驛動的城市／無羈的心──包曼（Zygmunt Bauman）《液態之愛》擦撞藍漢傑《偶然是個魔法師》

Inciting cities / uninhibited hearts: How Bauman's Liquid Love impacts Lan Hanjie's Occasional is a Magician

藍漢傑小說《偶然是個魔法師》（2013），透過一名旅居歐洲十幾年的敘述者的觀點，詩意地書寫新世紀的愛戀、城市、社群、國族及全球化現象；社會學家包曼（Zygmunt Bauman）的《液態之愛》（2003），則從理論的角度，嚴肅地分析新世紀全球化人們所共同面臨的，與小說共同趨避且相互呼應的問題，並且以哲人的高度呼籲個體應然的因應之道。二書有著明顯而相近的立意：解析新世紀的生活狀況，並且標識出值得珍視的人性與價值。因此，本文藉由二書的擦撞，探討小說中的四個關鍵議題，其一、驛動的城市：包曼分析：在全球各個城市之間悠遊的國際菁英，輕淺地虛擬鄰近卻又能脫離在地脈絡，是液態現代社會中所謂成功的消費者。如小說中又高又帥的型男廚師，遍遊歐洲、希臘、中東……，身處不斷驛動的城市卻不屬於他所浪遊的城市。其二、無羈的心：包曼強調：當代網路與運輸發達的液態社會中，不再存有穩固的關係，雖然仍然害怕不確定仍然害怕孤獨，但人際紐帶已經過度鬆脫而脆弱了，因為這樣隨緣悠遊聚散時才能方便再度鬆綁。在液態愛的國度裡，擁有一顆無羈的心，擁有人際紐帶流動轉變的靈活度，能讓人活得更自由。比如小說中這個型男廚師，一路悠遊各大城市，一路隨興變換，上線或刪除各式同性戀男友。其三、液態社會邊緣人的城市驛動與無羈的心：包曼關懷大屠殺中的受害者、難民營、無能消費者……他們被隔離被刪除在「流動空間」，他們也浪遊於城市卻不屬於城市，他們無羈的心其實是深陷於一種流浪漢的飄浮狀態。比如柏林的freelancer城市遊牧族，常常遊走在各地廢棄場所聚會，他們無羈的心對未來沒有期待；比如小說中有著迷人混搭風格的新世紀嬉皮陶斯頓，全身的食衣住行都是從這個過度濫費世界的良好廢棄物堆裡撿拾來的，但是陶斯頓無羈的心卻是自覺的，是對跨國資本所鼓吹的娛樂道德的全然蔑視。其四、液態之愛的難處與可能性:包曼於書末呼籲：雖然全世界都患了高科技所帶來的「混和恐懼症」，但新世紀人必須重新學習愛人如愛己，接受異質、他者、關係、城市歸屬感與族群鄰近感，追求心靈真實的接觸，才能抵禦液態社會的疏離與消費社會的宰制。比如小說中患有高跟鞋戀物癖的莫妮卡，在輕易離婚後終於去了非洲靈修，學習深層內觀，發現我與世界是一體的，光與影同行而我走在中間；偶然，是個魔法師，造就了人際間微妙卻深遠的連結；終於使莫妮卡解脫了因恐懼浮動關係而患的戀物癖，蛻變成為一個溫暖的，愛人如己的仁人。結論將指出，二書對新世紀的凝視與反思，為當代帶來的批判、撫慰以及活化的意義。

Lan Hanjie's novel Occasional is a Magician (2013), through the point of view of a narrator living in Europe for more than 10 years, is a poetic writing about love, city, community, national and globalization phenomena in the new century, while sociologist Zygmunt Bauman's Liquid Love (2003), a theoretical work, solemnly analyzes the globalization of people in the new century and their problems, which the novel avoids and yet echoes. Bauman appealed from the height of the philosopher to individuals on the proper way to responding to these problems. The two books have an obvious and similar conception: analyzing the living conditions of the new century and identifying the part of humanity and values that are worth cherishing. This paper examines the four issues in which the two books collide and generate impact. Firstly, as in the “inciting cities” of Bauman's analysis, the international elites wander among the cities all over the world, move in and out of virtual neighborhood, break away from the local context while also become the so-called “successful consumers” in the liquid modern society. For instance, in the novel there is a tall and handsome male chef who travels in Europe, Greece, the Middle East, etc. He is situated in the “inciting city” but does not belong in the city he surfs. Secondly, on the uninhibited hearts, which Bauman emphasizes, there is no solid relationship between the contemporary network and the developed liquid society. Although people are still afraid of uncertainty, are fearful of loneliness, but the interpersonal ties have been loose and fragile. This is so that people who meet by chance can get together or break away when it is convenient. In the country of liquid love, people have an unruly heart, characterized by the flexibility to change the flow of interpersonal bonds, so that people can live more freely. For example, in the novel this handsome male chef travels to major cities. Along the way he changes his mind as he wishes, staying online or deleting all kinds of gay boyfriends. The third main point of this paper focuses on the inciting cities and uninhibited hearts found in the margin of liquid society. Bowman cares about the victims of the Holocaust, refugee camps, incompetent consumers, etc. These people are isolated in the “mobile space.” They also wander in the city but don't belong to the city. Their uninhibited hearts are actually trapped in one tramp floating state. For example, the freelancer nomads in the city of Berlin often go to parties in abandoned places. Their uninhibited hearts have no expectations for the future. For example, there is a charming mix and match style guy of the new century hippie, whose name is Taoston. His outfit is from the recycling bins of this excessive abused world, but Taoston's uninhibited heart is conscious, representing his whole-hearted contempt for the entertainment morality advocated by transnational capital. The fourth part of this paper will discuss the difficulties and possibilities of liquid love. At the end of Bauman's book, he reminds his readers of the following: Although the world suffers from the “mixed phobia” brought about by high technology, people in the new century must re-learn to love our neighbor as ourselves, accept heterogeneity, the others, different types of relationships, a sense of belonging to the city and a sense of ethnic proximity, and pursue real contact with the mind, so that people can resist the alienation of liquid society and the domination of consumer society. In the novel, Monica suffers from high heels fetish. After the easy divorce she finally goes to African, acquires deep inner view, realizes that she is one with the world, able to walk in the middle along with light and shadow. Occasional is a magician who creates subtle but far-reaching links between people. It finally frees Monica from the fear of floating relationships and from her suffering of fetish. She metamorphosis into a warm and good person. The conclusion of this paper will discuss the criticism, comfort, and regeneration of the contemporary world revealed by the two books' gaze and reflection.