筆尖交響：左翼‧鄉土‧現代哲思──論郭松棻小說的多重書寫

The Multiple Writing of Guo Songfen’s Novels

郭松棻的小說創作為數不多，但卻篇篇意蘊複雜，形成了左翼傾向、鄉土意識和現代主義哲思三者相雜糅的書寫形態。郭氏小說中「激進」的左翼傾向以一種「不介入」的姿態潛藏于文本的肌理之中，隱秘書寫自身青年時期政治烏托邦的建構與失落。同時其小說中的鄉土意識亦不可忽視，打破了國族與身份認同的圈囿，有著純粹的鄉土性質。而現代主義式的生命苦悶外化為現代主義的寫作手法，以詩化的語言、隱喻的方式和「歷史新編」的新模式書寫著人世倫理的悲辛。豐富而雜糅的多重書寫，使得郭松棻成為80年代初臺灣文壇中不可多得的「難以被定位的作家」，為打破當時臺灣文壇「鄉土/現代」的二分局面做出了不可忽視的貢獻。

Guo Songfen's novels are few, but the contents of his texts are complex, which forms the multiple writing including the left wing criticizing, the native consciousness and the modernist philosophy. In Guo's novels, the “radical” left-wing criticizing is hidden in the texture with a kind of ''no intervention'' to write the construction and loss of political utopias in his own youth. At the same time, the native consciousness and the trauma of the hometown of his novels can not be ignored. His rural writing has broken the dilemma of national identity, so it is a ''pure rural writing''. And the modernist thinking always exists in his novels, and the externalization is modernist writing technique.He writes the tragedy of human ethics with the poetic language, metaphor and a new pattern called ''the new history''. The rich and hybridity of multiple writing made Guo Songfen a rare writer who is hard to locate in the literary world of Taiwan in the early 80s, and made an unnegligible contribution to break the ''native / modern'' situation in the literary world of Taiwan at that time.