現代後動物感傷：《孽?》和《鱷??記》的城市野性與酷兒?態

The Animal Triste of Modernity: Urban Wildness and Queer Ecology in Crystal Boys and Notes of a Crocodile

本文以生態角度切入，重新檢視歷來被大量以國族和性別討論的台灣同志文學經典當中，被忽略的自然和動物身體。這些動物意象經常揭示了邊緣性別的不馴的「野性」（wildness），以及它們被給定的原初想像。本文以「野性」為城市酷兒生態的命題，並主張在歷史、文化和權力的交互作用下，原初自然不再具備固定的本質，而是不斷變動中的過程。雖然這些經典曾被批評具備城市菁英傾向，但酷兒生態揭示了城市的等級制度和風險，而酷兒野性正是藉由重視城市裡的（不）自然──都市公園和邊緣個體──破除了一般對自然只存在於郊外的認識侷限。
本文首先引介酷兒生態的討論、哈伯斯坦（Jack Halberstam）的野性理論，並接合台灣同志文學發展史。接著主要分析兩本重要小說的性別與生態論述，包含文本本身以及周邊評論系譜。一是大量出現「野」字的《孽子》（1983），小說中的青春鳥在法外性交易時透露負面情感，而「野性的生命力」彰顯台灣在地性的潛能。藉美國及台灣兩地公園的歷史脈絡，本文點出性別和種族階序下少數族群接近自然時必須付出的痛苦代價。第二是《鱷魚手記》（1994），本文點出主角拉子鱷魚的動物意象，並認為他的情慾身體正是野性理論所謂「難以歸類的身體」，為現代權力機制展示或滅絕的奇異身體。藉由重探這些台灣同志經典小說，我們得以理解現代性風暴下的倖存歷史主體。

This paper adopts an ecological perspective to re-examine the overlooked natural and animal bodies in the Taiwanese queer literary classics, which have been extensively discussed from the perspectives of nation and gender. These animal imageries often reveal the untamed ''wildness'' of marginalized sexualities and their assigned primitive imaginations. This paper suggests the concept of ''wildness'' for understanding urban queer ecology and argues that under the integrated multi-power relations among history, culture, and power, nature no longer possesses a universal essence but is a constantly changing process. While these classics have been criticized for their urban, elitist tendencies, queer ecology reveals the hierarchies and risks inherient in the city. Queer wildness, by valuing the (un)natural within the urban parks and marginalized individuals, breaks the common assumption that nature only exists in the suburbs.
The paper first introduces queer ecology, Jack Halberstam's theory of the wild, and connects them with the history of queer development in Taiwan. It then analyzes two important novels, including the texts themselves and the surrounding critical discourse. The first is Crystal Boys (1983), in which the word ''wild'' appears frequently. The novel's“young birds”reveal negative emotions during illegal sex work, and their ''wild vitality'' highlights the potential of Taiwanese locality. Through the historical context of parks in the U.S. and Taiwan, the paper points out the painful price that minorities must pay when approaching nature under the hierarchies of gender and race. The second is Notes of a Crocodile (1994). The paper highlights the animal imagery of the protagonist, Crocodile, and argues that the lesbian's body exemplifies what the theory of the wild terms the 'counter-archive of bodies'. By revisiting these Taiwanese queer literary classics, we can better understand the surviving subjects under the storm of modernity.