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白银时代 : 王小波全集：第七卷
This book collects five novellas, like Golden Time,Thirtysomething, As Time Goes By, Love in the revolution and My two worldYing and yang. Golden Time is one of the Triangle melodies of times. The story happens in the Cultural Revolution when China experience suffering. It tells a story about Wang er, an intellectual. Since that is a period intellectuals are discriminated and have no ego and dignity, Wang er suffers various unjust and unfair treatment. However, he gets rid of grief and indignation of traditional intellectuals. He creates a method to against this situation. Though intellectual can not prove its innocent, it prefers to prove that it is not innocent.
- GenresChina
353 pages, Hardcover
First published January 1, 2007
3 people are currently reading
11 people want to read
About the author
Wang Xiaobo
104 books160 followersWang Xiaobo (Chinese: 王小波) was a Chinese writer who became famous after his death.
Wang Xiaobo on paper-republic.org.
Wang was born in an intellectual family in Beijing in 1952. He was sent to a farm in Yunnan province as an "intellectual youth" at the beginning of the Cultural Revolution in 1968. In 1971, he was sent to the countryside of Shandong province, and became a teacher. In 1972, he was allowed to return to Beijing, and he got a job as a working in a local factory. He met Li Yinhe in 1977, who was working as an editor for "Guangming Daily", and she later became his wife. He was accepted by Renmin University of China in 1978 where he studied economics and trade and got his Bachelor's Degree. He received his Master's Degree at the University of Pittsburgh in 1988. After he returned to China, he began to teach at Peking University and Renmin University of China. He quit his job as a college lecturer in 1992, and became a freelance writer. On April 11, 1997 he died suddenly of heart disease at his apartment.
Wang Xiaobo on paper-republic.org.
Wang was born in an intellectual family in Beijing in 1952. He was sent to a farm in Yunnan province as an "intellectual youth" at the beginning of the Cultural Revolution in 1968. In 1971, he was sent to the countryside of Shandong province, and became a teacher. In 1972, he was allowed to return to Beijing, and he got a job as a working in a local factory. He met Li Yinhe in 1977, who was working as an editor for "Guangming Daily", and she later became his wife. He was accepted by Renmin University of China in 1978 where he studied economics and trade and got his Bachelor's Degree. He received his Master's Degree at the University of Pittsburgh in 1988. After he returned to China, he began to teach at Peking University and Renmin University of China. He quit his job as a college lecturer in 1992, and became a freelance writer. On April 11, 1997 he died suddenly of heart disease at his apartment.
