自學生文學獎出道後,被網羅為「希代小說族」的成員。儘管她後來擔任《中央日報》副刊編輯,從事各種文藝閱讀的推廣,卻仍然被視為通俗女性作家。然而,她個人在創作上不斷努力,小說、散文的相關生產不停,因而逐漸收割了2004年所出版的《平安》一書,獲得論者不同的評價,可謂是告別希代時期的作品。 本文以《平安》為分水嶺,闡述林黛嫚創作生涯的轉折,指出林黛嫚在此已確立其小說家的自覺意識,並成功從通俗女性小說家向嚴肅女性小說轉型,跳脫昔日制式言情窠臼,對於人生百態有更深入的描繪。2012年出版的《粉紅色男孩》的短篇小說集則更細膩探究家庭社會中出現的各種問題,筆觸更為成熟。 本文從主題、敘事、修辭等角度梳理兩書之敘事特色,說明其含蘊於作品中的各種特色。期能以較公平、客觀的角度,為林黛嫚重新尋找文學史定位。
Lin Daimen joined the SI-TAK Novel Group soon after winning student literary awards. Despite her work as editor for the Central Daily News Supplements, and various literary efforts, she is still considered as a female writer of popular fiction. Nonetheless, through her numerous literary creations such as novels and essays, Lin was able to produce Ping-an in 2004, a book that has garnered critical acclaim, signifying a successful graduation from her SI-TAK period. This article sees the publicaiton of Ping-an as a turning point in Lin's literary career, pointing out that farely early before its publication in 2004, Lin has estabished herself as a novelist self-consciously and shifted the focus of her work from popular writing to more serious feminist novels; she has already moved on from the lyrical cliches of the old days. In the collecton of short stories The Boy in Pink published in 2004, she delves into many social problems in details, and shows a more sohpisticated style. This article analysizes the narrative features of the two books: Ping-an and The Boy in Pinkrom the perspectives of theme, naration, and rhetoric, discovering the various features hidden in the texts. It aims to find Lin a proper place within literary history, from a more objective and unbiased point of view.