從歷史文獻到兒少文學創作──參與台籍慰安婦議題繪本的個人經驗與反思

From Historical Literature to Children's Literary Creation-Personal Experiences and Reflections on Participating in Taiwanese Comfort Women's Picture Books

10.6738/bdclc.202406_(12).0008

洪佳如(Hung, Jia-Ru)

台籍慰安婦 ； 婦女救援基金會 ； 兒童文學 ； 報導文學 ； Taiwanese Comfort Women ； Taipei Women's Rescue Foundation ； Children's Literature ； Reporting Literature

竹蜻蜓．兒少文學與文化

12期（2024 / 06 / 01）

231 - 255

繁體中文;英文

2023年5月10日，台灣僅存最後一位台籍慰安婦阿媽離世，享耆壽92歲。花開有時，花謝有時，本文主要聚焦於自1999年以降，婦女救援基金會以台籍慰安婦為主題的出版品，如何挑揀合適的體裁，對於這段歷史的詮釋與回顧，從歷史文獻、影像與文字口述史、紀錄片，再到近年以兒童文學為主的媒介，探討歷史、口述搭配影像、報導文學、紀錄片乃至兒童文學。身為一名閱聽者，可以清晰的看見，對於慰安婦議題的出版載體的轉變，從早期的史料爬梳、影像紀錄，到近年逐漸向兒童文學靠近，在載體轉變的過程中，讓人看見倡議如有機體般生長出更繁複的姿態。為了讓更多台灣民眾知道這段歷史過往，提高人們對此事件的了解程度，並且修正教育課程，真正反應歷史事實與真相，婦女救援基金會一開始除了為台籍慰安婦向政府爭取生活、醫療相關補助外，近年來更致力陸續推出相關出版品，包括《台籍慰安婦的故事－阿媽的秘密》（1998）、《台灣慰安婦報告》（1999）、《鐵盒裡的青春：台籍慰安婦的故事》（2005）、《沉默的傷痕－日軍慰安婦歷史影像書》（2005）、《阿嬤的故事袋：老年．創傷．身心療癒》（2005）、《阿嬤的臉：台灣慰安婦倖存者影像紀錄》（2005）、《蘆葦之歌》（2015）、《蘆葦花開》（2020）等歷史文獻、報導文學、影像、影音紀錄、繪本故事與桌遊等以慰安婦為主題的研究與相關出版品。筆者身為兒童文學創作者，於2020年，接受婦女救援基金會委託，負責繪本《蘆葦花開》故事腳本編寫，在當時，深感奠基在真實歷史上創作之不易，加上需面對錯綜複雜的國族歷史與不平等的性剝削，在難以對當事人進行口頭訪問的情況下，唯有透過爬梳前人所編寫、整理的報導文學與歷史文獻，試著撰寫出符合婦女基金會對倡議的期待，同時讓年輕讀者貼近這段台灣歷史的故事。最後，近年來開始出現的以台籍慰安婦歷史為背景故事的文本創作，且是以台灣兒童文學創作者為主，此一現象令筆者未來欲持續探究此一歷史事件與兒童文學之間的關聯性，試析該主題，在兒童文學作品中，未來如何被發展、論述、創作的可能性。

On May 10, 2023, the last remaining Taiwanese comfort woman in Taiwan passed away at the age of 92 years old. There is a time for flowers to bloom and a time for flowers to give up. This paper focuses on how the Taipei Women's Rescue Foundation has selected appropriate genres to interpret and review the history of Taiwanese comfort women in its publications on the subject since 1999, ranging from historical documents, oral histories with images and texts, and documentaries, to the medium of children's literature in recent years, exploring the history, oral narratives, images, reportage literature, documentaries, and even children's literature. The main medium of children's literature in recent years has been history, oral narratives with images, reportage literature, documentaries and even children's literature. As a listener, I can clearly see the change in the carrier of publication on the comfort women issue, from the early days of historical materials and video recordings to the gradual move towards children's literature in recent years, and in the process of changing carriers, we can see advocacy grow more complex like an organism. In order to let more Taiwanese people know about this part of history, to raise people's level of understanding of this event, and to revise the educational curriculum to truly reflect the historical facts and truths, the Women's Relief Fund has not only been fighting for government subsidies for the livelihood and medical care of the Taiwanese comfort women, but has also endeavored to release related publications in recent years, including Stories of the Taiwanese Comfort Women - A-Ma's Secret (1998), Report on the Comfort Women in Taiwan (1998), and A-Ma's Secret (1999), and The Comfort Women of Taiwan Report (2000). Report on Comfort Women in Taiwan (1999), Youth in a Tin Box: Stories of Taiwanese Comfort Women (2005), Scars of Silence - Japanese Comfort Women's Historical Image Book (2005), Grandma's Story Bag: Old Age, Trauma, and Physical and Emotional Healing (2005), Grandma's Face: Visual Recordings of Survivors of Comfort Women in Taiwan (2005), and Songs of Reeds (2015), Reed Blossoms (2020), and other historical documents, reportage literature, videos, audiovisual recordings, illustrated stories, board games, and other comfort women-themed research and related publications. As a creator of children's literature, the author was commissioned by the Women's Relief Fund in 2020 to be responsible for writing the script for the picture book Reed Blossoms. At that time, I deeply felt that it was not easy to create a work based on true history, and in addition to having to deal with the complicated history of nationalism and unequal sexual exploitation, it was difficult to conduct oral interviews with the subjects, so I could only try to create a work through combing the reported literature and historical documents that had been compiled and collated by the predecessors. The only way to write a story that meets the expectations of the Women's Fund and at the same time brings young readers close to this part of Taiwan's history is to review the literature and historical documents compiled and organized by previous generations. Finally, in recent years, the creation of texts with the history of Taiwanese comfort women as the backstory has begun to appear, and it is mainly by Taiwanese children's literature creators. This phenomenon makes the author want to continue to explore the relationship between this historical event and children's literature, and to try to analyze how this theme can be developed, discussed, and created in children's literary works in the future.