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January 6, 2026
《白銀時代》是「時代三部曲」的第二部，繼《黃金時代》之後，於一九九○年代中後期問世。這部作品從文革時期的歷史荒誕轉向未來科幻的想像，卻依舊延續了王小波一貫的幽默、諷刺與知識分子的疏離視角。相較於《黃金時代》那種直白而肉慾的寫實，這裡的筆觸更傾向於黑色幽默與反烏托邦的寓言，透過一系列中篇小說，描寫一個荒誕的未來社會中，知識分子的生存困境與精神掙扎。書名「白銀時代」本身即帶有自嘲意味——作者明言這是比「黃金」稍遜的時代，卻仍閃爍著智慧的光芒。
小說集的核心篇章〈未來世界〉（又名〈白銀時代〉）講述了一個名叫「我」的年輕寫手，在未來的「寫作公司」裡工作。他的日常任務是創作通俗小說，內容必須嚴格符合公司規範：故事要充滿「有趣」元素，卻又不能逾越審查紅線。為了激發靈感，公司安排員工輪流去養豬場勞動——主角被分配到豬場餵豬，卻在那裡與一位名叫「小轉鈴」的女知青發展出曖昧關係。這段情節充滿荒誕：主角在豬圈裡寫作，豬群成為他的「讀者」，而小轉鈴則是個神秘、叛逆的女子，兩人之間的互動既浪漫又充滿哲學對話。後來，主角因寫出不受歡迎的作品而遭處罰，被送往更偏僻的「紅色文化村」繼續勞動，那裡的日常生活同樣充斥著官僚主義與集體狂熱的變形。這個小說簡直是對當今中國文學圈的天才預言。
其他篇章如〈2010〉與〈2015〉則更具科幻色彩。〈2010〉描寫一個時間旅行的故事，主角意外回到過去，試圖改變歷史，卻發現一切皆是命定般的循環，充滿對因果與自由意志的哲學思辨。〈2015〉則涉及一個虛擬實境的世界，知識分子在其中沉淪，無法分辨真假，諷刺了科技對人性的異化。這些故事常以第一人稱敘述，反覆出現「我」這個王小波式的知識分子形象：喜歡思考、閱讀哲學，卻在荒謬的社會機制中掙扎求生。書中不乏性愛描寫，延續《黃金時代》的直白風格，例如主角與小轉鈴在豬場的親密場面，被寫得既原始又帶有象徵意味——在一個壓抑創造力的時代，性慾成為少數剩餘的自由領域。
王小波的魅力在於他總能以輕快的語調處理沉重主題。他不直接批判社會，而是用誇張的荒誕來放大現實的荒謬：未來社會的「寫作公司」何嘗不是對當代文壇與文化產業的隱喻？那些繁瑣的審批程序、強制的「有趣」標準，以及知識分子被邊緣化的命運，都讓人聯想到現實中的種種束縛。他的幽默帶著苦澀的自嘲，例如主角常在敘述中插入哲學反思，討論羅素、維根斯坦，卻又立刻被豬叫聲或官僚指令打斷，形成強烈的對比張力。
他對未來的描述，與其說是所謂的幻想，不如說是對共產極權的合理推演，很不幸，總讓他說中了。只不過，現世的文學和藝術創作已經進化到知識份子所想像不出來的境地: 官僚文宣系統各顯神通，AI生成的口水文，廣大無產階級網絡寫手和內容製作者捜腸刮肚寫出來的的霸道總裁愛上我爽文，比知識分子的靈魂拷問更能滿足庸眾之樂。黨固然要封禁不合的作品，但有趣而合規的作品，自有其他人來生產製作。相對而言，1984中滿足無產階級需求的故事機器和歌曲機器，倒是更高明的設計。
小說集的核心篇章〈未來世界〉（又名〈白銀時代〉）講述了一個名叫「我」的年輕寫手，在未來的「寫作公司」裡工作。他的日常任務是創作通俗小說，內容必須嚴格符合公司規範：故事要充滿「有趣」元素，卻又不能逾越審查紅線。為了激發靈感，公司安排員工輪流去養豬場勞動——主角被分配到豬場餵豬，卻在那裡與一位名叫「小轉鈴」的女知青發展出曖昧關係。這段情節充滿荒誕：主角在豬圈裡寫作，豬群成為他的「讀者」，而小轉鈴則是個神秘、叛逆的女子，兩人之間的互動既浪漫又充滿哲學對話。後來，主角因寫出不受歡迎的作品而遭處罰，被送往更偏僻的「紅色文化村」繼續勞動，那裡的日常生活同樣充斥著官僚主義與集體狂熱的變形。這個小說簡直是對當今中國文學圈的天才預言。
其他篇章如〈2010〉與〈2015〉則更具科幻色彩。〈2010〉描寫一個時間旅行的故事，主角意外回到過去，試圖改變歷史，卻發現一切皆是命定般的循環，充滿對因果與自由意志的哲學思辨。〈2015〉則涉及一個虛擬實境的世界，知識分子在其中沉淪，無法分辨真假，諷刺了科技對人性的異化。這些故事常以第一人稱敘述，反覆出現「我」這個王小波式的知識分子形象：喜歡思考、閱讀哲學，卻在荒謬的社會機制中掙扎求生。書中不乏性愛描寫，延續《黃金時代》的直白風格，例如主角與小轉鈴在豬場的親密場面，被寫得既原始又帶有象徵意味——在一個壓抑創造力的時代，性慾成為少數剩餘的自由領域。
王小波的魅力在於他總能以輕快的語調處理沉重主題。他不直接批判社會，而是用誇張的荒誕來放大現實的荒謬：未來社會的「寫作公司」何嘗不是對當代文壇與文化產業的隱喻？那些繁瑣的審批程序、強制的「有趣」標準，以及知識分子被邊緣化的命運，都讓人聯想到現實中的種種束縛。他的幽默帶著苦澀的自嘲，例如主角常在敘述中插入哲學反思，討論羅素、維根斯坦，卻又立刻被豬叫聲或官僚指令打斷，形成強烈的對比張力。
他對未來的描述，與其說是所謂的幻想，不如說是對共產極權的合理推演，很不幸，總讓他說中了。只不過，現世的文學和藝術創作已經進化到知識份子所想像不出來的境地: 官僚文宣系統各顯神通，AI生成的口水文，廣大無產階級網絡寫手和內容製作者捜腸刮肚寫出來的的霸道總裁愛上我爽文，比知識分子的靈魂拷問更能滿足庸眾之樂。黨固然要封禁不合的作品，但有趣而合規的作品，自有其他人來生產製作。相對而言，1984中滿足無產階級需求的故事機器和歌曲機器，倒是更高明的設計。
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