從「邊界」中思索出路 : 論韓麗珠《縫身》和《離心帶》中的越界想像

本文借助「邊界」1的分析框架，聚焦於個人／社會的「邊界」，討論香港作家韓麗珠 （1978-）的兩部小說《縫身》（2010）和《離心帶》（2013），試圖展現出在「什麼都沒有發 生」的表象下，後九七香港文化身分的複雜性。本文提出，《縫身》先破後立，透過徹底拆毀 「邊界」的顛覆性實踐，重新確立「邊界」的意義，帶出個人空間不能被湮沒在社會規訓中的訊 息；《離心帶》則在守護個人空間的前提下更進一步，勾勒出一條「離軌」的路徑，作出突破社 會規訓的「邊界」的嘗試，最後完成在半空中自創「邊界」的實踐，以想像空間開拓了個人／社 會關係的互動潛能。兩部作品共同呈現出一種建基於城市邊緣的文化身分，對社會主流價值觀發 起挑戰，流露出韓麗珠對後九七時局的省思和寄語。

By using the analytical framework of “boundaries,” this essay focuses on the individual/society “boundaries” in the novels of Hong Kong writer Hon Lai-chu (1978-), discussing her works Body-sewing (2010) and The Border of Centrifugation (2013), attempting to reveal the complexity of post-1997 Hong Kong cultural identity beneath the surface of “nothing happened”. This essay argues that Body-sewing breaks down existing boundaries and re-establishes their meaning through a subversive practice, bringing out the message that personal space cannot be obliterated by social norms. The Border of Centrifugation goes further in safeguarding individual space, outlining a path of “derailment” that attempts to break through the “boundaries” of traditional social norms and ultimately establishes new “boundaries” in the middle of the sky, expanding the potential interaction for individual/society relations through the creation of an imaginary space. These two works collectively represent a form of cultural identity based on the city’s periphery, challenging the mainstream societal values and expressing Hon Lai-chu's reflections on the current situation in the post-1997 era.