禁錮與救贖—舒暢《那年在特約茶室》與梅濟民《火燒島風情系列》探析

舒暢《那年在特約茶室》與梅濟民《火燒島系列風情》兩部作品同樣發表在九○年代初期，兩位作者也同樣是由自身經驗（軍人／新生）出發，分別書寫在戒嚴時期兩個異質空間「特約茶室」和「綠島監獄」中的身體。金門做為反共復國的堡壘、綠島成為監禁犯人的惡魔島，這兩個島嶼有著相對於台灣本島的符號性指涉。但是，創作主體面對無法主動加以扭轉的空間場域，也有其主觀感性和思想，他們的書寫在抗議扁平化的符號意義加諸他們的同時，深度展開了自身存在課題的思考。本文進一步分析兩部作品裡以水為中心的意象群，闡釋作家對於自由、慾望、知識與生命的渴望。在水的原始物質意象的呼喚中，舒暢與梅濟民統一了來自水本身的原始特質以及他們不得不身處孤絕島嶼的無奈處境，改寫國家機器將空間符號化的詮釋方式。面對嚴厲的身體禁錮，小說中的人物展現生存的意志，以空間為基礎，從身體與心靈的辯證中尋找出口，通過想像主體與意象的同構，兩位作家因此在意象世界中暫時的平息了人世間的不幸。

關鍵字

梅濟民；舒暢；《那年在特約茶室》；《火燒島風情系列》；空間

並列摘要

Both Shu Chang's The year at the Brothel and Mei Ji Min's Fiery Island Series were published in the 90's. The two works are based on the two writers' own experiences (military / freshmen) in the martial law period, writing about the body in two spaces, ＂Brothel＂ and ＂Green Island Prison,＂ respectively. One being an anti-communist fortress and the other being an evil island for imprisoning criminals, Kinmen and Green Island both has symbolic meaning which is counter to Taiwan's. Even though facing the inability to take the initiative to reverse the spaces, the writers have their own subjective emotions and thoughts. While protesting against the degrading notion imposing on them, the writers were also deep thinking about the issue of self-existence. This paper analyzes the main image of water in the two works conveying the writers' craving for freedom, desire, knowledge and life. In the calling of water's original material image, the both two writers unified not only the primitive qualities from the water itself, but also the desperation to live in the isolated island, and rewrote the way the state machine symbolized space as well. When facing the severe imprisonment of the body, the characters in the novels show their will to survive; moreover, on the basis of space, the characters' searching for a way out through the dialectical of the body and the mind, and imagining the co-construction of subject and image, made the two writers temporarily subsided the worldly misfortune in the image world.