浮城／我城：從澳門小說看回歸後澳門形象的變與不變

Floating City / My City: Differences and Similarities in Macau Novels after the Return to China

在澳門1999年回歸之前，關於澳門的書寫主要聚焦在「賭城」的形象上，穿插著黑社會的仇殺爭鬥，偷渡打工的悲慘境遇，使澳門的形象長久以來一直被片面化、扁平化。回歸之前，澳門的殖民歷史與前途未定，使「浮城」的形象也在作品中有所反映，游移不定帶來的主體性喪失，過度博彩化帶來的理想性喪失，即使是回歸之後，「浮城」意識依然盤旋在澳門作家的心中。令人欣慰的是，回歸之後，出現了一批書寫澳門命運、刻畫澳門歷史、描繪澳門文化的作品，「我城」意識逐漸抬頭，對土地的情感不再疏離冷漠，取而代之的是願意正視小城的歷史發展，珍視自身的文化傳統，這樣的寫作姿態儘管看來渺小、孤單，但它所象徵的生命存在感與生活理想性，使這些「我城」書寫有了別具意義的重大價值。本文將以這些「書寫澳門」的小說作品為主要討論對象，分析其中的澳門意識，以及文本所建立起來的澳門形象，從中觀察新世紀以來對於澳門形象書寫的變與不變。

Before Macau's return to China in 1999, Macau was often presented in Macau novels as a gambling city, or a “floating city,” which not only reflected its ambiguous colonial past but also the political uncertainty it faced in the future. Such ambiguity and uncertainty led to loss of subjectivity, and the excessive emphasis on gambling led to the loss of idealism. This kind of consciousness was said to still predominate some writers' mind even after Macau's return to China. But at the same time, a couple of literary works which mainly focused on the destiny, the history, and the culture of Macau were also gradually published. The publication indicated the birth of “my city consciousness” — people in Macau started to feel less indifferent to their hometown, celebrating Macau as “my city” in the “my city” writing. Moreover, they were more willing to learn about its historical development, and value its cultural traditions. While this kind of writing may still be non-mainstream or even unpopular, it reasserted the sense of existence and the significance of idealism. This essay aims to analyze the Macau consciousness and Macau imagery constructed through novels with Macau-specific topics. I also aim at observing the differences and similarities in these 21st-century Macau writings before and after the city's return to China.