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今年4月《人民日报》刊发一篇题为《七旬老农“种字造文”》文章，介绍浙江景宁畲族自治县一个老农写书的故事；《中华读书报》也发表了《一个农民的人生笔记》，评价这个农民出版的一本不平常的书，说这个老农的书犹如盛在粗瓷大碗里的一道鲜活农家土菜。
这个老农就是我的父亲张路福，一个道道地地僻远山村的农民。他的书《路福记事》和《土诗》出版后，被有的作家喻为“真正意义上农民写的书”。
由于家境窘迫，我父亲只读了四年小学便开始务农。23岁那年父亲以自己忠实的为人获得村民一致举荐，担任了村民集体创办的英川供销社黄谢圩门市部的首任营业员，直至获上级赏识调区、县、温州、文成等地从事营业员和会计工作。1962年，32岁的父亲响应号召，不顾自己身躯的瘦弱，毅然支农回到了家乡。
回到农村，开始面对生活的真实：家是一穷二白的家，而孩子却陆陆续续地出生……
父亲开始了与先前完全不一样的生活：耕田、养牛、割草；种地、砍柴、挑水；送孩子们上学和出门帮工……从清晨到星夜，从春风到寒露，四季轮回，寒暑更替，在时光消逝中原本就十分瘦弱的父亲开始慢慢变老。
“以农业为荣，以田园为乐。”是父亲的名言，也是几十年来激励父亲在艰难中前行的主要精神动力。他爱大山，爱山村，爱溪流，爱土地，他在家中贴了亲手书写的对联：“青山绿水静人心，竹篱茅舍养精神。”
父亲年轻时曾看过《西游记》《三国演义》《水浒传》《今古奇观》《千家诗》《劝世文》等书，看了不过瘾，还用毛笔工工整整地将书抄下来。在每日种田之余，还养成了记事的习惯，开始记的是劳动日记，渐渐地发展到记山村里发生的事，再补记一点内心感受什么的。如此渐渐成了习惯后，他白天上山干活，晚上便就着昏暗的火篾或松明灯火，将水泥袋纸和香烟壳等当作稿纸，在上面一笔一画写下一天的所见所闻。它有时记山民讲的民间故事，有时记亲属之间的情谊，有时记民间风俗，有时记山村里发生的新事，有时记农作物的生长，有时还用拟人化的手法写山间的动物，有时甚至还写顺口溜式的诗……，总之是五花八门，应有尽有。就说父亲写打油诗的故事吧：很多年前小山村的竹林里常常发生毛竹被偷的事，每家每户都很烦恼，但也没有什么好办法对付。父亲想到了在毛竹上作记号也许有用，就跑到自家竹林里一手拿毛笔，一手拿油墨，给挺拔的毛竹逐株写上“裕泰”等字号，就像是他给竹子取名字。他写到后来，还自编打油诗写在竹上：“你家有毛竹，还到我家砍；你要毛竹用，应该自己养!”不想这一招效果却出奇地好，因为偷竹人偷了写上字的毛竹去，则必须得刮去上面的字才不被人识破，即便刮去了也还是留有痕迹，同时竹上所写的诗文多少还有点教化作用，渐渐地偷竹的人少起来了。
经过整理、编辑、排版、打印、校对，经过父子俩两年的共同努力，在有关方面的关心和帮助下，2004年10月，父亲的《路福记事》面世了。路福是村里人喊了父亲一辈子的名字，“记事”则更多地体现了文本特点，表明作者是在记述性地写下他的一些所见所闻、所思所想。全书20万字，共收入文稿108篇，分山野记事、村居记事、亲情记事、岁月记事、阳光记事、传说记事等六辑，还穿插了许多图片，第二年年底又出版了诗集《土诗》。《土诗》共收入诗稿241首，分12辑，分别是：田野动物、虫鱼禽鸟、植物家畜、四季随想、亲友感怀、村居杂事、田间土名、山野土名、邻村回眸、七庙一殿、故事略吟、海盐喜行。
“值得一提的是，这一次父亲不仅十分认同“土诗”这个名字，还抽时间自己动手完成诗稿的分辑与归类，使整个筹备工作得以顺利进行。父亲的配合使我十分高兴，就像是配合我出诗集一样。
“钟鼓在楼，响声在外。”一个山区农民正儿八经出了两本书，其浓郁的乡土气息和原生态的特色引起有关方面和媒体的关注，许多记者不远千里前来我的家里采访，淳朴的母亲不得不开始像明星一样面对各路记者。起初还好，觉得有客人远道而来，理应高兴。但时间一长来的人多了，父母便开始不安起来，父母不是嫌麻烦，而是觉得自己给人家添了麻烦。父亲固执地认为是自己不好，是自己的“这点东西”导致人家要大老远赶来，这太麻烦人家了！再说自己又不会说普通话，家里又没什么好吃的，真的很抱歉。有一次，我告诉父亲，说北京有记者要来，父亲一听赶紧说：“你叫他千万不要来，太远了！以后有人来找你，你就说‘这老头已去世了’好了，这样最好。”话虽这么说，可每次有记者来父母亲还是很高兴，还是尽量配合和满足大家的采访，直到不知不觉成了一家人。
Historical Records by an Old Farmer
By Zhang Huihu
In April 2006, People's Daily printed a feature on a 76-year-old farmer in Zhejiang who wrote a book. China Books Review, a nationwide weekly on books, published a review on the farmer's book in January shortly after the book was published.
