在《蚀》三部曲中，茅盾为上海赋形的基本逻辑是多重的：首先是通过武汉发现上海，武汉的“政治生活”创伤造成其在为上海赋形时总是试图把上海内景化；其次是上海经验在“政治生活”中苏醒，在武汉和上海的“政治生活”之外触及更混沌而厚重的难以赋形的日常生活；三是漫不经心写下的丰富的上海都市生活细节却意外写出了上海的一种精气神。对于革命景象的刻意描写反衬出茅盾对于上海的稔熟，那些丰富的细节里藏着真正的上海。这些书写既然不是作者有意为之，就更加深刻地揭示了一座城与一个人的关系：表面上是一个人在为城市赋形，实际上是一座城在为人赋形。以日常上海经验应对和消化大革命的剧烈撞击和震荡或许暗示着，上海是一座具有足够弹性的城市，能孕育和生产一些激烈的生活组织形式，譬如工人运动，也能孕育和生产相应的克服剂，譬如令人依恋的都市生活，从而为生活在上海的人赋予革命和安稳交错的双重形貌。

大革命, 茅盾, 上海, 城市, 《蚀》

In the trilogy Erosion, Maodun’s basic logic of assigning Shanghai is multiple. Firstly, he approaches Shanghai through the lens of Wuhan, where the political upheaval attempts to internalize Shanghai’s essence. Secondly, Shanghai’s experiences revive within the context of “political life”, encompassing a more intricate and challenging-to-define daily existence beyond the Wuhan-Shanghai “political life”. Thirdly, the rich details of Shanghai’s urban life are written carelessly, but unexpectedly, they reveal a kind of Shanghai’s essence. The deliberate depiction of revolutionary scenes reflects Maodun’s familiarity with Shanghai, and those rich details hide the real Shanghai. Since these writings are not intentional, they also reveal the relationship between a city and a person: On the surface, it is a person who gives shape to the city, but in reality, it is a city that gives shape to the person. The way the everyday Shanghai experience copes with and digests the violent impacts and shocks of the Revolution may suggest that Shanghai is a flexible enough city to nurture and produce intense forms of organization of life, such as the Revolution, and corresponding agents of overcoming, such as an attractive urban life, thus giving the people living in Shanghai a double shape of revolution and stability.

Revolution, Maodun, Shanghai, city, Erosion