西西的香港童話

Xixi's Hong Kong Fairy Tales

本文討論資深作家西西寫出的香港童話。儘管許多評論家專注西西試驗歐美文學技巧的寫作風格，西西筆下的「童趣」卻是一個值得分析的特點。「認真的遊戲」一直是西西創作的核心。本文論證，西西一切西方文學形式表層之下，是堅定的存在主義價值，她從人間絕望建構出奇異的自我救贖，那就是童趣的永恆。西西「童話寫實」版香港，呈現出的景觀是：香港就是玩具屋，香港人就是玩偶。本文首先追溯歷來強調西西文學形式的評論視角，接著深入童趣主題，探討西西「看圖說故事」的寫作習慣，以及西西如何卡通化香港及香港人。第三節聚焦在西西為何對無生命的布偶、布熊、玩具屋等物件投入這樣殷切的愛，由此提出存在主義是西西童趣底層的核心思想。本文最終重申，西西貫徹始終的寫作精神和創作特質就是認真的遊戲。 This paper discusses senior writer Xixi and her Hong Kong fairy tales. Although many critics emphasize the Western literary skills Xixi applies often in her writing, the “fairy tale interest” is still a unique quality worthy of more attention. “Serious play” is always the core of her writing. This paper argues that underneath all influences from Western literary theories in Xixi's writing, is a deep rooted belief in existentialism. She constructs a peculiar self salvation through the eternal fun of fairy tale which compensates for her disillusion of life. The “Fairy Tale Realism” version of Hong Kong presented by Xix, is Hong Kong as a doll's house and Hong Kong people as dolls. This paper first traces the existing literary skill approach on the interpretation of Xixi's writing. It then focuses instead on Xixi's “fairy tale interest, ” examining her practice of “telling story based on pictures, ” and how she animates Hong Kong and Hong Kong people. Section 3 discusses why Xixi puts so much love into lifeless objects such as dolls, teddy bears and doll's houses, and suggests that underneath all this is her belief in existentialism. This paper concludes by reasserting that “serious play” is the fundamental principle and unique characteristic in Xixi's writing.