; ">洞簫、轉經缽，還有他情緒音域變化度很高的嗓子。</span><wbr style="font-family: pmingliu, serif; font-size: small; "><span style="font-family: pmingliu, serif; font-size: 12pt; ">他把算盤當吉他來撥。 </span><span style="font-size: small; "> </span></div><div> </div><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 亦武在六四之後朗誦長詩〈屠殺〉，繫獄四年，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">在黑牢中結交三教九流，從先鋒派嬉皮詩人，「<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">不關心政治的無政府主義者」，變成了底層社會的記錄者。他自稱四 處打洞的耗子，專聽強盜、小偷、殺人犯的故事。不止如此，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他也記錄了當代中國底層各種奇特人物的生存方式與話語，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">有人將之比喻為中國的特寇（</span><a href="http://en.wikipedia.org/wiki/Studs_Terkel" rel="nofollow" target="_blank" style="font-family: pmingliu, serif; "><span style="font-size: 12pt; ">Studs Terkel）</span></a><span style="font-family: pmingliu, serif; font-size: 12pt; ">。 讀過《中國底層訪談錄》，便知道他描寫庶民生活的功力。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他的訪談風格頗突出，少鋪梗，單刀直入發問，讓讀者如臨現場，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">融入受訪者的陌異經驗，時而打斷受訪 者，介入受訪者的情緒而引導話題。他的「田野技巧」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">有多大成分是監獄中磨練出來的，令人好奇。他的文字如照相寫實，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">毫不留情揭人瘡疤，是一種寫實主義的殘 酷。 </span><br style="font-family: pmingliu, serif; " /><img border="0" style="font-family: pmingliu, serif; " alt="" /><font face="arial"> </font><br style="font-family: pmingliu, serif; " /><div style="font-family: arial; "><div style="margin-right: auto; margin-left: auto; "><img src="/EditBackyard/EditorData/Photo/2012/Mar/342012lyw.jpg" width="362" height="599" alt="" /></div><div> </div></div><div style="font-family: arial; margin-left: 200px; "><span style="font-family: pmingliu, serif; "><em>圖片來源：《新新聞》 </em></span></div><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">他 在《六四，我的證詞》中描寫1989年，六四之後他「流竄」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">四川各地，有一天在成都龍泉驛撞見的奇觀：一個偷桃子的瘋女孩，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">被幾個大漢沿街拖行羞辱，在夏 日滾燙的瀝青路面上，這女孩屁股燙得冒青煙，還遭性侵，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">有兩百餘人參與這場荒謬的鬧劇。廖亦武說，大概是同樣的群眾，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">就在不久前，上街抗議示威遊行，設路 障燒軍車，同解放軍對峙。廖對中國群眾陷入「癲狂時刻」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">的集體行為刻畫得令人心驚。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 1997年某天訪談「底層詩人趙大虎」。趙大虎是他「文人」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">系列中的一號人物，遊民般蜷居在北京魯迅文學院的教室，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">鎮日做著揚名立萬的文學大夢。廖亦武筆 下的趙大虎自稱：「我的靈魂是高貴的，可我的每個細胞都很賤，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">我常有當眾撒尿的衝動。」趙大虎的故事，可見廖對「文人」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">這個類屬的界定，透顯著來自底層社 會之酸蝕般的自由，對照傳統中國士大夫特權身段的惺惺作態。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">然而，趙大虎最自豪的還是自己的詩，據他說，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">被拿到文學院的研討會上去講評。廖觀察力敏銳，幽 默而善於比喻。他在美國一場訪談中說：中國人群聚的「<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">紐約法拉盛，是沒有共產黨的中國」。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他說法拉盛街上的氣味像極了中國的市集；他為了貪方便跟中國騙子 買了假電話卡而念念不忘。廖的專長是說故事，你問他宏觀問題，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他還是用故事回答你。 </span><br style="font-family: pmingliu, serif; " /><img border="0" style="font-family: pmingliu, serif; " alt="" /><font face="arial"> </font><br style="font-family: pmingliu, serif; " /><div style="font-family: arial; "><div style="margin-right: auto; margin-left: auto; "><a href="https://sites.google.com/site/wujiehmin/home/she-hui-zheng-zhi-ping-lun/fan-zhuan-zhi-de-di-ceng-mei-xue-ji-liao-yi-wu/%E5%85%AD%E5%9B%9B%E7%8F%BE%E5%A0%B4%EF%BC%8C%E5%9C%96%E7%89%87%E6%8F%90%E4%BE%9B%E6%96%B0%E6%96%B0%E8%81%9E.jpg?attredirects=0" target="_blank"><img src="https://sites.google.com/site/wujiehmin/_/rsrc/1330683704975/home/she-hui-zheng-zhi-ping-lun/fan-zhuan-zhi-de-di-ceng-mei-xue-ji-liao-yi-wu/%E5%85%AD%E5%9B%9B%E7%8F%BE%E5%A0%B4%EF%BC%8C%E5%9C%96%E7%89%87%E6%8F%90%E4%BE%9B%E6%96%B0%E6%96%B0%E8%81%9E.jpg" border="0" alt="" /></a></div></div><div style="font-family: arial; margin-left: 120px; "> </div><div><em><span style="font-family: pmingliu, serif; "> </span><span style="font-family: pmingliu, serif; font-size: 12pt; "><em> 圖片來源：《新新聞》 </em></span><br style="font-family: pmingliu, serif; " /></em></div><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">在 小藝埕的晚會中，廖亦武最吸引我的，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">不是他那直白控訴中共屠殺的詩歌朗誦，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">不是那段泣血般的洞簫演奏，也不是他那身修行僧裝扮（光頭、<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">袈裟、腳穿皮鞋）， 而是他在即席問答中論及的台北印象。廖剛在德國和台灣兩地出版《<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">六四，我的證詞》，在台北國際書展給了演講。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他說他對台北感到失望。整個書展空間就像大型 菜市場，每個攤位彷彿都在叫賣廉價貨色，競相打折，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">書好像蔬果魚肉，今天賣不完就不新鮮了。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">書商還聘請美女模特兒促銷，書本煞似可擦身上的香水。而書展主 辦單位替演講者準備的座椅同樣粗陋不堪，讓人覺得不受尊重。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖亦武幾次將台灣跟西方國家做比較，說台灣是「原始民主」。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 的評論使爆滿的會場擠出幾許笑聲（尷尬、或會心的笑？）。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他的觀察確實洞穿了這些年來台灣出版界庸俗商品化的窘境。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">接著幾個問題圍繞著中共對於人權的迫 害，台灣應該如何防衛中共的併吞與統戰。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">還有一位來自拉脫維亞的朋友，提到他的國家如何艱辛地與蘇聯（<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">俄羅斯）比鄰相處的歷史。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 亦武這個人的存在，就是極權主義的見證，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他在私人聚會中直率地說，他是因為恐懼自己再度入獄而選擇流亡。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">最近幾年中國的氣氛非常糟糕，許多維權、異議份子 紛紛「被失踪」。如果再被抓進去關個十年，他的人生就到盡頭了。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">因此，非走不可。但是，他強調，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">反專制是因為專制的醜陋侵犯了他的美感。他的反抗是基於美 學的理由。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 在獄中與死刑犯親近。他曾經為一個死刑犯辦了一場「毛規格葬禮」<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">，代價是雙手遭反銬二十三天，逼成一個「瘋子」。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">體驗過極端醜陋的酷刑與羞辱，使他對人性 的脆弱充滿警戒與同情。出獄後這些年，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他仍須在特務的監控下賣藝寫作，書稿數度被抄，只得不斷重寫。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">負責監管他的警察，主動提供他「改行」的機會，比如開 店擺攤賣衣服（要他把批發來的衣服安上名牌標籤）；<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">又表示要提供優厚經費請他寫作《麗江混混》。但他都拒絕了。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">這些例子可見中共「維穩」技巧的高超，如同 廖亦武說的：中共現在的統治術就是利誘先行，無效便鎮壓侍候。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">人們對於中國政府維穩經費超過國防經費的說法耳熟能詳。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">這麼龐大的錢，是怎麼花掉的呢？除了 購買先進監控設備、鎮壓武器、行政官僚開銷等等，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">還有一種花錢方法就是「撒錢維穩」。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">這些錢一部分分潤到社會基層，動員群眾協助政權控制社會（<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">實際上便是 控制人民自身）。