「非裔男孩們將抱起希望」：科爾森．懷特黑德《鎳克爾男孩》中的非裔美國人的情感空間、記憶和文化創傷

“The Black Boys Will Put Up Their Hopes”: African American Affective Space, Memory, and Cultural Trauma in Colson Whitehead’s The Nickel Boys

2016年後，非裔美國人的文化創傷和記憶對科爾森．懷特海德的作品產生了巨大影響。這些想法的分量始於2016年的《地下鐵路》，但在他2019年的小說《鎳克爾男孩》中表現得最為明確。本文結合羅恩．艾爾曼（Ron Eyerman）的非裔美國人文化創傷和記憶理論、邁克爾．奧米（Michael Omi）和霍華德·溫南特（Howard Winant）的「種族形成」理論以及批判性種族理論，解釋了懷特海德2019年的小說，並將它們與非裔美國人的情感主體性聯繫起來。特別令人感興趣的是小說中兩位主角所佔據的時間空間中創造、失去和感受到的希望。通過參與塞莎．洛（Setha Low）關於空間的社會生產和建構的表述、布萊恩．馬蘇米（Brian Massumi）關於情感轉變的概念以及薩拉．艾哈邁德（Sara Ahmed）關於希望的理論，本文將論證《鎳克爾男孩》最終證明，通過處理共同的文化創傷和記憶，非裔美國人可以實現「對未來的希望」。

Post-2016, African American cultural trauma and memory have had a huge influence on Colson Whitehead’s work. The weight of these ideas began in The Underground Railroad in 2016, but they are most explicit in his 2019 novel The Nickel Boys. This article interprets Whitehead’s 2019 novel via a combination of Ron Eyerman’s African American cultural trauma and memory theories, Michael Omi and Howard Winant’s“Racial Formation”theories, and Critical Race Theory, linking them to African American affective subjectivities. Of particular interest is the hope created, lost, and felt within the timespaces occupied by the novel’s two protagonists. By engaging with Setha Low’s formulations of the social production and construction of space, Brian Massumi’s notions regarding affective transition, and Sara Ahmed’s theories on hope, this article will argue that The Nickel Boys ultimately demonstrates that through the processing of shared cultural trauma and memory, African Americans can achieve“hope for a future fulfilled.”