香港作家黃碧雲（1961-）早於1987年〈殖民地風情〉一文中顯出對「殖民」的內疚與眷戀，在二十五年後的今天，各種香港文學中複雜的殖民話語空間，依然是作者積極探索的議題。她曾任香港《英文虎報》（The Hong Kong Standard）的政治新聞記者，經常接觸港英殖民政府官員，加上多年行旅經驗，亦時有把殖民問題參差對照的例子。然而黃碧雲對殖民書寫探討最為深刻、迂迴及具總結性的作品，仍是2011年出版的《末日酒店》。該小說以澳門葡人為主角，以一所酒店的興衰作歷史見證，是黃碧雲繼《沉默‧暗啞‧微小。》後停筆十年之作。單行本以中英雙語發表，以英語進行的澳門後殖民書寫，對一位香港作家而言，實在具有特殊的意義。本文以《末日酒店》為例，貫串黃碧雲多年來的後殖民論述，細讀由小說敘事空間而來的後殖民話語空間，期望從酒店的暫借隱喻、殖民者曖昧形象以及語言之取代三方面，引出香港文學的殖民書寫空間，在慣見的薩伊特《東方主義》二元批評以外，透過小說文本體會殖民論述的曖昧與可能性。

Hong Kong writer Wong Bik Wan (1961-) wrote about her mournful attachment towards the colonial status of Hong Kong in an essay named "Colonial Touch" in 1987. Twenty five years later, the complicated discourse of colonialism is still the prime concern of the writer. Wong has been a political journalist of The Hong Kong Standard with acquaintances of officials in the British colonial government of Hong Kong. Her abundance of travel writing also gives rise to a lot of description of cultural encounters. Among this corpus of works, the bilingual novel Doomsday Hotel published in 2011 is the most complicated, far-reaching and profound work of colonial reflection. The novel is about Portugal settlements in Macau and their stories related to a hotel. It takes Wong Bik Wan ten years to write a novel again after Silence, Dimness, and Trivialness. The novel is published in Chinese with an English translation co-worked by the author and the translator. The act of writing a story of Macau Portuguese in Chinese and English by a Hong Kong writer shows the ambiguity of post-colonial writing of Hong Kong literature. The paper argues that the practice of writing Doomsday Hotel as well as the essays and fiction by Wong Bik Wan over the years can demonstrate the ambivalence and possibility of colonial discourse in Hong Kong literature in the three dimensions of the metaphor of hotel, the ambiguity of colonizers' image and the substitution function of language.