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上海注定是独特的,地理的独特,历史的独特,文化的独特。它既是边缘,又是中心。从一个小商埠到国际大都市,匆忙间有些潦糙,仿佛搬来一些旧砖瓦,杂乱堆积在那里。那些砖瓦形状颜色各异,无法弥合,于是便滋生出一种落寞无根的空洞来。这就是爱玲的&ldo;底子&rdo;,她的基本色调。红的,黄的,黑的,新旧杂陈,调出来不是彩虹,却是灰色的,冷冷的灰色。这样的灰色是历史的暗和现实的明调出来的。也只是在这样的半明半暗,才能发生《小艾》、《金锁记》那样的故事来。如同《红楼梦》的场景只能在远离北京的旧都南京一样,距离常常能让一些事情顺理成章地发生。它是如此沉重地存在着,像一个巨大的影子。一百年来,上海轰轰烈烈存在着,却似乎并没有发生过惊天动地的大事。所有的大事都被消融得无影无踪。于是在《倾城之恋》里,白流苏只能逃离了。范柳原对白流苏说:&ldo;在上海里,用的是一种轻松调侃的语调:&ldo;他瞥见我脸上有点心痛的神气,便道:&lso;这位同志的脸相很诚实,她说是包金就是包金。&rso;&rdo;民兵检查完行李,放她上船。张爱玲站在船上,松了口气。回过头来,深深地凝视着她生活了二十五年的地方。离开上海的经历平顺简单,甚至有一种喜剧的轻松。但是,对于爱玲,也许无论如何没有想到这竟是诀别。《对照记》里有一张照片一直是我最爱,她穿着缎子作的高领短袖大襟衫,看上去柔软闪亮,人也半昂着头,眼睛朝着侧上方,短发。给人一种清贵桀骜的姿态。衣服和人都是那样寂寞,搭配得却又是那么恰到好处。我端详着这张照片,难以确定它的时间,上午还是下午,爱玲照这张相时的天气如何,那是她生命的一个瞬间。惟一可以确定的是地址是香港兰馨照相馆。一九五四年,她从上海到了香港。那时候她早已和胡兰成离婚多年,彼时看上去,仍是一株兰花,开得淡妆浓抹两相宜,只是少了赏花人,略略显得意兴阑珊。对照记上写着这样的文字:&ldo;1984年我在洛杉矶搬家理行李,看到这张照片上的署名与日期,刚巧整三十年,不禁自题&lso;怅望卅秋一洒泪,萧条异代不同时。&rso;&rdo;这样的感慨流露出晚年凄凉的感受,然而在当时,也未必不会有&ldo;一洒泪&rdo;的冲动。看看照片就知道,爱玲的神情,是有些落寞在里面的。她走了,避开那一场喧天彻地的浩劫,否则,以她的身世纠葛,是否能安度余生,不可得知。不过,她避居美国的几十年里一直都为生计所迫,再没有惊世的佳作问世。究竟是幸与不幸,人生不是试验场,已无法分说。身在异乡,颠沛流离,清贫寡淡,这些都并非是关键,只是离开了&ldo;底子&rdo;,就少了涂抹的背景,即使那底子是灰暗阴冷的也毕竟衬托出她的光彩。她的创作生命,从离开中国那一刻起就戛然而止了。&ldo;倘使我不得不离开你,不会去寻短见,也不会爱别人,我将只是自我萎谢了。&rdo;胡兰成无疑是她的宝,她的珠,她生命的光辉所在。离了他,她的确像一条灵蛇失去了口中衔着的夜明珠,不再美得兵气逼人。她情感也许真的是枯萎了,但性命一时总是无碍的,她若是一朵花,他至多是滋润她的水,让她凋谢却是土,是中国,是上海。

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