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中文摘要
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當代抗爭以邊緣反寫中心，蔚為風潮，如同抗殖民論者瑞埃（Amit Rai）所言：「如果我們確知，底層人民不能發言，我們能肯定她們的鬼也不說話嗎？尤其當〔我們了解〕，抗殖民理論似乎就是鬼魅論述的再現」（91）。由此觀知，《寵兒》（Beloved, 1987）以降，鬼魅再現成為文學抗爭的利器。如張淑麗（2003）指出，《寵兒》、《沒肉可吃的日子》（Meatless Days, 1989）、和《我母親的自傳》（The Autobiography of My Mother, 1996）等抗殖民作家擅以母女鬼魅再現歷史傷痛。如果張氏將重心放在母女鬼魅，本文鎖定北美原住民作家，具恰若基（Cherokee）、恰克陶（Choctaw）與愛爾蘭混血背景的歐溫斯（Louis Owens）其小說《夜地》（Nightland, 1996），企圖探討其中的原民鬼魅再現。不同於論者將《夜地》視為新西部小說（the New Western）（Helstern 1998: 61; LaLonde 15），本文轉以誌異（the gothic）文類重讀《夜地》，將重點放在歐溫斯對亡者阿都若（Arturo Cruz）的再現。不同於母女鬼魅，阿都若鬼魂復返，乃為尋身。當恰若基長者辛匡尼（Siquani）在河邊將其埋葬，雨從天降，雷聲隆隆，對亡者的召喚，不僅撫平殖民傷痛，更為子債父還（因辛匡尼後人誤動貪念槍殺阿都若），河邊葬禮使陰陽兩界言歸舊好，西部夜地因而轉向東部陽光地（the Sunland）。
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