《家變》與《孽子》中的父子關係與對「真實」世界的追求

The Pursuit of Reality in Family Catastrophe and Crystal Boys

王文興與白先勇同為《現代文學》雜誌的重要成員，王文興《家變》與白先勇《孽子》亦是七○與八○年代台灣文學史上兩部重要的長篇小說。《家變》以父親出走為始，逐章敘述范曄與父親的關係變化，其小說內容與其獨特的文字表現，引發當時台灣文壇的注目；《孽子》則以兒子出走／被逐為開端，為台灣第一部長篇同志小說。兩書皆呈現了父子關係衝突、個人自我追求與「家」的抵觸與崩解；此外，在父子關係／家的崩解／家國的隱然挑戰之中，兩部小說也都呈現了現代主義小說對真實世界的追求的特質，《家變》追求挖掘人性深處不可言說的真實，而《孽子》則追求表述人性、尋求性別認同的真實世界。

Wang Wen-Hsing and Pai Hsien-Yung were both important members of themagazine Modern Literature. Wang’s Family Catastrophe and Pai’s Crystal Boys were alsosignificant masterpieces in the 1970s and 1980s on the Taiwan literary scene. FamilyCatastrophe begins with a father leaving his family, and consequently probes into andinvestigates the relationships between the father and his son. The novel’s subject matterand unconventional style attracted considerable attention. On the other hand, CrystalBoys opens with a son driven out from the family by his father, and has generatedmassive discussion as being the first novel to deal with male homosexuality in Taiwan.Both Family Catastrophe and Crystal Boys portray the conflict between father andson, the theme of self-pursuit, and the clashes between and collapse of the father-sonrelationship in the traditional family. In its discussion of the hidden reality of humannature depicted in Family Catastrophe and the search for human reality and sexualidentification implied in Crystal Boys, this paper aims to show that the two novels typifyliterary Modernism in their presentation of the pursuit of reality.