何謂「書寫倖存」？活在重要他者死後的這一事實，與書寫有何關聯？帶著這些疑問，本論文透過奈波爾、沃爾柯特與柯慈這三位後殖民作家的作品，探討了三種在書寫自我的行動中，作家處理資產的方式。基本的問題涉及：對於這些作家來說，書寫如何是生存之必要手段？進一步追問，書寫的獨特之處為何，能讓作家處理死亡的議題，把僵死轉化為活債、將自我從過去提煉出來，如從礦石中提煉物質之精華？對於奈波爾而言，書寫倖存即牽涉到一系列的轉化過程。在他書中，死亡化成暫待償還的債務，清償這些債務時，自我的面貌不斷翻轉變化，最終總有某種完整的自我面貌浮現。《畢思沃斯先生的房子》（1961）說明了「書寫倖存」即是「為了倖存而書寫」。在二十多年後的〈自傳序言〉（1982），奈波爾藉由挖掘父親的時代與生命故事，重申了他先前小說中的轉化美學。即便《畢思沃斯先生的房子》的線性父子接承關係在《抵達之謎》（1987），轉置成了作家對舊英國光景的唏噓，倖存的命題仍然扣緊文學遺產的承接與再現。論文的一、二章探索奈波爾如何協調個人層面的親屬關係和作家與跨國、跨文化書寫的鍊結。相對於奈波爾的繼承命題，本論文第三與第四章，探討沃爾柯特如何處理倖存與寫作所涉及的衝突主題。如果沃爾柯特與奈波爾一樣，視書寫為一種天職，也是倖存的方法，那麼前者在他的詩中帶入了與後者不同的物質元素。在《另一生》（1973）中，身份破裂的詩人在海的和諧之聲中，為哀悼的作家找到了療癒方式。在《奧玫羅斯》（1990）裡，跨大西洋的場域催生了詩人敘述中的複合自我。此般敘述方式以多元融合的和諧視野面對殖民餘波所帶來的衝突。詩人以新世界的倖存者自居，透過召喚先靈，詩人使本土得以跨出邊界。第五章討論柯慈兩本自傳小說中主角對於歸屬感的逃逸。柯慈的作品，不同於奈波爾的親子繼承關係，也不同於沃爾柯特所強調的跨大西洋連結，反倒以分離的主題來呈現債務的主題。約翰在《童年時光》（1997）裡哀悼農場的生活經驗，在《青春歲月》（2002）中哀悼流產的嬰兒。兩者都指出家園，如同南非這個國家，是約翰亟欲逃離的地方。《童年時光》與《青春歲月》裡有關逃離的種種小敘事，再再暗示作家如何在國家機器的律令之中苟活。對於這三位作家來說，寫作是一種帶有倫理意涵的倖存方式，因為作家透過各自書寫，對不同型態的遺產與債務進行召喚、並恰當運用於作品、使之得以再現，藉以為死亡發聲。倖存牽扯了不僅只一個生命、一個自我，也因此在倖存這一獨特的生命形塑過程，書寫得以實踐其自身的、賦有創建性的工程。

What does it mean, “writing survival”? In what way does the fact of living after (or living over, or surviving) the significant others relate to writing? In posing these questions, this dissertation is interested in the dynamic convocation in which a writer approaches his legacy while he becomes a writer. In the works of three postcolonial writers, namely V. S. Naipaul, Derek Walcott, and J. M. Coetzee, this project looks into three different manners in which legacy is claimed and employed in the act of writing about oneself. It asks the basic question of what makes it necessary, with each author, to survive by way of writing? How, the query goes on, does writing provide its unique footage for them to deal with death, to turn dead death into living debt, to crack self from past as one cracks salt from earth? With Naipaul, writing survival involves a serial transfiguration of death into debt, and debt further into acts of reckoning that keeps turning the self around and eventually makes him whole. A House for Mr. Biswas (1961) is case in point of how writing is exactly the vocation in which “writing survival” is coterminous with “writing to survive.” Twenty years later, in “Prologue to an Autobiography” (1982), Naipaul reaffirms this aesthetics of transfiguration employed in his fiction with facts dug up from the life and times of his father. Even when this filial linearity of legacy turns somewhat awry when it goes transnational in The Enigma of Arrival (1987), survival in life still hinges around literary legacy for Naipaul. Chapters One and Two of this dissertation look into Naipaul’s take on how the matter of filiation on the personal level is congenial to that of affiliation on the transnational and transcultural level. Chapters Three and Four, on the other hand, study how Walcott takes issue with the conflict involved in both the fact of survival and the act of writing. If, as it is with Naipaul, writing is also the vocation in which the matter of survival is a lived experience, Walcott brings in a different set of factors that lend an elemental, material force to writing. In Another Life (1973), the divided child finds a congenial voice from the sea that promises healing to the heart of the writer who mourns. In Omeros (1990), the transatlantic site gives rise to a convocation of the multiple I in the narrative that, together with the legacy that is invoked and the venues around the seas that are visited, opens up a whole new horizon of reconciliation with the conflicts. The bard is the New World survivor who, with boost from the cosmopolitan ancestry he invokes, writes the vernacular larger than the local, contemporary life it appears to live. Chapter Five examines the many points of fleeing from the fixation with the sense of belonging that haunts Coetzee’s early life in two of his autobiographical work. Different from Naipaul’s filial piety and Walcott’s transatlantic linkage in his literary affiliation, Coetzee’s texts understand debt in ways of de-(af)filiation. In Boyhood (1997) John mourns for the life on the farm and in Youth (2002) he mourns for his aborted child. In both cases, home, like the nation that is called South Africa, is where the heart yearns to leave and to leave totally behind. The tales of fleeing in Boyhood and Youth are thus petite narratives of sort in which the self of the author can be written in exactly the manner in which he survives the totalizing dictation of the state apparatus. Writing, for these three authors, is an act of survival in an ethical sense because death is enunciated in the transfigured form of debt that they invoke, employ and make present in their writing. And survival, which always involves more than one self and more than one life, is therefore a unique mode of being in which writing can live up to the creative transformative enterprise it is.

Table of Contents
論文審定書…………………………………………………………………………….i
Acknowledgements…………………………………………………………………..ii
中文摘要………………………………………………………….…………………...iv
Abstract………………………………………..……………………………………...vi
Introduction……………………………………………………………………………1
Chapter One
Between Father and Son: The Theme of Inheritance in V. S. Naipaul’s
A House for Mr. Biswas and “Prologue to an Autobiography”…………............35
Chapter Two
Trinidad and England Revisited in
V. S. Naipaul’s The Enigma of Arrival……………………..………………..........55
Chapter Three
“Sea Change” and The New World Survivor in
Derek Walcott’s Another Life………………………………………………...........75
Chapter Four
Writing “Homeros,” Writing Identities in Derek Walcott’s Omeros……….........97
Chapter Five
“How Not to Play the Game”: Fleeing as an Alternative to
Political Engagement in J. M. Coetzee’s Boyhood and Youth…………….......117
Conclusion…………………………………………………………………………..147
Works Cited………………………………………………………………………....157

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