That is my father, an out-and-out farmer in a remote mountainous village in southern Zhejiang. His two books, Lufu's Chronicle and Earthy Verses, are viewed by some critics as books by a farmer in the genuine sense of the word.
My father studied at a primary school only for four years before he had to drop out and began to work in the fields. At the age of 23, he was elected unanimously by villagers to work as a salesperson at a local cooperative because they believed he was an honest man. His work won appreciation and he was assigned to work in more important positions away from home. In 1962 when natural disasters and the economic downturn hit and the government began to cut jobs on a large scale, my father volunteered to come back to the home village to farm.He was 32 years old that year.
He began a life completely different: he worked in the fields, planted crops, cut wood, carried water, took kids to school and worked away from home as a part-time laborer.
He had read literary classics in his younger days and even copied all these books with a brush pen. That can probably explain partly why he began to keep a diary. At first, he jotted down what he did, after a day's work. Gradually, events in the village found their way into his journal. Not a passive observer, he commented on these events now and then. The journal also teemed with folk stories he heard from fellow villagers, notes on family ties and warm feelings between family members and relatives, folk customs, crop growth, and village news. He created some stories of personified animals and scribbled some doggerel-styled poems. What went into the diary eventually formed a vivid and big picture of his cultural life and rural scenes. He used cement packing bags and cigarette packs, among other things, as his manuscript paper. One event he recorded was about how he tried to stop bamboo thefts in the village. For a time, bamboo thefts occurred frequently. Villagers became frustrated but helpless. My father came up with an idea. He marked all the bamboos in the family plot with an imaginary shop title. Later he even wrote criticizing verses on the bamboos to discourage thieves. This method worked, for a thief would have to scratch the ink off before a bamboo pole could be used or sold. And even if the ink was scrubbed off, the telltale mark would still be there. Villagers copied my father's practice and gradually bamboo thefts became infrequent.
A few years ago, I tumbled into my father's treasure and began to sort out the journals and verses. Altogether the records were 300,000 words long. However, my father strongly disagreed with me on whether the journal should be published. He thought it embarrassing to show these things to other people and he held that the journal should be kept private. During one spring festival, I was home with his manuscripts and the printed transcript I had sorted out. I wanted to work with my father to edit out the possible discrepancies between his original journal and the transcription. He put it off again and again with various pretexts. It was not until the night before my leaving home that I finally persuaded my father to sit down and work with me. We toiled till the small hours in the morning. Even then, he felt he was trapped, saying that he should have burned the diaries years before.
His stubborn unwillingness made me hesitate for a while. But I determined to proceed, for I realized these diaries kept track of the years of my father and our family, and they are an important documentation of the cultural life in the country's vast rural area during this particular period. A teacher at my college even described the diaries as a single person's historical records of the nation's countryside.
After my father and I worked together on the project for two years, and thanks to the interest and support from various people and organizations, Lufu's Chronicles authored by my father was finally published in October 2004. ufu?in the title is my father's name known to villagers all his life and's hronicle?aptly suits the characteristics of the texts in the book. The 200,000-word book carries 108 texts, divided into six units intermingled with many photographs and illustrations. At the end of the same year, his 241 poems separated into 12 categories were published under the title of Earthy Verses.
It is worth mentioning that my father liked the title of the poem collection very much. His positive attitude toward the title also showed in his willing participation in the editing work. He sorted out his doggerel-styled verses, classified them into different categories, and put them in order, which made the preparatory work very easy and efficient. Later some of his poems were even printed in People's Literature, the country's number one literary periodical for decades.
A great many reporters have come all the way to interview my parents. At first, my parents were willing to meet them. But now, they have become a little uneasy partly because they feel there is no great food to entertain them and partly because they believe they bother the reporters who travel all the way to the remote village to visit them. My father thinks he can only speak the local dialect, and the book is really nothing great to talk about again and again. My father once even asked me to lie to dissuade journalists to visit him. But journalists do come and my parents are always pleased when a reporter shows up. And a serious question-answer interview will always turn into a pleasant heart-to-heart conversation. My parents become so happy that they feel the guest is really like a family member.
