在這樣一個凸顯問題意識，並將「問題」置於一個國族認同、文化身分、性別、階級等等的理念框架鋪演的時代裡，一個自處於精神上家國以外的年輕作家選擇以自絕的方式告別人間，體現個人意志，帶給我們的是莫大的震撼。每一個自殺的悲劇似乎都在提醒我們，在這政治意識形態高揚的社會裡，那暫時被我們壓抑，甚至遺忘的最基本的生存課題。於是一個出自於最為個人隱私層面的擧動，有時卻產生了最能震撼公共領域的效應。就黃國峻的例子而言，不論是媒體或是評論界，在嘗試理解他為何自殺時，都有一個極為明顯的將之既浪漫化但又病態化的傾向。再加上他身為黃春明兒子的特殊身分，論者總是喜歡把這對父子拿來作比較。相對於黃春明的鄉土、現實、入世，黃國峻是憂鬱的、自閉的、不食人間煙火的。不僅如此，這個對比形象亦不時延伸到人們對相隔四十年的兩代作家之間的識別。在一些對臺灣當代小說傳承代換上的解讀中，黃春明所代表的「父輩」是書寫歷史、社會大論述的一代，「子輩」的黃國峻一代則是耽溺於私密主體的內向世代。本文並不同意這個由「大說」演進到「小說」的文學史觀。本文一方面透過對黃國峻小說的細讀，以探索這個年輕作家一種近乎儀式性的虛構模式與敘事法則，由此領會他在創作上的終極寄託。另一方面，也想藉此閱讀方式，檢視他的小說藝術在當代臺灣文學的位置與重要性。本文試圖瞭解在這近十幾年來臺灣小說發展的脈絡下，黃國峻其人其作所可能代表的意義。

In a politically conscious literary climate that is obsessed with questions of cultural identity, gender and class, Huang Guojun is an anomaly. His self-inflicted death in 2003 at the age of thirty-two sent a shock wave to Taiwan’s literary community, causing a great deal of speculation. The fact that he was the son of Huang Chunming, the famed champion of Taiwan’s “Xiangtu wenxue” (nativist literature) in the 1960-70s, has undoubtedly contributed, to no small degree, to the enormous attention his suicide has received. The award-winning yet little known young writer soon became the focus of discussion in the media as well as in the academia. He was most often contrasted with a father who had long been made titanesque by theTaiwanese literary historians. Contrary to the father’s celebrated social satires, his work was considered as individualistic and unintelligible. This father-son comparison was even expanded to a critical discourse that tried to distinguish between two literary generations in terms of what counts as “experience.” My article questions this construction of a literary history in which a society vs. self, grand narrative vs. “little narrative” ( petit récit ) dialectic is clearly discernible. By closely reading the corpus of Huang Guojun’s work, the article presents a profile of a seemingly secluded young man as a self-made public “storyteller,” with the hope toyield some new understanding of this important writer. It is finally an attempt to position this much talked-about but little-understood writer and to assess his literary significance in the context of the recent development Taiwanese fiction.