女性「不幸的命運」及其書寫究竟意味著什麼，又可以意味著什麼？不幸的女性命運作為一種控訴，是否直接衝撞了男性主宰的社會？又或者還需要其他條件的配合？抑或是單純不幸女性命運的描繪即可達成此一目標，純粹取決於批評家的偏好？著眼於此一系列課題，本文嘗試透過季季的小說，主要是《澀果》的「未婚媽媽系列」，藉由季季特定的女性命運之鋪陳方式來展開討論。所欲探究的主要議題乃集中在：季季小說中的女性形象及其命運的呈現，何以近乎是揮之不去的不幸結果？其次，這樣的主人翁命運，究竟是基於作者季季片面的設定，抑或是特定歷史條件下的社會現象所致？如果季季筆下女性的命運，肇因於特定因果，亦即男性宰制女性的意識型態設計，那麼此一關鍵癥結的揭露是否具有必要性？或者同樣地，不論小說家、小說文本展示的是怎樣一種不幸的女性命運，無論其是否直接與性別宰制意識形態有關，通通都能形成有效的控訴、通通都可以發揮性別政治之論述，只要批評家願意？ 1979 年結集出版的《澀果》系列故事，或許可以視為作者自1960 年發表小說作品以來，有關女性題材、兩性婚姻愛情，從而也是季季文學中的主要構成，在其晚近創作階段的實際成果。如同第三、第四小節的初步分析，我們有時會看到作者某些浪漫、溫情的情感作祟，讓女性命運的再現，顯得多多少少參雜有問題傳奇化之弊、甚或流於感傷之嫌，譬如〈澀果〉、〈初夏〉、〈苦夏〉諸篇。但其他各篇，卻相對能夠直指女性不幸命運的癥結，並將之轉化為小說敘事，特別像是〈傷春〉與較後面的幾篇作品。

What does it mean by ‘miserable fate’ of women and its writing? And what could it mean? Does it resist directly to patriarchy as an accusation? Whether it need something else or all alone will do this accusation well, does it all depend on the preference of critics? Based on these issues, this article attempt to discuss the specific narrative about female fate written by Gi-gi, especially ‘the unmarried mother’of The Fruit of Bitterness. Those issues will be focusing mainly: why is it always that female characters belonging to miserable fate in Gi-gi’s novel? And does this kind of fate all derived from Gi-gi’s intension or somewhat social context within specific historic condition? If the female fate of Gi-gi’s novel is causative of specific causation that is the ideology of male domination, does exposition of that causation necessary? Or whether the female fate will be, it can surely become effective accusation and strong sexual political discourse, only depending on the intention of critics? The anthology of The Fruit of Bitterness issued in 1979 might have been treated as the main construct of Gi-gi writing about female materials such as love affair and marriage. As the analysis of section 3 and 4 will show, sometimes we can have seen the romantic motivation so as to leading the representation of women tended to be legendary or sentimental, such as ‘The Fruit of Bitterness’, ‘Early Summer’ and ‘Bitter Summer’. On contrary, the other works have shown directly the causation of miserable fate of women, and therefore turning it into narrative mode.