《少女忽必烈》的邊境書寫與地方感形塑

Border Writing and the Shaping of a Sense of Place in t he Young Girl Kublai

本文從邊境書寫的概念切入，討論陳又津小說《少女忽必烈》如何表現故鄉三重之空間遷變，試圖在書寫之空間、表現之人物兩方面，探討三重作為邊境的多重意義，為作家的創作提供詮釋路徑。本文首先回顧三重區的發展歷程後，指出作家意圖以遊民為主的在地聲音回應外界賦予的刻板標籤。面對都更所引動的在地離散，陳又津選擇以水岸與戲院作為重點地標，創設接引渡亡空間，為三重地方聲音尋找出路，這些地標在小說中同時具備樂園／修羅場性質，表現不同人對特定空間的想像落差。
小說主要的書寫對象為遊民／無家者，本文認為陳又津以遊民作為都更議題的主角，藉此主張居無定所也有談論地方的權力，對地方感、家的概念提出挑戰。最後嘗試指出作家對父親的認知與記憶，如何能連結至遊民或其他城市異鄉人，型塑出「以邊自居」的身分認同與地方情感。

From the concept of border writing, this article discusses how Chen Eugene's novel The Young Girl Kublai expresses the spatial changes of the hometown of Sanzhong, attempting to explore the multiple meanings of Sanzhong as a borderland in terms of the space of the writing and the characters of the representation, to provide the writer with a path of interpretation for her creative work. After reviewing the development of Sanzhong, the paper points out that the writer intends to respond to the stereotypical labels given by the outside world with the local voices of the homeless people. In the face of the dispersal of the place induced by urban renewal, Chen chooses to use the waterfront and the theater as the key landmarks to create a space of succession and extinction, to find a way out for the voices of Sanzhong, and these landmarks have the nature of a paradise/Shuraba at the same time in the novel, which expresses the discrepancy of different people's imaginations of a specific space.
The main target of the novel is the nomad/homeless person. This paper argues that Chen uses the nomad as the protagonist of the urban renewal issue, to advocate the power of talking about place even if one is homeless, and to challenge the sense of place and the concept of home. Finally, the paper tries to point out how the writer's perception and memory of his father can be linked to the homeless or other urban outsiders to shape the identity and local emotions of ''living on the border''.