水村美苗が描く「日本近代文学」における「贈与」と「記憶」－『本格小説』・『母の遺産』、水村節子『高台にある家』を通して－

水村美苗所描繪的〈日本近代文學〉中之「贈與」與「記憶」──透過『本格小說』‧『母親的遺產』、水村節子『高崗上的家』（Minae Mizumura’s Descriptions of ＂The gift＂and ＂Memory＂in modern Japanese Literature in A True Novel, Mother’s Heritage, and Setsuko Mizumura’s House Located on a Hill）

馬瑟．牟斯（Marcel Mauss）在『贈與論』（一九二五）等中認為「贈與物中蘊藏著『靈』」、「是咒術般的存在」，而相對地也有像是今村仁司或仲正昌樹等論者，認為在優秀的文學作品中，才真正映照出「贈與經濟」中「人類宿命性本質」的「作為關係之結晶的貨幣」之型態。在本稿中，將以正面探討如此「贈與」所帶來之「謎」的作品－－水村美苗的近作『本格小說』（二〇〇二）．『母親的遺產』（二〇一二）為探討文本。在『母親的遺產』中，水村的母親與祖母作為原型登場於作品中，而其實在此之前的二〇〇一年，水村之母水村節子便已出版了以自己與其母為原型的自傳『高崗上的家』，水村的『母親的遺產』有相當大的部份是承繼著此『高崗上的家』。若引用小熊英二的話，「聽祖父母的故事是現今世界性的流行」，但當孫子輩傳承如此「記憶」時，卻總會出現「浪漫化的危機」。水村的作品群也同樣地，將其與母親的自傳『高崗上的家』相對照時，便能顯著地看得到如此「浪漫化」。那是如實地顯示小熊所言之「危機」的作品，同時也是水村相信著能夠提示「浪漫化」所特有〈來自母．祖母（及日本近代文學）的遺產〉之豐饒性及「贈與之不可思議性」，如此信念的結果。本稿中將著眼於此兩面，窮究水村所描繪的「贈與」之不可思議性。 Contrary to Marcel Mauss’ argument that the gift exhibited ＂the soul＂and was imbued with ＂spiritual mechanisms＂in The Gift (1925), researchers such as Hitoshi Imamura and Masaki Nakamasa asserted that only through excellent literary works can actually reflect how ＂the nature of human destiny＂serves as ＂a currency of the outcome resulting from a relationship＂in a gift economy. This research paper straightforwardly explores Minae Mizumura’s recent A True Novel (2002) and Mother’s Heritage (2012) to discuss the mysteries brought along by such ＂gifts.＂In Mother’s Heritage, Mizumura’s mother and grandmother were the prototypes for the characters in the novel. In fact, Setsuko Mizumura, Minae Mizumura’s mother, had published her autobiographic novel House Located on a Hill in 2001, and made her mother and herself prototypes for the characters. Therefore, a large part of Minae Mizumura’s Mother’s Heritage inherited House Located on a Hill. As Eiji Oguma stated, ＂it is a global trend to listen to the stories of the grandparents in the modern era. ＂However, when inheriting such “memories,＂the grandchildren will inevitably trigger ＂the crisis of romanticization.＂Similarly, Mizumura’s works are obviously with such romanticization if compared with her mother’s autobiographic House Located on a Hill. This phenomenon not only perfectly corresponds to Oguma’s argument of ＂the crisis of romanticization,＂but also reveals Mizumura’s deep belief in the abundance of ＂romanticization＂(i.e. heritage from mother, grandmother and modern Japanese literature) and ＂the incredibility of the gift.＂Hence, this research paper will focus on these two main ideas, investigating the incredibility of ＂the gift＂in Mizumura’s descriptions.