庫雷西短篇小說集《愛在藍色時代》與《全日午夜》中的錯愛之愛

Crossed Love in Hanif Kureishi's ＂Love in a Blue Time＂ and ＂Midnight All Day＂

本文以英國1990年代後女性主義的時代背景為經、拉岡對於（無能的）愛的論述為緯，探討英國小說家庫雷西（HanifKureishi）在其兩本短篇小說集──《全日午夜》與《愛在藍色時代》──對於錯愛的描繪，以及從中建立起其特殊愛的倫理的可能。相較於庫雷西對族裔、性別與階級議題提出異議的早期作品，這兩本短篇小說集所呈現的非關特定族裔的男性特質比較不受青睞。在擁有社經地位一定的優勢以後，作家被視為失去對於社會的批判動力，而沈湎於抒發中年、中產階級男性的自戀、自我厭棄與慾望。本文認為諸如此類的想法忽視了庫雷西暴露愛情被正統的性、慾模式所穿透的努力，而這些模式都與拉岡的象徵秩序、以及自我與他者間的倫理議題相關。論文首先整理關於這兩本短篇小說的主要評論觀點。多數的評論家認為庫雷西探討了親密關係的瓦解、後女性主義時代的男性特質、中年危機等議題，而沒有更深入探討這些現象彼此間的關係、以及其中隱現的愛的壓迫與愛欲倫理。其次，本文以後女性主義時代歷史化拉岡的象徵律法秩序，並參考拉岡和伊希嘉黑探討的愛的實然與應然，作為耙梳庫雷西筆下情慾現象的出發點。相較於部分評論者對故事中男性角色的負面評價，本文認為庫雷西（不符道德）的錯愛現象，是拉岡把愛情定義為自戀或融合慾望的例證。當從一而終和排他性的佔有難以成為後現代的愛情準則時，庫雷西的錯愛關係顯示自我與他者的異質性，在複數關係的實踐中重新定義開放多元的愛的倫理。

With a 1990s context of postfeminism, on the one hand, and Lacan's psychoanalysis of an impossible love, on the other, this paper explores Hanif Kureishi's representations of crossed love and its ethics in Love in a Blue Time and Midnight All Day. In comparison to Kureishi's early works regarding ethnic, gender and class dissidence, these two collections of short stories are not eye-catching because of the middle-aged male protagonists without ethnic specificity. Many critics believed that after Kureishi's early success allowed him a socio-economic superiority, he became steeped in abjection, narcissism and desire and began to express such moods in his middle works. Readings of this sort ignore Kureishi's endeavor to expose love as a relation interwined with orthodoxic modes of sex and desire, which reflect Lacan's symbolic order and an ethic problematic of self-other relationships. This paper first reviews different viewpoints on these two books, examining their lack of interest in fathoming interrelations among postfeminism, new masculinities, mid-life crisis, an oppressive regime of love and a possible love ethics. Second, I historicize Lacan's symbolic order with postfeminism and refer to Lacan and Irigaray's discourses on what love is and should be, so as to illuminate breaks of long-term relations in these stories. In contrast to some negative responses to Kureishi's male protagonists, I argue the crossed loves-love failing to match the other's anticipation-exemplifies Lacan's definition of love as narcissism or a desire to merge with the loved object. While an ideology of eternal and exclusive love becomes more and more unviable in the privileged postmodern context, Kureishi's crossed relations of love exposes heterogeneity of the self and other, perhaps thus reimagining an open ethics of love.