艾丽丝·门罗早期的短篇小说《蒲露》,在短短五页的篇幅内,始终保持着“内在”的张力。全篇基本上没有渲染任何情节剧式的场景,小说本该处于中心场域发声的人物形象蒲露也始终被隔离或自我隔离在边缘处,近乎“失语”式地微弱发声。然而,就在这样的背景、这样的位置之下,门罗却成功地呈现出一位表面上近乎“斯多葛主义”式的当代普通女性对自己真实、卑微的情爱生活看似波澜不惊、其实暗潮汹涌的反思与认识,以及她为回应它而所采取的“特殊”策略——一是通过讲述轶事的方式以“置换”自己的受害者身份,二是通过看似非“仪式”性的“偷盗”行为来实现自己封存记忆的欲望,并完成自己无声的复仇。 Alice Mormon’s early short story “Po Lu”, in a short period of five pages, has always maintained “inner ” tension. The whole article basically did not render any episode scene, the novel in the center of the field sounding figure Po Lu has always been isolated or self-isolation at the edge, almost “aphasia ” style of weak sound. It is in this context, however, that Monroe managed successfully to present a seemingly “Stoicism” contemporary ordinary woman who appeared to be in a state of turmoil in her real, humble love life In fact, the introverted reflection and understanding of the underculture and the “special” strategy adopted by her in response to it - one is to “replace” one’s own victim identity by narrating anecdotes, and second, Through the seemingly non- “ritual ” sex “stealing ” behavior to achieve their desire to seal memory, and complete their silent revenge.