他在島嶼的島嶼寫作──謝昭華筆下的馬祖身世

He Writes on the Islands of the Island: Hsieh Chao-hua’s Depiction of Matsu’s Lineage

馬祖文學始終邊緣，本論文嘗試回覆「謝昭華是誰？」的問題，並探討他透過文學創作如何看待、定位馬祖（特殊的歷史來路、與台灣的關係）及島嶼上的自己。內容分為兩部分，「他在島嶼的島嶼寫作」以相當篇幅爬梳謝昭華的創作歷程，並分析其詩、小說、散文等作品，主要欲闡述現今的台灣文學史雖然長期忽略馬祖，但小島上確實存在一流作家和作品。「謝昭華筆下的馬祖身世」先是透過與日本沖繩──《沖繩札記》與「犧牲的體系」──對比，凸顯戰後的馬祖與台灣何嘗不也是「台灣屬於馬祖」、「犧牲的體系」之關係？對此謝昭華認為過往不該輕易被抹消，而作品中始終有著隱隱控訴；再者，本文也梳理歸納謝昭華創作中那股往前探源的返本趨力，他時而想像1949年以前的馬祖是蜑民海域、海盜根據地，時而是魚族天堂、黎民百姓的海角樂園，盡皆一派海島猶未被國家權力所收編的圖像，則彰顯了他追求「不認同」的自由。

Matsu literature has traditionally been on the periphery. This paper seeks to answer the question,“Who is Hsieh Chao-hua?”It explores how Hsieh, through his literary works, perceives and positions Matsu—with its unique historical trajectory and relationship with Taiwan—and examines his own identity as a resident of the Matsu Islands. The paper is organized into two parts. The first part,“He Writes on the Islands of the Island,”delves into Hsieh Chao-hua’s creative journey, analyzing his poetry, novels, essays, and other works. The central argument holds is that, despite Matsu’s longstanding neglect in the history of Taiwanese literature, these small islands have produced outstanding writers and works. The second part,“Hsieh Chao-hua’s Depiction of Matsu’s Lineage,”begins by contrasting Matsu with Okinawa, drawing on works like Okinawa Notes and the concept of“The System of Sacrifice.”It highlights how the post-war relationship between Matsu and Taiwan can be seen as a reflection of the relationship of“Taiwan belongs to Matsu”and“The System of Sacrifice”. Hsieh believes that the past should not be easily erased, and he subtly conveys his disagreements in his works. Additionally, this paper also summarizes the driving force in Hsieh’s works, which seeks to trace back to origins. He imagines Matsu before 1949 as a realm for the Tanka people (boat people), a pirate stronghold, and at other times, a paradise for fishers and a coastal haven for common folk. These images reference the Matsu Islands before they were incorporated by national powers, emphasizing Hsieh’s pursuit of the freedom to“not be confined by an identity.”