蕭麗紅及其小說的鄉與國

Xiao Lihong and the Village and the Country in Her Novels

蕭麗紅是七○至八○年代台灣文壇最受到矚目的女性作家之一。她對「鄉土」的論述，這方面的感受是真實且誠摯的，只因土地在她的文學創作中乃是最親切、最熟識的地方。尤其是從女性作家的立場來看，究竟在台灣文學史上扮演了什麼樣關鍵的、獨特的呈現面貌。筆者試著歸納、討論學界對於蕭麗紅作品的看法，進行較為歷史性觀點下的整體評述。整體來說，蕭麗紅在八○年代初期，曾經被定位成深受張派風格影響的作家，或是認為其有強烈的懷舊，對中國文化有熱切的孺慕之情，或是就運用台語文字風格與技巧的漸趨成熟來定位。這之間的脈絡現象我們該如何來解釋她的文學立場，以及蕭麗紅在台灣文學史中的位置，也是一項值得集思廣益共同來討論的議題。

Xiao Lihong was one of the most noticed female writers in Taiwan's literary world from the 1970s to the 1980s. Her exposition of 'country ' is true and sincere, because the land is the most intimate and familiar place in her literary creation. Especially from the standpoint of female writers, what kind of key and unique appearance did they play in the history of Taiwanese literature? The author tries to summarize and discuss the views of the academic circles on Xiao Lihong's works, and make an overall review under a more historical perspective. On the whole, in the early 1980s, Xiao Lihong was once positioned as a writer who was deeply influenced by the style of the Zhang School, or thought that she had a strong nostalgia, an ardent admiration for Chinese culture, or she used Taiwanese, making her writing style and technique gradually mature. How should we explain Xiao Lihon’s literary standpoint and the position in the history of Taiwan’s literary history?