簡淨書寫的莊嚴回歸－從《微喜重行》看黃碧雲的晚近風格

Grand Return to the Concise and Lucid Writing-To View Wong Bik-wan's Late Style from ＂The Re-walking of Mei-hei＂

蔡宜汎(Tsai, I-Fan)

《靜宜中文學報》 17期 (2020/06) Pp. 61-91

摘要

黃碧雲2012年以後所推出的三部作品：《烈佬傳》（2012.11）、《微喜重行》（2014.7）、《盧麒之死》（2018.7），脫離了早期作品的風貌，不論語言、敘事、所關注的內容，已不能以學界論斷的「溫柔與暴烈」概括，其簡約的敘事、體貼他者的觀點將作品拓升至更加寬廣弘大的視野中，然而此並非題材的「大」，而是以創作包容各種情感與生存狀態的深厚底蘊。本文從黃碧雲的轉變脈絡爬梳她逐步自我突破的過程，並以文學的角度探析《微喜重行》，以此肯定其不斷推翻與追求的文學藝術鍛造，黃昏入定的簡淨美學於焉猶生。

關鍵字

黃碧雲 ； 晚近風格 ； 微喜重行 ； 烈佬傳

並列摘要

In recent years, Wong Bik-wan has published three fictions: ＂Children of Darkness＂ (November, 2012), ＂The Re-walking of Mei-hei＂ (July, 2014), and ＂The Death of Lo Kei＂ (July, 2018). In those fictions, she has got rid of her early fictions' contour regardless of language, narration, and the content she concerns, all of which can no longer be simply concluded by the academic circle's ＂Tenderness and Violence＂. Rather, her concise and lucid language, along with the view that is thoughtful of others has elevated the fictions to an even more spectacular and expansive vision. However, the ＂spectacular＂ here does not refer to that in the subject, but the various emotions and existing status contained in her creation. In this paper, we organized the process of Wong Bik-wan's self-breaking-through from her fictions' transformation context. On the other hand, we explored into ＂The Re-walking of Mei-hei＂ from the literary angle. By doing so, her ceaseless breaking-through and pursuit of art-forging is highly recognized, and the concise and lucid aesthetics as deep and supreme meditation at sunset is thus given birth to. By doing so, her ceaseless breaking-through and pursuit of art-forging is highly recognized, and the concise and lucid aesthetics in the form of deep and supreme meditation at the author's later year is thus given a rise to.

並列關鍵字

Wong Bik-wan ； Late Style ； The Re-walking of Mei-hei ； Children of Darkness

參考文獻

黃碧雲，《其後》，香港：天地圖書，1991。

黃碧雲，《溫柔與暴烈》，香港：天地圖書，1994。

黃碧雲，《她是女子，我也是女子》，臺北：麥田，1994。

黃碧雲，《七宗罪》，臺北：大田，1997。

黃碧雲，《突然我記起你的臉》，臺北：大田，1998。