回家／鄉的路上─決戰時期呂赫若《清秋》小說集的家與老者

一九四○年代的臺灣文壇陷於決戰時局之中，「戰爭」在官方主導下成為所有文化活動的前提。然而，呂赫若卻是少數於決戰時期（1941-1945）繼續執筆，甚至出版作品集的作家之一。期間他所發表的〈清秋〉、〈風頭水尾〉、〈山川草木〉等小說，雖被質疑帶有皇民化色彩，但仍有研究者認為他是以審慎的寫作技巧，對戰爭時局與皇民化運動表達幽微的抵抗；這些表面上被解讀為協力國策的文學作品，實際記錄的是臺灣知識分子在「皇民化」的戰鼓聲下，努力面向臺灣本土社會的自我省視與書寫嘗試。處於殖民地語境中的呂赫若，不僅未被殖民當局的文藝政策所擊倒，反而於政治夾縫中發聲，深刻化臺灣的主體意識與歷史記憶。承此，本文將以呂赫若決戰時期出版的小說集《清秋》為討論對象，通過書寫構圖與人物典型的分析，檢視作家處於高壓政治之下「家族史」與「老者形象」的寫作經營，呈現臺灣知識分子面對決戰時期的文學觀點及書寫回應。

關鍵字

呂赫若；決戰時期；《清秋》；家族史；老者

並列摘要

In the 1940s, Taiwanese literature and the literary circle were entangled in the midst of the Greater East Asia War. Under the colonial and military rule, ＂the war＂ became the main theme of literary writings. Despite the hardships, Lu Heruo was one of the few Taiwanese writers who continued to write and publish during the last period of World War II (1941-1945). Many researchers have pointed out that Lu Heruo expressed a considerable degree of resistance to the imperial subject movement by prudent writing skills and realistic aesthetics. Although Lu's literary writings in the 1940s appeared to be imperial subject literature, these works actually reflected that Taiwanese intellectuals tried to reconstruct the subjectivity of Taiwanese society in the end of the Japanese rule. Therefore, this paper will examine Lu Heruo's Clear Autumn, a collection of short novels which was written and published during the years of 1942 to 1944. After close-reading Clear Autumn and the writer's diary, this paper discovers Lu's special writing strategy of ＂family history＂ and ＂images of the Elderly＂ under the political pressure from Japanese colonialism, thus showing the unique appearance of Taiwanese literature during the last period of World War II.