(Translated by David)
这个老农就是我的父亲张路福，一个道道地地僻远山村的农民。他的书《路福记事》和《土诗》出版后，被有的作家喻为“真正意义上农民写的书”。
由于家境窘迫，我父亲只读了四年小学便开始务农。23岁那年父亲以自己忠实的为人获得村民一致举荐，担任了村民集体创办的英川供销社黄谢圩门市部的首任营业员，直至获上级赏识调区、县、温州、文成等地从事营业员和会计工作。1962年，32岁的父亲响应号召，不顾自己身躯的瘦弱，毅然支农回到了家乡。
回到农村，开始面对生活的真实：家是一穷二白的家，而孩子却陆陆续续地出生……
父亲开始了与先前完全不一样的生活：耕田、养牛、割草；种地、砍柴、挑水；送孩子们上学和出门帮工……从清晨到星夜，从春风到寒露，四季轮回，寒暑更替，在时光消逝中原本就十分瘦弱的父亲开始慢慢变老。
“以农业为荣，以田园为乐。”是父亲的名言，也是几十年来激励父亲在艰难中前行的主要精神动力。他爱大山，爱山村，爱溪流，爱土地，他在家中贴了亲手书写的对联：“青山绿水静人心，竹篱茅舍养精神。”
父亲年轻时曾看过《西游记》《三国演义》《水浒传》《今古奇观》《千家诗》《劝世文》等书，看了不过瘾，还用毛笔工工整整地将书抄下来。在每日种田之余，还养成了记事的习惯，开始记的是劳动日记，渐渐地发展到记山村里发生的事，再补记一点内心感受什么的。如此渐渐成了习惯后，他白天上山干活，晚上便就着昏暗的火篾或松明灯火，将水泥袋纸和香烟壳等当作稿纸，在上面一笔一画写下一天的所见所闻。它有时记山民讲的民间故事，有时记亲属之间的情谊，有时记民间风俗，有时记山村里发生的新事，有时记农作物的生长，有时还用拟人化的手法写山间的动物，有时甚至还写顺口溜式的诗……，总之是五花八门，应有尽有。就说父亲写打油诗的故事吧：很多年前小山村的竹林里常常发生毛竹被偷的事，每家每户都很烦恼，但也没有什么好办法对付。父亲想到了在毛竹上作记号也许有用，就跑到自家竹林里一手拿毛笔，一手拿油墨，给挺拔的毛竹逐株写上“裕泰”等字号，就像是他给竹子取名字。他写到后来，还自编打油诗写在竹上：“你家有毛竹，还到我家砍；你要毛竹用，应该自己养!”不想这一招效果却出奇地好，因为偷竹人偷了写上字的毛竹去，则必须得刮去上面的字才不被人识破，即便刮去了也还是留有痕迹，同时竹上所写的诗文多少还有点教化作用，渐渐地偷竹的人少起来了。
经过整理、编辑、排版、打印、校对，经过父子俩两年的共同努力，在有关方面的关心和帮助下，2004年10月，父亲的《路福记事》面世了。路福是村里人喊了父亲一辈子的名字，“记事”则更多地体现了文本特点，表明作者是在记述性地写下他的一些所见所闻、所思所想。全书20万字，共收入文稿108篇，分山野记事、村居记事、亲情记事、岁月记事、阳光记事、传说记事等六辑，还穿插了许多图片，第二年年底又出版了诗集《土诗》。《土诗》共收入诗稿241首，分12辑，分别是：田野动物、虫鱼禽鸟、植物家畜、四季随想、亲友感怀、村居杂事、田间土名、山野土名、邻村回眸、七庙一殿、故事略吟、海盐喜行。
“值得一提的是，这一次父亲不仅十分认同“土诗”这个名字，还抽时间自己动手完成诗稿的分辑与归类，使整个筹备工作得以顺利进行。父亲的配合使我十分高兴，就像是配合我出诗集一样。
“钟鼓在楼，响声在外。”一个山区农民正儿八经出了两本书，其浓郁的乡土气息和原生态的特色引起有关方面和媒体的关注，许多记者不远千里前来我的家里采访，淳朴的母亲不得不开始像明星一样面对各路记者。起初还好，觉得有客人远道而来，理应高兴。但时间一长来的人多了，父母便开始不安起来，父母不是嫌麻烦，而是觉得自己给人家添了麻烦。父亲固执地认为是自己不好，是自己的“这点东西”导致人家要大老远赶来，这太麻烦人家了！再说自己又不会说普通话，家里又没什么好吃的，真的很抱歉。有一次，我告诉父亲，说北京有记者要来，父亲一听赶紧说：“你叫他千万不要来，太远了！以后有人来找你，你就说‘这老头已去世了’好了，这样最好。”话虽这么说，可每次有记者来父母亲还是很高兴，还是尽量配合和满足大家的采访，直到不知不觉成了一家人。
Historical Records by an Old Farmer
By Zhang Huihu
In April 2006, People's Daily printed a feature on a 76-year-old farmer in Zhejiang who wrote a book. China Books Review, a nationwide weekly on books, published a review on the farmer's book in January shortly after the book was published.