例如，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">盲人維權律師陳光誠在坐牢之後被軟禁在山東老家，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">作息日夜受到監控，除了便衣公安，當局還用錢買通了整個村子，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">驅使村民協同警察控 制陳光誠全家。在一個由陳家人拍攝、偷渡出來的視頻中，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">陳光誠平靜篤定地訴說著他和家人的處境，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">鏡頭掃到陳家牆頭上探頭探腦的鄰居村民。這個政權真是個結 合了現代技術與封建性格的怪胎。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">我 們問廖亦武：你認為人永遠受不了物質利益的誘惑，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">為何你可以例外？他的回答是逃離。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖亦武選擇以流亡來逃離這個滋養他文學靈感的母體。我們又問：<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">你離開中 國，到一個語言不通的國家，不會中斷你的寫作計劃嗎？<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他毫不猶豫地說：我知道的故事一輩子寫不完。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">過去半年他周遊美國的中國城，也聽到許多精彩的從中國逃 逸的故事。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖 亦武這個人和他的故事，提醒我們兩岸社會之間存在著巨大差異，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">包括政治制度以及人們對於「文明」與人際關係的態度。然而，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">兩岸之間許多面向的距離正在快速 拉近。最後沉澱下來的，會是哪些微妙的歧異呢？<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">廖亦武說台灣還處在「原始民主」，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">讓我想到歷史上新生民主社會的脆弱。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">而近年來兩岸之間的政商利益網絡，如 藤蔓般急遽生長，這些貨幣利益已經攀附、鑽生到社會的每個角落，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">它們是否會腐蝕、甚至瓦解台灣尚未發育完好的民主制度呢？<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">在商品拜物教統治的蒼穹下，某種 粗俗醜惡的美感，不正在拉近兩岸的距離？ </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">我們一夥朋友和廖亦武在深夜道別，在台北一條昏黑的街上。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">分手前看著他健朗的身形，頑皮的神采，簡約的面部線條，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">我想起他在獄中「不顧死活地用竹簽、棉花蘸紫藥水創作」的〈<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">給母親〉（1991年3月）的第一節： </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><div style="font-family: arial; margin-left: 200px; "><strong><span style="font-family: pmingliu, serif; font-size: 12pt; ">你總嫌我的詩句太長 </span><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">而現在，命運卻把你的兒子 </span><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">壓縮成一個短句 </span><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">這個短句還在被刪減 </span><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">直到只剩下一堆皮囊 </span><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">一個面目全非的強姦過的詞 </span></strong></div><br style="font-family: pmingliu, serif; " /><span style="font-family: pmingliu, serif; font-size: 12pt; ">與性、性器官、性暴力勾連的詞彙，充斥於廖亦武的寫作中，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">但這些詞彙不是眩目的魔幻隱喻，而是他生活過、體驗過的真實。<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他一再說：我是不懂政治的。我反覆 玩味他這句話，他彷彿說「反對共產黨專制」不是他流亡的理由，<wbr></span><span style="font-family: pmingliu, serif; font-size: 12pt; ">他反抗是因為「來自底層的美學」不容刪減壓縮。 </span><br style="font-family: pmingliu, serif; " /><br style="font-family: pmingliu, serif; " /><em><span style="font-family: pmingliu, serif; font-size: 12pt; "><em>（〈「來自底層的美學</em><em>《</em></span><span style="font-family: pmingliu, serif; font-size: 12pt; "><em>」 不容刪減壓縮〉</em>，</span><font face="arial"><span style="font-size: 12pt; ">新新聞</span></font><span style="font-family: pmingliu, serif; "><em>》，第1304期（2012/0/<wbr>01-07），頁58-61。<wbr>作者為中央研究院社會學所副研究員，清大當代中國研究中心執委） </em></span></em><br style="font-family: pmingliu, serif; " /><div style="font-family: arial; "></div><div style="font-family: arial; 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