本文以「不在的臉」與「殘響的場域」為切入點，重讀呂赫若1943年日文短篇〈玉蘭花〉，質疑將其視為單純呈現臺日親善與童年溫情的慣行解讀。文章回到日文原文，結合戰時臺灣文學脈絡、家族照片、感官書寫與閱讀位置等問題，細讀舊家族寫真、庭院與玉蘭樹、熱病與招魂，以及題名所召喚的玉蘭花香。本文指出：鈴木善兵衛作為攝影者原已位居畫面之外，其臉孔在照片與回憶中反覆缺席；相對地，本島人家族、庭院與玉蘭樹，以及風聲、葉聲、呼名聲與身體搖晃等感官碎片，則構成被固執保存的「殘響的場域」。同時，玉蘭花香並非敘事者自明的嗅覺記憶，而是以推量形式偏置於日本青年的感官位置，並在後來讀者的補寫中獲得第二層意義。文章最後將此一記憶結構放回蔡培火與小熊英二所展開的「異身同體」思想脈絡中，指出〈玉蘭花〉所呈現的並非和諧完成的殖民地友情，而是以差異保留為前提，卻終究帶有裂縫的戰時共在經驗。

This article rereads Lü Heruo’s 1943 Japanese short story “Yulan Flower” through the paired concepts of the “absent face” and “fields of reverberation,” challenging the habitual view of the text as a simple story of Japan–Taiwan friendship and childhood warmth. Returning to the Japanese original and situating it within the literary context of wartime Taiwan, the essay offers close readings of the old family photographs, the courtyard and magnolia tree, the episode of fever and soul-calling, and the fragrance invoked by the title. It argues that Suzuki Zenbei, positioned from the outset outside the frame as a photographer, repeatedly disappears from both image and recollection. By contrast, what stubbornly survives in memory is the Taiwanese family, the courtyard, the magnolia tree, and sensory fragments such as wind, rustling leaves, calls of address, and the bodily sensation of swaying in the tree—what this article terms “fields of reverberation.” Magnolia fragrance, moreover, is not presented as the narrator’s stable sensory memory; it appears only in a speculative sentence assigned to the Japanese youth’s position and acquires a second layer of meaning through later readers’ acts of supplementation. Reconsidered alongside Cai Peihuo’s and Oguma Eiji’s discussions of “same body, different selves,” “Yulan Flower” emerges not as a harmonious colonial friendship narrative but as a wartime form of co-presence sustained by preserved differences and marked, ultimately, by asymmetry and fracture.