賭徒及其空間煉成術：以澳門小說家太皮作品為例

The Gamblers and Where to Find Them: A Case Study of the Novels by Macau Writer Tai-Pei

澳門是眾所周知的賭城，但澳門作家如何書寫賭博，卻始終是文學研究的探測燈未能照亮之處。有鑑於此，本文將以澳門作家太皮的兩本小說，即《綠氈上的囚徒》（2011）與《殺戮的立場》（2017）作為閱讀和理解的起點，佐以認知行為理論、精神分析、空間及疾病隱喻等理論洞見，以進行文本的拆解和對照性的詮釋。在具體操作方面，首先將釐清經濟行為上的「賭博」、病理徵候上的「賭癮」，以及人物定義上的「賭徒」這三者各自的實質指稱，並探掘其間關係和意義的互涉。接下來則結合小說敘事，一方面將《綠氈上的囚徒》文本中，超越了性別、階級與族群差異的諸多賭徒一一指陳出來，俯瞰並梳理眾人殊途同歸的命運指向、對現實環境的共同不滿，乃至無法改變世界、只能在忍受中自我消磨的「囚徒」狀態。另一方面，則將異色武俠小說《殺戮的立場》視為與前作遙相呼應的意涵同等物：架空的「京城」影射著實存的「賭城」，殺人如麻的厭女暴徒，則作為「賭徒」象徵體的鏡像對照。從而可見，在太皮的文字傷逝之旅中，變的是辭彙和時空，不變的則是那瘋狂、病態，以及萬般皆消亡後的悲劇銘刻。而這既是一種虛構，又並非全然與現實無涉，因而也不僅僅是一種虛構。

Macau is a well-known gambling city, but how Macau writers represent gambling by their works, this has always been a place where the probe lamp of literary research has not yet illuminated. According to that, this article will take two novels of Macau writer Tai-Pei, namely Prisoners on the Green Blanket (2011) and The Position of Killing (2017) as the starting point for reading and understanding. In order to disassemble and to interpret these two novels comparatively, several theoretical tools will be discourse during the process of analysis, such as Cognitive Behavior theory, Psychoanalysis, the metaphors of illness and space and so on. In terms of specific operations, this paper will first clarify the definitions of ''gambling'', ''gambling addiction'' and ''gambler'' separately, and then to explore the mutual relationships between these three. On the one hand, in the text of Prisoners on the Green Blanket, the truth that gamblers with different gender, class and ethnic group but sharing the same destiny will be point out. Those gamblers are all dissatisfied with the current environment but not able to change it, thus the only thing they can do is to endure like a prisoner. On the other hand, the martial arts novel The Position of Killing is regarded as the meaningful equivalent of Prisoners on the Green Blanket: the fictional place ''Jing-Cheng/capital city'' alludes to ''Macau/ gambling city'' of the real world, and the misogynistic thug of Jing-Cheng is also regarded as a mirror reflection of ''gambler'' in Macau. After all of this, what we can see in the mourning journey of Tai-Pei are the changes of time/ space, and the remains of madness, illness and the inscription of tragedy. These two fictions are both deeply relevant to the reality, therefore they are something more than just fictions.