本文探討諾貝爾文學獎得主莫言在他最負盛名的長篇小說《紅高粱家族》中爲何將中國革命期間自己的故鄉呈現為饒富情欲意味的風景。本論文試圖回答此問題，以證明作家將前知青經驗，罪惡感與焦慮移情於二十世紀三十年代的高密東北鄉（山東）。敘述者主要的文學手段，乃自承是「紅高粱家族最不孝順和最會騙人的孫子」，讓他能夠拉開距離，自由地將性慾與暴力的幻想投射在故鄉的歷史與想像風景的「身」上。本文也試圖將該小說置放於八十年代尋根文學的論述與思想潮流中，主張《紅高粱家族》體現尋根運動的矛盾：一方面想要肯定中國邊緣本土文學亦歸屬於主流文學，另一方面卻又亟於追求某種偉大國族的文學形式―亦即藉由個人對鄉土想像中的性慾化風景（懷舊）予它國族寓言的面向。最後此論文提出，《紅高粱家族》中的性慾化的風景是德勒茲所謂的「無器官身體」，任後社會主義的中國主體在其中浮沈隱現。

This article examines Nobel Prize-winning Chinese author Mo Yan’s most acclaimed novel, Red Sorghum (Hong Gaoliang Jiazu, 1987), by asking why the author represents his native countryside as a “libidinal landscape” in revolutionary China (Žižek 2009). I attempt to answer that question by suggesting that Mo Yan’s fictional account of 1930s Northeast Gaomi Village projects ex-Zhiqing anxieties and guilts onto the field of the peasant past in a way that seeks to recover a lost sense of cultural potency. The narrator’s main conceit, that he is an unfilial and lying grandson of the “red sorghum family,” allows him to distance himself and freely project erotic and violent compulsions onto a landscape that is a “body without organs,” pure intensities which race across the plateaus of history and space (Deleuze and Guattari 1980). This article also attempts to situate the novel within the context of the critical discourse of “roots-seeking literature” (xungen wenxue), a movement which briefly dominated the Chinese literary scene in the 1980s. My argument here is simply that Red Sorghum embodies the larger contradictions of this movement––which attempts to incorporate marginal, minority literature while at the same time still longing for some grand national form––by desiring the rustic local landscape and giving it a national allegorical dimension (Jameson 1991). Finally, the essay concludes by suggesting that Red Sorghum’s libidinal landscape can be understood as a staging of the Body without Organs, or a space into which the post-socialist Chinese subject is allowed to appear and then disappear.