蘇童的《河岸》以少年視角表現文革敘事，形成冷酷色彩與荒誕之特質，此種荒誕特質尤其展現在身體的書寫上。本文分由「河與岸的關係：從愚人船說起」、「看與被看：身體的自主與非自主權」、「慾望與懲罰的交鋒：少年庫東亮的身體焦慮」以及「革命血統認證：身體的固著與脫逃」四節，論述《河岸》裡的身體書寫。首述放逐的身體懲罰、鎮民對於船民所執行的集體規訓、母親對父親所進行的私人規訓；次言女性身體所受集體眼光的審視及其歸屬權；再論少男成長的身體焦慮、愛欲苦惱，以及慾望的公眾檢閱、規訓的轉化等；最後回歸「愚人船」意象，論述父子血緣認證的問題。文末指出《河岸》是一則政治與欲望的身體寓言，庫家父子正是以「正義懲罰」與「情欲懲罰」之名，被施予身體的放逐。

Su-Tong’s Bank tells a story of the Cultural Revolution through the eyes of the young. The novel shows grim and grotesque features, and such absurd qualities are especially obvious in his body writing. My discussion consists of four sections: “Relationship between the river and the bank: in the case of Narrenschiff ”, “See and be seen: the body’s autonomy and non-autonomy”, “Punishment and desire: the junior’s body anxiety” and “Proof of revolution descent: the body’s persist and escape”. First, I discuss the physical punishment of exile, the town residents’ collective executive for the boat people, and the mother’s private discipline of the father. Secondly, I discuss the public’s view of the female body and the attribution of the female body. Thirdly, I discuss the body anxiety of the young’s growth, the anguish of the desire, and the public display of the desire, etc. Finally, I return to the image of Narrenschiff to discuss the descent of father and son. In the end, my discussion points out that Bank is a body parable of politics and desire, and the protagonist is suffered from body exile in the name of “just punishment” and “erotic punishment”.