That is my father, an out-and-out farmer in a remote mountainous village in southern Zhejiang. His two books, Lufu's Chronicle and Earthy Verses, are viewed by some critics as books by a farmer in the genuine sense of the word.
My father studied at a primary school only for four years before he had to drop out and began to work in the fields. At the age of 23, he was elected unanimously by villagers to work as a salesperson at a local cooperative because they believed he was an honest man. His work won appreciation and he was assigned to work in more important positions away from home. In 1962 when natural disasters and the economic downturn hit and the government began to cut jobs on a large scale, my father volunteered to come back to the home village to farm.He was 32 years old that year.
He began a life completely different: he worked in the fields, planted crops, cut wood, carried water, took kids to school and worked away from home as a part-time laborer.
He had read literary classics in his younger days and even copied all these books with a brush pen. That can probably explain partly why he began to keep a diary. At first, he jotted down what he did, after a day's work. Gradually, events in the village found their way into his journal. Not a passive observer, he commented on these events now and then. The journal also teemed with folk stories he heard from fellow villagers, notes on family ties and warm feelings between family members and relatives, folk customs, crop growth, and village news. He created some stories of personified animals and scribbled some doggerel-styled poems. What went into the diary eventually formed a vivid and big picture of his cultural life and rural scenes. He used cement packing bags and cigarette packs, among other things, as his manuscript paper. One event he recorded was about how he tried to stop bamboo thefts in the village. For a time, bamboo thefts occurred frequently. Villagers became frustrated but helpless. My father came up with an idea. He marked all the bamboos in the family plot with an imaginary shop title. Later he even wrote criticizing verses on the bamboos to discourage thieves. This method worked, for a thief would have to scratch the ink off before a bamboo pole could be used or sold. And even if the ink was scrubbed off, the telltale mark would still be there. Villagers copied my father's practice and gradually bamboo thefts became infrequent.
A few years ago, I tumbled into my father's treasure and began to sort out the journals and verses. Altogether the records were 300,000 words long. However, my father strongly disagreed with me on whether the journal should be published. He thought it embarrassing to show these things to other people and he held that the journal should be kept private. During one spring festival, I was home with his manuscripts and the printed transcript I had sorted out. I wanted to work with my father to edit out the possible discrepancies between his original journal and the transcription. He put it off again and again with various pretexts. It was not until the night before my leaving home that I finally persuaded my father to sit down and work with me. We toiled till the small hours in the morning. Even then, he felt he was trapped, saying that he should have burned the diaries years before.
His stubborn unwillingness made me hesitate for a while. But I determined to proceed, for I realized these diaries kept track of the years of my father and our family, and they are an important documentation of the cultural life in the country's vast rural area during this particular period. A teacher at my college even described the diaries as a single person's historical records of the nation's countryside.
After my father and I worked together on the project for two years, and thanks to the interest and support from various people and organizations, Lufu's Chronicles authored by my father was finally published in October 2004. ufu?in the title is my father's name known to villagers all his life and's hronicle?aptly suits the characteristics of the texts in the book. The 200,000-word book carries 108 texts, divided into six units intermingled with many photographs and illustrations. At the end of the same year, his 241 poems separated into 12 categories were published under the title of Earthy Verses.
It is worth mentioning that my father liked the title of the poem collection very much. His positive attitude toward the title also showed in his willing participation in the editing work. He sorted out his doggerel-styled verses, classified them into different categories, and put them in order, which made the preparatory work very easy and efficient. Later some of his poems were even printed in People's Literature, the country's number one literary periodical for decades.
A great many reporters have come all the way to interview my parents. At first, my parents were willing to meet them. But now, they have become a little uneasy partly because they feel there is no great food to entertain them and partly because they believe they bother the reporters who travel all the way to the remote village to visit them. My father thinks he can only speak the local dialect, and the book is really nothing great to talk about again and again. My father once even asked me to lie to dissuade journalists to visit him. But journalists do come and my parents are always pleased when a reporter shows up. And a serious question-answer interview will always turn into a pleasant heart-to-heart conversation. My parents become so happy that they feel the guest is really like a family member.
(Translated by David)