繪製南洋圖景：黃錦樹的馬共小說

Mapping The South Seas: The Communist Fiction Of Ng Kim Chew

本文以馬華作家黃錦樹的「馬共小說」為線索，討論他二十餘年創作中不斷出現的南洋圖景和符號，以及馬來亞共產黨歷史作為馬華記憶最深刻的部分。通過塑造冷戰時期及情境下的南洋圖景，黃錦樹以虛構的小說補充歷史的血肉，也描繪了南洋華人的離散與流動。他通過持續書寫馬共革命來尋找和華人歷史的對話，而這場後設書寫的對話往往是以中國左翼文學為基礎的。他的歷史敘事，一直是馬來西亞華人的處境與中國性的辯證過程。換句話說，黃錦樹多年來的書寫仍是圍繞在「華人」身份建構的問題，對於革命他抱持極大懷疑，也認為革命終究輸給人性和種族。小說家黃錦樹筆下的馬共歷史，與其說是政治及革命的血淚，不如說是中國左翼文學的遺產。

This paper examines the “communist fiction” of Sinophone Malaysian writer Ng Kim Chew who, in his narrative mapping, creates a spatio-temporal place of the Cold War South Seas (Nanyang, or Southeast Asia in today's terms). It studies Ng's artistic representations of the geographical referent-the South Seas-and juxtaposes with it the Cold War's historical temporality. By using a fictional approach to narrate the geopolitical situation, Ng's works not only supplement the history of the Cold War with various psychosocial faces, but also advance aesthetical representations of the event in the South Seas. It argues that Ng creates a fictional Nanyang to illustrate the mobility and fluidity of the Chinese diaspora, and continues to write about the Malayan Communist Party (MCP) as part of the memories of Chinese Malaysians. By means of metafiction, Ng supplements the MCP revolution with “flesh and blood,” and connects it with the legacy of Chinese leftist literature. Yet, he harbors a great suspicion over the legitimacy of “revolution”; as can be seen in his stories, revolution loses to human nature and ethnicity in the end. Hence, for him, the communist revolution is more a legacy of the Chinese Left and the Chinese leftist literature.