回憶中的日常生活從伯雷納德的《我記得》到培瑞克的《我記得》

Everyday Life in the Memory from I Remember by Joe Brainard to Je me souviens by Georges Perec

美國紐約派作家、畫家伯雷納德（Joe Brainard, 1941-1994）於1970年初，陸續出版了一系列的《我記得》（I Remember, 1970; More I Remember, 1972; More I Remember More, 1973; I Remember Christmas, 1973），記下童年至青年時代的碎散回憶，四本皆採條列式，以同一句型起頭（「我記得……」）所撰，未依任何規則組織順序。無獨有偶，經朋友引介，法國作家培瑞克（Georges Perec, 1936-1982）仿其題目和架構，寫成《我記得》（Je me souviens），於1978年出版。本論文比較這兩本書，觀其各自如何從日常生活回憶中揀選值得寫記的片段：大體而言，伯雷納德較專注在與個人之性傾向與生活小節，培瑞克則刻意避開足以標記私密個人性的回憶，尋求同一世代人共同生活中的日常見聞；然而，兩者在表面強調的私密性與公共性對立之下，訊息卻溢乎其表。如今，距離兩個文本原初的創作時空已越來越遠，讀者接受現象隨著流轉，本論文藉由雪凌罕（Michael Sheringham）、布朗修（Maurice Blanchot）與阿崗本（Georgio Agamben）的論述，思考在這場遊戲般的記憶／書寫深層，所透露的日常生活特質，書寫「計劃」（projet, project）特性以及生活倫理觀。

Joe Brainard (1941-1994), artist and writer of New York school, published in the beginning of the 1970s a series of I Remember (I Remember, 1970; More I Remember, 1972; More I Remember More, 1973; I Remember Christmas, 1973), noting down his childhood and adolescence memory, which turns out to be full of rather naïve, trivial, derisory remarks or happenings. Each item begins systematically with the same phrase structure ”I remember . . .” There is no specific order to organize nearly 1500 items. Almost in the same time, French writer Georges Perec (1936-1982) imitated the title and the form of I Remember and realized his own project of Je me souviens and stopped when he achieved 480 items (1978). Comparing one with the other, we can see that Brainard tends to reveal his intimate, even sexual experiences, while adopting a quasi-sociological viewpoint, Perec insisted on the recollection of public events belonging to a whole generation. Nevertheless, under this apparent contrast of choice, the reading of these two works proves their profound affinity. Years passed by since the publication of these two works in the 1970s, and today the reader's reception must have changed quite a lot. In this article, in reference to Michael Sheringham's research on the everyday life theory, the aesthetic reflections by Maurice Blanchot, and politico-ethical thinking of Georgio Agamben, we try to apprehend both works as artistic ”project” dealing with the everydayness as well as the ethical proposition implied in its realization.