意義不斷滑落的倖存者──細析胡淑雯小說

Survivors whose meaning keeps slipping A detailed analysis of Hu Shuwen's novels

謝樺瑩(Shie Hua-ying)

胡淑雯 ； 倖存者 ； 失語與善狡 ； 多元敘事手法 ； Analog poetry ； The Six dynasty ； Stylistics ； Objective normative

靜宜中文學報

24期（2023 / 12 / 01）

71 - 102

繁體中文;英文

胡淑雯（1970-）在其作品《哀豔是童年》（2006）、《太陽的血是黑的》（2011）、《字母LETTER：胡淑雯專輯》（2018）、以及字母會中（A－Z）26篇短篇小說，皆可以看到胡淑雯望向社會金字塔的眼光，始終凝視的都是底層的邊緣者。本文將以胡淑雯小說進行分析，以倖存者的身分定位，透過《心的變異：現代性的精神形式》闡釋倖存者姿態以及柏格森對記憶的論述與王斑《歷史與記憶：全球現代性的質疑》與文本進行對話，來探討書寫、記憶與敘事的關係並爬梳胡淑雯重複書寫倖存者的目的。先從微觀的視角切入，以文本中倖存者的症狀剖析創傷所造成的失語與失序，失語的倖存者、善狡的倖存者多面向的呈現倖存姿態以及對純真與惡的本質叩問。再將視角拉高，追索胡淑雯透過書寫所希冀達到的目的，透過虛構書寫與記憶和對話、長鏡頭與蒙太奇作為多元的敘事手法，胡淑雯不斷的重複書寫不單只為記憶，而是透過書寫使他者（受害者／亡者）的異質性得以被看見，與惡的質地被真正地注視，並永恆記憶創傷之於倖存者的無以訴說和斷裂。在倖存者身上所固著的哀傷，因著善狡與時間的延異，使其意義不斷滑落，為倖存經驗創造更多的「異質性」，而不僅只是哀傷。追索善、惡的灰色地帶，使倖存的多元面向有被觀看與思辨的可能。

Hu Shuwen (1970-) in her works "Sorrow and Love is Childhood" (2006), "The Blood of the Sun Is Black" (2011), "Letter Letter: Hu Shuwen Album" (2018), and Letters Club (A-Z) . In all short stories, you can see Hu Shuwen's eyes looking at the social pyramid, always gazing at the marginalized at the bottom. This article will analyze Hu Shuwen's novels, position herself as a survivor, and explain the posture of survivors and Bergson's discussion of memory and Wang Ban's "History and Memory: Global Modernity" Doubts" discusses the relationship between writing, memory and narrative through dialogue with the text, and combs through Hu Shuwen's purpose of repeating the writing of survivors. Starting from a microscopic perspective, the aphasia and disorder caused by trauma are analyzed with the symptoms of the survivors in the text. The aphasia survivors and the cunning survivors present a multifaceted surviving posture and question the nature of innocence and evil. Then raise the angle of view to pursue the goal that Hu Shuwen hopes to achieve through writing. Through fictional writing, memory and dialogue, long shots and montage as multiple narrative techniques, Hu Shuwen's continuous repetition of writing is not only for memory, but also for the use of writing. The heterogeneity of the other (victim/dead) can be seen, and the texture of evil can be truly watched, and the unspeakable and brokenness of trauma to survivors can be remembered forever. The fixed sadness in the survivors continues to lose its meaning due to cunning and the passage of time, creating more "heterogeneity" for the survivors' experience, not just sadness. Pursuing the gray area between good and evil makes it possible for the survivors' diverse aspects to be viewed and speculated on.