甘耀明《冬將軍來的夏天》探析

Analysis on Gan Yao-Ming's The Summer General Winter Came

甘耀明2017年的新作《冬將軍來的夏天》，標誌了他從魔幻寫實路線轉向回歸寫實的決心。在剔除了原先在他的作品中常見的時空陌生化以展現鄉野傳奇、魔幻想像的要素後，他以寫實的筆法，「小魔幻」的超能力想像，鋪綴了一個屬於當代臺中都會中的女性故事。在本論文中，首先說明該書中常見的地景──「柳川」，是甘耀明對都市所代表的情慾與暴力、夢想與幻滅的場景空間，而其時間之流的聯想，也讓柳川有著沖淡與撫慰傷痕的可能，寄寓了甘耀明的人生啟示；再者，書中角色從「女性」到「老人」到「遊民」再到「同志」的設計，這四重邊緣身份的描繪，展現了甘耀明對當代臺灣社會的關懷；最後，全書對「將死」之人的逼視描繪，讓甘耀明透過以「愛」為名的信仰，展現了他對生命的體認，「愛」，就是全書能溫暖動人的重要質素。

Gan Yao-ming in his latest work The Summer General Winter Came (2017) changed his writing style from magical realism to realism. This work lacks the spatiotemporal defamiliarization technique commonly used to describe countrysides, legends, fantasy, and imaginations in his previous works. Instead, it uses a realistic depiction with a little magical imagination about supernatural powers to relate the story of contemporary women in Taichung metropolitan. This study first examined Liuchuan, a location repeatedly brought up in this novel, that demonstrates lust, violence, dreams, and disillusionment. Additionally, the association of Liuchuan and the flow of time represents the possibility of ameliorating and healing wounds and symbolizes Gan's life philosophy. Subsequently, this study investigated how the use of four marginalized identities (i.e., women, older adults, homeless people, and homosexuals) illustrated his love and concern for the contemporary Taiwan society. The scrutiny and depiction of dying people in this novel reflect the author's understanding of life in the name of love, an element that makes the novel moving and heartwarming.