千禧年後台灣文學社群的生產與介入——以「小說家讀者」為觀察核心

本文以「小說家讀者」此一社群為研究對象，嘗試分析此一由許榮哲、高翊峰、甘耀明、伊格言等八位作家組成的團體，如何在千禧年後的臺灣文學環境裡，面對著純文學在消費市場的衰落，企圖以「中間文學」與「行動文學」來改變純文學在消費市場的疲態。　　其中，「中間文學」是以愛情主題為出發，意在打造介於大眾文學與純文學間的文類，向網路世代的年輕族群進攻。而「行動文學」則是以各類綜藝形式活動，將文學包裝成更為易懂輕質的產品，並以惡搞戲謔的方式顛覆傳統的嚴肅想像。他們沒有鄉土寫實主義的政治使命感，亦沒有高階知識分子的純粹藝術性格，而是對於文學作為消費商品有深刻的認知。如何在商品與藝術間做出平衡，成為了千禧年臺灣文學生態裡重要的課題之一。　　另一方面，「小說家讀者」成員則依循著文學獎機制，來獲取純文學場域內的名聲。在他們的純文學作品裡，表現出台灣主流文學長年不涉政治的傾向，對於寫實主義抱有一定程度的排斥。然在整體政治與文化氛圍裡，舊有的鄉土文學已然從反抗意義升格為典律，使他們並未直接走向後現代主義者的否定。他們的作品會出現鄉土符號的敘事，但抹除了結構性的社會批判敘事，以深層的人性與藝術性作為文本主軸。　　學界長年以「新鄉土」來概括此一六年級世代的作家。在這種世代論的觀點，容易取消掉各個作家的差異，並忽視背後系統性的美學與資本。本文期盼透過「小說家讀者」的個案，以社群研究取代「新鄉土」的世代論，打破既有的文學史想像，描繪出台灣文學在千禧年後的困境與變遷。

關鍵字

小說家讀者；新鄉土；千禧年後臺灣文學；中間文學；行動文學

並列摘要

This dissertation analyzed the Novelist-cum-Readers, a community consisting of eight writers (e.g., Rong-Zhe Hsu, Yi-Feng Kao, Yao-Ming Gan, and Egoyan Zheng), in their attempts to revitalize literature by advocating for a combined genre of literary and genre fiction and literature in action for post-2000 Taiwanese literature. 　　The theme of combined literary and genre fiction is romance and targets the young readers of the internet generation. The literature in action frames literature as accessible and approachable through various activities that use humor to change readers’ unfavorable perception of literature. The members of the Novelist-cum-Readers do not have the same sense of political responsibility and the artistic character of high-level intellectuals that nativist and realist writers have. Instead, they have a deep understanding of literature as a consumer commodity. The balance between literature as a commodity and literature as art has become a key topic in the post-2000 Taiwanese literature community. 　　The Novelist-cum-Readers have earned a reputation in the field of pure literature by winning literary awards. Like mainstream Taiwanese literature, their works of pure literature tend to not involve politics, and they reject realism to a certain extent. However, with the changing political and cultural atmosphere, nativism has become a standard rather than a form of resistance. Therefore, the Novelist-cum-Readers have not directly rejected the postmodernists. Nativist symbols have begun to appear in their works, but structural narratives and critiques of society are uncommon. The focus of their work is deep humanity and artistry. Academia has referred to writers born in the 70s as “new nativists.” Such a generational view tends to overlook the differences among writers, the systematic aesthetics of the literature, and the capital invested into the literature. We described the obstacles and changes in post-2000 Taiwanese literature through a community study rather than by adopting a generational view (i.e., new nativism) to alter the existing impression of Taiwanese literature.