一緘書簡藏何事：論戰後龍瑛宗的生活日常與文壇復出

本文利用劉文甫先生近期捐贈之龍瑛宗的家書、收藏之書信、隨筆文本等，以實證的方法，藉此釐清龍瑛宗在輟筆三十年後，除了他個人主觀的書寫欲望之外，探討他復出文壇的客觀條件。本文首先將整理書信內容，一窺作家晚年的生活日常，和家書中流露出的文學感性。接著，將利用戰後龍瑛宗與文友間的書信往來資料，探討他在七○年代末至八○年代，與台灣日語世代的互動情況及其重建的人際網絡。在日語小說發表受挫後，他重新計畫性積極以中文寫作，以「前輩作家」、「客籍作家」的身分，接受當時報刊副刊主編等的邀稿，復出文壇開創他戰後另一個創作高峰。 This article uses Long Ying-Zong 's family letters, collections of letters, essays, etc., which are from the donation of Mr. Liu Wen-Fu. This paper uses positivist research methods to clarify the objective conditions for his return to the literary world, in addition to his personal subjective writing desires, after he stopped writing form thirty years. First of all, sort out the contents of the letters, we can see the daily life of the writer in his later years, and the literary sensibility revealed in the family letters. Then, using the correspondence between Long Ying-Zong and his literary friends, exploring the interaction between Taiwanese language and Japanese language generation and the network of relationships he rebuilt in the late 1970's to 1980's. After frustration in the publication of a novel written in Japanese, he re-planned and actively wrote in Chinese. As a “predecessor writer” and “Hakka writer”, he accepted the invitation to submit a manuscript from the editor of a newspaper supplement, and returned to the literary world to create another creative peak after the War World II.