他说巴赫的《平均律》是 “纯粹的叙述”，每个音符都像未染尘埃的文字，在黑白琴键上铺设出不加修饰的真实 —— 这多像他笔下那些赤裸的人间故事，省去华丽的褶皱，直抵生存的肌理。当他听肖斯塔科维奇的交响乐，听见的是 “动荡年代的呼吸”，那些急促的节奏与沉郁的和弦，恰似文学里被时代碾压的个体，在命运的强音里挣出细碎的喘息。在这些随笔里，卡夫卡的小说与贝多芬的《第九交响曲》共享同一片精神疆域：前者用荒诞的叙事撕开现实的裂缝，后者以磅礴的乐章撞开灵魂的闸门。余华让我们看见，文学的纸页会呼吸，音乐的声波能叙事，它们本是同源的河流，在人类情感的高原上，时而并行，时而交汇，最终都奔涌向对 “存在” 的叩问。我们将循着这座桥，听余华拆解艺术的密码 —— 看柴可夫斯基的悲怆如何与福楼拜的冷静共振，看鲍勃・迪伦的歌词怎样生长出小说的筋骨，在文学与音乐的双重回响里，触摸那些穿越时空依然滚烫的精神褶皱。
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