論黃錦樹「後」馬共書寫中的抒情意識：從《火，與危險事物》談起

The Consciousness of Lyricism in Ng Kim Chew's Post-Malayan Communist Writings: Huo, yu wei xian shi wu: Huang Jinshu Ma gong xiao shuo xuan

本文從黃錦樹第一本於馬來西亞出版的文學作品《火，與危險事物──黃錦樹馬共小說選》與其他黃氏相關馬共小說出發，以學者黃錦樹的論述為觀點，綜合討論其從最早的短篇小說〈大卷宗〉即開始書寫的馬共情事。本文試圖從「造史」以及「抒情」的角度，分析黃錦樹運用馬共作為書寫題材及寓言載體的策略，並進一步爬梳其在假造的馬共歷史之下，其虛構及神話化的文本裡所隱藏的，對於馬來西亞華人、華文及其自身作為華語語系游移主體的抒情意識。黃錦樹書寫馬共，我以為不是為了紀念或者將其重新拉回到歷史的明面來，而是讓馬華自身在陰鬱的歷史宿命之中，認清馬共所遺留下來的那完而未了的債務。黃錦樹未經歷過馬共，但卻不斷在「後」馬共的這個「後」中接收各種遺緒，所以時間及時間的斷裂／隔閡成為了黃錦樹寫作的一個重要基點。黃錦樹的馬共小說，在我看來或許補上了馬華族群歷史闕疑之中的漏洞，但卻更大程度補上了他「從外國人變成外國人」的游離身分所產生的生命的漏洞。 This research looks at the fictional history of the Malayan Communist Party (馬共) in Ng Kim Chew's fictions and academic scholarship to discuss Ng's sentiments and observations of the Malayan Communist Party. The fictions under discussion include those collected in Huo, yu wei xian shi wu: Huang Jinshu Ma gong xiao shuo xuan (Fictions of Malayan Communist Party by Ng Kim Chew) and his early short fiction “Da Juan Zong＂ (“Big File＂). Ng, through the process of “creating history,＂ has purposely adopted the propaganda of the Party into his fictions to express his personal sentiments. In his fictions, he extends his sympathies towards the plight of the entire Mahua (馬華) ethnicity, literature and culture. This reading sheds light on how Ng's fictions adopt the sinophone diasporic lyricism to confront the Mahua community and foreground Malayan history, which, in a belated manner, demands the whole Mahua community to shoulder the historical burden of the social debts left by their ancestors. Thus, although the Malayan Emergency happened before Ng's time, Ng's fictions still seek to explore his personal identity within the historical debts of Mahua as a form of atonement for and amelioration of historical wounds.