本文以李昂出版於2007 年、也是臺灣第一部長篇飲食小說的《鴛鴦春膳》為探討對象，指出它一方面有別於一般飲食散文側重色香味描摹的美食書寫傳統，罕見地連結了飲食與死亡主題；同時也因為父親之死以及對第一次政黨輪替後期的政治信念的崩解，使得這部小說趨於內省，既是過去創作的總結、也是對於新出發點的思考。本文著眼於飲食與死亡兩個關鍵字，一方面指出《鴛鴦春膳》集結李昂畢生創作的三大主題：自我存在感、情慾與政治，以飲食與死亡（＝祭品）為媒介，將過往的創作成績單祭獻喜愛美食的亡父，以慰之在天之靈。另一方面則歷時觀察李昂自1960 年代末近五十年來的小說創作，指出上述三大主題在《鴛鴦春膳》產生了和緩的質變，《鴛鴦春膳》成為其創作生涯的轉折之作，繼起日後的《七世姻緣之臺灣／中國情人》（2009）、《路邊甘蔗眾人啃》（2014）等作。

In this article, we study Li-Ang's《Duck Spring Feast》, the very first long dietary novel in Taiwan, published in 2007 and pinpoints it rarely establishes a link between topics of diet and death, which unlike the traditional emphasis on depiction of color, aroma and taste of dishes, adopted in common dietary literature; meanwhile, this novel tends towards retrospection and serves not only a summary of the past creations but thinking over the new starting point since Father’s death and collapse of political belief. This article focuses on the two keywords, diet and death; for one thing, it uncovers that 《Duck Spring Feast》concentrates Li-Ang's three main creation topics in his lifetime: sense of self-existence, lust and politics and offers sacrifice to his dead father who was fond of delicacy with the past creations via the media of diet and death (= offerings) to the spirit of the deceased. On the other hand, Li-Ang's novel works over the past 50 years since late 1960 have been closely reviewed and found that the three topics mentioned above in《Duck Spring Feast》have faced a mild quantitative change. In other words,《Duck Spring Feast》becomes a work of transition in his writing career and since then, his famous works have include 《Marriage in Seven Lives: Entangled Love Affair of Taiwanese / Mainlander.》 （2009）, 《Everyone Chews on Sugarcane by the Side of the Road》（2014）and so on.