台灣推理小說的「在地性」實踐——以《美人捲珠簾》、《悲傷回憶書》之表現差異為討論範疇

The practice of locality in Taiwan mystery novels--Take Mei-ren Juan Zhu-liang

1980年代起，台灣推理小說朝向本土化發展，除了本土作家投入創作之外，其書寫的核心與敘事的軸線，也開始以「台灣」為主體，開展在地性的實踐。2000年後，「本格復興」的思潮漸起，雖然「台灣推理」的架構與以「台灣」作為敘事背景主體的創作趨向，仍然是推理在台灣發展歷程中明顯的特徵，但以「本格復興」為界的前後期作品，卻呈顯出「在地性」表現與實踐的差異，反映出不同推理世代對「本土」界義上的歧異，以及對推理小說中的「地方」的不同想像與建構。本文將以台灣1980年代後第一本出版的本土推理長篇《美人捲珠簾》，與2007年獲得南瀛文學獎這個重要的地方文學獎首獎的《悲傷回憶書》兩部「本格復興」前、後的推理小說為討論範疇，以人文地理學中對「地方」的理論與本質探討，嘗試分析「在地性」實踐的差異，及其背後可能涵括的文學視域。

"In Taiwanese Mystery Novel, from 1980s localized development is the main direction; the core and writing axis of narrative has mainly based on 'Taiwan' gradually. A trend of revivaling the lattice resoning rised from 2000, 'Taiwan' and the architecture of 'Taiwanese Mystery Novel' still become an obvious feature in the development of writing. However, these novels showed the differences of the practice of locality, reflecting the disagreement of 'local' in different generations, also had some different imagination of 'place' and 'region'. Taking two novels between 1984-2007 as example, the discussion in this article is trying to explore how should Taiwanese mystery writing style deal with the relationship between 'local' and 'mystery', and analysising the Horizon in literature."