置疑的寫作者：論賴香吟《翻譯者》的「自反寫作」與失語困境

賴香吟在2017年出版的《翻譯者》被視為是「青春時期的結案報告」嘗試呈現不同的社會與政治事件中的「個人」，然而本文認為貫穿《翻譯者》的是身為「寫作者」的「女性敘述者」的失語困境。因而，本文將從「自反寫作」與失語困境兩個面向切入，討論賴香吟的小說《翻譯者》幾篇小說以及未收錄的〈時手紙〉。本文認為在後設小說的技藝下，賴香吟置疑寫作者身份、寫作（物）與寫作意義之間的關係，導致身為寫作者的「失語困境」以及的自我價值危機。其中，透過女性與寫作者雙重的身份，而以女性經驗打破女性與土地皆為男性拯救之對象的模式。本文將進一步指出，賴香吟小說在高度自反性的策略下，小說中的女性寫作者角色對雙重身份的自反思考，凸顯女性寫作者在差異的經驗與真實之間的掙扎，重新定義了「作者」、「經驗」與「文學性」概念，而呈現出某種敘事美學。  The Translator (Lai Hsiang-yin, 2017) is considered the culmination of adolescence. Lai Hsiang-yin attempts to depict the concept of “individual” in various societies and political contexts. However, this paper argues that the aphasia dilemma of the “female narrator” as “the writer” permeates the entire narrative of The Translator. Therefore, this paper aims to examine several novels in The Translator (Lai Hsiang-yin, 2017) and “Time Letter”（時手紙）from the perspectives of “reflexive writing” and the aphasia dilemma. Through Lai Hsiang-yin’s metafictional work, it is believed that she questions the relationship between writer’s identity, the act of writing itself, and the meaning of writing, leading to an aphasia dilemma for the writer and a crisis of self-worth. By assuming the dual identity of the female and the writer, Lai Hsiang-yi breaks away from traditional patterns where females and their land are solely saved by males. Moreover, through the strategic use of reflexivity, the character of the female writer in Lai Hsiang-yin novel reflects upon her own dual identity, emphasizing the struggles of the female writer between different experiences and reality. At the same time, this redefines the idea of “writer”, “experience” and “literariness”, representing a distinct narrative aesthetic.