後南都主義的精神史意義：論蘇偉貞《租書店的女兒》中的府城、眷村與文壇

The Meanings of Post-Nanduism in Spiritual History: A Study on Tainan, a Military Dependent's Village, and Literary Circle in Su Wei-chen's Daughter of a Books Rental Shop

本文試圖探討蘇偉貞如何以獨白式的散文來達成她對南都記憶之挽留。在經歷前半生的南都經驗洗禮後，蘇偉貞自許的「後南都主義」，或可照見一個作家、知識分子的精神演變之軌跡，一個人的精神史。蘇偉貞與南都這生命之地始終存在著違和之感。她並非流亡，卻隱然浪遊於南都，發展出一種欲言又止，極其疏離的說話方式。話中真意，往往存在於可解與不可解間，且常不以「我們」的人稱發聲，而以「你」的人稱來遠距觀察。散文中的敘事者站在一個將自己「包括在外」的方式，觀察自己，也觀察南都。南都女兒蘇偉貞卻在南都感到格格不入，鄉關何在？彰顯了獨行歸鄉人的形象。而她的散文獨白，正可以在形式上以斷裂跳躍的文字風格，呼應這種獨特的存在處境。

This paper attempts to explore how Su Wei-chen uses monologue prose to explore her memories of Tainan (Nandu). After experiencing some difficulties during her earlier life in Tainan, Su deemed her returning and re-settling in Tainan as “Post- Nanduism.” This experience of leaving and returning reflects a writer's formation and transformation of a unique spiritual history. In her writing, Su Wei-chen's connection to her birthplace, Tainan, suggests a kind of feeling embittered by incongruity and harmony. In other words, she is not in exile, but chooses to withdraw herself from the society by roaming Tainan, which develops a writing style that is subtle yet alienating. The truth in her words often exists between what the reader understands and is perplexed by. Furthermore, she often avoids writing in first/third person narration, but rather writes in second person narration to make observations from a distance. In her work of prose, the narrator stands “outside” of herself, to make self observations and explore Tainan, and therefore not only feels displaced, but addresses the question: “Where is the real hometown?” and finally expresses a personal image of a solitary, hometown traveler.