本論文并讀德里達與莫里森,討論兩人一系列與"秘密"相關的著述,希望能重新理解"秘密"的涵義,并進而思索"文學"與"秘密"相生共濟的關系。論文主張,不管是莫里森提出"戲耍黑暗中"的文學創作概念,還是德里達強調文學作品之動能與"單一效應",兩人都不以"秘密"為認知障礙或思考局限;相反,莫里森關注文學想象如何接受"秘密"召喚,在"秘密"意義晦暗不明的時空中"流變探索",而德里達更清楚地主張文學"源出秘密"、文學"回應秘密",以指向未知、即將到來的思維向度。

This essay reads Jacques Derrida and Toni Morrison side by side,with a view to meditating on the meaning or non-meaning of the secret,and exploring literature’s symbiotic relationship with secrecy.Reading a series of Derrida’s and Morrison’s works related to the topic of "the secret," I argue that secrecy does not pose an epistemic obstacle or hermeneutic limit to either Morrison or Derrida.Rather,comparing the process of literary creation to "playing in the dark," Morrison finds in the darkness of the secret a threshold time-space of literary "becoming," while Derrida explicitly advocates the idea that literature is "in place of the secret" or literature "responds to the secret" in order to drive forward a future dimension of avenir.