本文中所討論的短篇小說〈拾骨〉，是舞鶴的鄉土性與現代性書寫渾然交織的代表作。舞鶴在〈拾骨〉中所提出的人之「生」與「死」、以及「性」，是人類共通的倫理性命題。人之所以存在的這些根源性命題凝聚在「死者」母親和「我」身上而同時浮出地表，通過〈拾骨〉，我們深深體會到了臺灣純文學達到的某種高度。〈拾骨〉中反復使用死者與性的意象與符號，作家舞鶴到底想表達什麼境界？純文學總要追求的生與死、物質和精神的界線到底何在？舞鶴這樣的變異性死者書寫不僅僅是他的創作獨有的，它在一九五〇年代末期日本近代文學中也屢次被嘗試過。最顯著的例子就是大江健三郎的短篇小說〈死者的傲氣〉。本文即擬從這樣的問題意識和臺日比較文學的角度出發，對〈拾骨〉中的母親與死者意象重新進行解讀分析。

A representative work of nativist modernism, Wuhe’s “Bone Collecting” deals with universal ethical issues of life, death and sex. These basic existential issues crystallize around the “mother” figure and the “I” narrator. This story takes “pure literature” to a new level. Wuhe makes use of recurrent images and symbols of sex and mortality, but what kind of realm has he entered and what does he wish to express? And where are the boundaries between life and death, flesh and spirit? One can compare Wuhe’s unorthodox “death writing” to Kenzaburo Oe’s. In the 1950s Kenzaburo Oe made repeated attempts at an alienating aesthetics of death in his writing, the most conspicuous example being his short story “Lavish Are the Dead.” We can ask the same kinds of questions of it. This, then, is the problematic of this article, which endeavors to reread the imagery， both maternal and morbid, in “Bone Collecting” from a Japanese-Taiwanese comparative literary perspective.