编者按
近年来，中华文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网(CCTSS)联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。
此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。
金仁顺，女，朝鲜族，1970年1月出生于吉林省白山市。长春市文联专业作家，中国作家协会全委会委员。著有长篇小说《春香》，中短篇小说集《桃花》《僧舞》《纪念我的朋友金枝》及随笔集《白如百合》等。编剧电影作品有《绿茶》《时尚先生》《基隆》；舞台剧作品《他人》《画皮》等。部分作品被译成英、德、日、韩、俄语等，出版韩文小说集《绿茶》（韩国亦乐出版社，2013年）。2010年，受邀参加美国爱荷华大学的国际写作计划。
金仁顺的创作以短篇小说为主，但数量并不多。她的作品大致分为以下三个题材：古典题材，这一类小说虽然设置为古典情境和背景，但核心内容却充满当下性和现代性；日常生活题材，饮食男女的故事，“金仁顺的小说更多的是植根于'怀疑论的土壤’。怀疑始终是它固执的母题。与其说是理想之爱的失落，还不如说从未出现过。怀疑或许是一种破坏性的进取，或许也是面对自我的一种迷失，或许更是一种对曾经拥有的迷恋产生了不信任。敢于将'甜蜜’从理想的国度中拉入世俗的土壤之中，让其结出日常的'幻象’之果，可谓是一种妙不可言的镜中之像。”（程德培《甜蜜的怀疑论者》）；民族题材，中国的朝鲜族，是如何融入汉语语界下的生存状态，又跟朝鲜和韩国两个国家的民众，形成什么样的交融关系。
金仁顺的长篇代表作《春香》。虽然以朝鲜半岛口口相传的民间故事为起点，却把故事重心转到了“人”身上。从文学立场上，重塑人物形象，对“传说是如何成为传奇的”进行质疑和可能性的探究。《春香传》这个民间故事里，春香的形象完全是为了讨好男权社会而设，而《春香》这篇小说，把视角推到了春香和她母亲的身上，讲述女人在封建男权时代，是如何挣扎着保有自己的尊严，艰难生存下来的。“金仁顺的写法，符合我称之为幻想性叙事的审美理想。什么是幻想性叙事呢？我把它定义为：倡导原创力和想象力，鼓励大胆契合时代的幻想，让人精神产生升华和飞翔的一种写作方法。眼下的很多作品，用我们职业编辑的行话来说，写的都太实，阅读这样的作品，是想象力被遏制被封闭的过程。”（程永新《我们为什么看不见春香》）；而在当下题材的创作过程中，金仁顺的《彼此》《云雀》《纪念我的朋友金枝》等具有代表性的短篇小说，试图探讨家庭、朋友、恋人之间的沟通问题。在互联网时代、全球化时代，人们的日常沟通变得很简单，心灵沟通却越来越艰难。这是一个悲剧的时代。它注定如此。而把时代的悲剧性用文学方式展示出来，就是接下来的写作方向。
Jin Renshun
Jin Renshun. Female. Chaoxian Nationality. Jin Renshun was born in the city of Baishan in Jilin province in January 1970. Jin Renshun is a professional writer in the Changchun Literary Federation and a member of the China Writer’s Association Committee. Her works include the book length novel Harunoka, the short story and novella collections Peach Blossom, Monk Dance, and In Commemoration of My Friend Jin Zhi, and the essay collection White as a Lily. A portion of her work has been translated into English, German, Japanese, Korean, and Russian. A Korean language version of her short story collection Green Tea was also published (Korea’s Yile Press, 2013). In 2010 she was invited to participate in the University of Iowa’s International Writing Program.
Jin Renshun’s works are primarily short stories. There are not many, however. Her works can be generally split up into three themes: classical themes, daily life themes, and ethnic themes. Though her classical works are set in classical situations and backdrops, their core content, however, is brimming with immediacy and modernity. Her daily life themed works are stories on the instinctual needs of men and women. “Jin Renshun’s novels are more rooted in the 'soil of skepticism’. Skepticism is always the stubborn motif of her work. Rather than saying the theme of her work is the loss of an ideal love, it is more correct to say that the ideal love never occured. Doubt might be a destructive way of forging ahead, or it might also be a way of being lost while facing oneself, or maybe it is even more a type of distrust generated toward a formerly possessed infatuation. Daring to take what is 'sweet’ from within an ideal country and putting it into the soil of the mundane and have it bear the fruit of the 'phantasm’ of daily life, that is an image in a looking glass that is ingenious beyond description.” (Cheng Depei’s Sweet Skeptics) Her ethnic themed work is about how China’s Korean nationality integrated into the survival conditions under a Chinese language world, and also what kind of mixed relationships they formed with the people of North and South Korea.
Though Jin Renshun’s signature book length work Harunoka starts off with a folk story from the Korean Peninsula that was passed down by word of mouth, it transitions the story’s center of gravity to 'people’. It remolds the image of the characters from the standpoint of literature, and initiates a questioning and an exploration of the possibilities of “how stories become legends”. In the folk story Chunhyangjeon the image of the Harunoka is established entirely to curry favor with a patriarchal society. Harunoka pushes the perspective onto Harunoka and her mother, and tells the story of how women struggled to protect their dignity and survive in a feudal patriarchal era. “The way Jin Renshun writes accords with what I call the aesthetic ideal of a fantastical narrative. What is a fantastical narrative? I define it as: a method of writing that advocates originality and imagination, encourages boldly conforming with the delusions of the era, and which enables people’s spirits to generate sublimation and flight. Many current works, to use the jargon of our career editor, are written too realistically. Reading this kind of work is a process in which your imagination is restrained and sealed off.” (Cheng Yongxin’s Why do we not see Harunoka?). In the process of writing themes on the here and now, Jin Renshun’s representative short stories like Each Other, Skylark, and In Commemoration of My Friend Jin Zhi attempt to explore communication problems between family, friends, and lovers. Daily communication has become very simple in the age of the internet and globalization. Spiritual communcation, on the other hand, has become ever more difficult. This is a tragic era. It is destined to be this way. Laying bare the tragedy of the age in a literary format is the future direction of her writing.
编辑 | 罗雨静
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