吳繼文酷兒小說中的性／別飄浪、家國想像與時間觀

Homeland/National Imaginaries, Temporalities, and Drifting Gender/Sexualities in Wu Ji-wen’s Queer Novels

本文認為在1990年代臺灣的酷兒書寫風潮下，吳繼文（1955-）的兩部長篇小說《世紀末少年愛讀本》（1996）、《天河撩亂》（1998）有別於當時許多以歐美為酷兒烏托邦想像的作品，開展了不同的酷兒時空觀與家國想像。他以「回望」的方式開展新的酷兒敘事，異於其他酷兒小說「前瞻」的姿態；另一方面則以亞洲的歷史文化脈絡為底蘊，融合佛教的時空觀，突破線性時間、進步史觀的架構，開展出具有反思性與超越性的宇宙觀與循環式的時間觀。本文將具體分析吳繼文兩本酷兒小說的時空觀照，指出其在臺灣酷兒書寫中所具有的特殊性，及其跨文化交融的視域與文學景觀。文中將以三節來討論吳繼文小說的酷兒時空書寫策略：一、回望與改寫：男色傳統的再造與深化；二、在島／國間流浪：性別流動與跨性別飄浪；三、流亡與和解：愛欲傷痕下的家國想像與時間觀。

 

This study argues that Wu Ji-Wen’s two novels Fin-de-siècle Youth LoveReader (1996) and Galaxy in Ecstasies (1998), unlike other works that depictEurope and America as queer utopias, embody different queer temporalityand national imagination. Wu’s novels employ the motif of “looking back” toinnovate a new queer narrative, one that differs from the “forward-looking” or“future-oriented” stance of other queer novels. Through this motif of “lookingback,” the novels are based on the Asian historical and cultural contexts,incorporating Buddhist concepts of space and time to challenge the structureof linear time and to create a reflective and transcendental cosmology. Throughanalyzing the spatiotemporal concerns of the two novels, this study focuses ontheir distinctiveness against the context of queer writing in Taiwan and discussesthe intercultural visions emerge from the novels.