李維英雄 「滿州急行列車」的創作動機－就 「安部先生」的人物造型來探究

The Creation of Hideo Levy's ManshūExpress: The Figure of ''Mr. Abe''

李維英雄（Ian Hideo Levy）於1994年因應電視台的記錄片取材之邀，走訪了作家安部公房曾度過17年歲月的滿州（現中國東北地方），他以此行經歷為基軸，寫下了小說『滿州急行列車』（1996）。內容是主角「他」在探訪過程中一邊回想「安部先生」的滿州體驗，一邊憶及自己在台灣度過的童年生活，相互交織著兩個人的異鄉體驗，而小說裡「他」和「安部先生」同樣懷著他鄉是故鄉的感觸。然而，若對照安部本身的滿州書寫－深受殖民者身分和敗戰影響的矛盾，會發現雖然小說裡的「安部先生」是以安部公房為原型，但是，兩人對於滿州所懷抱的情感存在著明顯差異，而會產生這樣的差異又和李維的小說創作有密切關係。本稿欲透過李維筆下的「安部先生」人物造型和安部公房的滿州書寫，以及李維本身的台灣體驗這三方面來探討『滿州急行列車』裡的創作動機。李維在很多作品裡言及了童年時的台灣或是「自己的家」或是「故鄉」，同時，他作為文學評論家對於作家安部公房的滿州書寫也有一定的掌握。但是，當他從作家的立場去進行小說創作時，卻塑造了迥異於安部的「安部先生」像，而這是基於李維對台灣懷有的情感「異鄉有自己的家」，和他實際走訪滿州所激發了對家的溫暖的渴望，基於這二種創作動機所形塑的人物造型。

In 1994, Hideo Levy(1950-) joined TV documentary production and traveled Manchuria where Kōbō Abe(1924-93) used to live for 17 years. ”Manshū express”(1996) is a novel about ”He” rounded the Manchuria in the area where ”Mr. Abe” used to live. This work recalled Levy his childhood in 1950s Taiwan. Although ”Mr. Abe” was an image of Kōbō Abe, their experiences in Manchuria were not the same. In this paper I tried to reveal the differences between ”Mr. Abe” and Kōbō Abe so that we can understand the Levy's creation and motive. First, I looked into the similarities and differences between ”He” and ”Mr. Abe” being as outsider-in ”Manshū express”. In the novel, ”Mr. Abe” believes Manchuria is his home and he sees warmth from homeless and marginal village. Second, by examining the essays and novels of Kōbō Abe, I understood the complex feelings by expressing Manchuria because he had about having been a colonist and repatriated after the war. Third, Levy drew ”Mr. Abe” based on Kōbō Abe by using quotations and copies from Abe's works. What I came to reach as a conclusion was Levy picked up similarities with Kōbō Abe's experience as an outsider and it created ”Mr. Abe” in two ways. One was the reflection of Levy himself, his experiences in Taiwan. The other was the projection of longing for having a warm family in Manchuria.