成癮作為美國作家卡佛(Raymond Carver)與視卡佛為標竿的德國作家赫爾曼(Judith Hermann)短篇小說的共同主題，為一種干擾身體呈現樣態的次文化慣習(Bourdieu 1984)或一文化特有的概念(Levine 1978)。此文以卡佛的小心(1982)、我在這裡打電話(1982)及赫爾曼的夏之屋，再說吧(1998)三文本中的小人物為例，論述此次文化慣習的意義。卡佛筆下呈現的酗酒為疾病，但赫爾曼視喝酒或瞌葉為表達存在的方式。在成癮背後隱藏的不僅是逃離自我，也是尋找自我，在逃離與尋找中拉扯，小人物陷入生存的矛盾中被成癮撕裂，成了克里斯蒂瓦(Kristeva 1982)理論中的卑賤者。卡佛的卑賤者欲修復撕裂的自我，因在美國文化中酗酒不僅是病也是種＂受壓抑的意識形態＂(Lainsburg 164)；赫爾曼的卑賤者表達了於德國文化中一種當下的存在，所以沒有所謂的成癮的意識形態，而是藉由次文化慣習表達對所謂＂意識形態的反感＂(Fitzgerald 2003)。

Addiction, a subcultural habitus (Bourdieu 1984) or a culture-specific concept (Levine 1978) which disturbs the body, is a common theme in the American writer Raymond Carver's and the German writer Judith Hermann's short stories. This study takes the small potatoes presented in Careful (1982) and Where I'm Calling from (1982) by Carver and Sommerhaus, spater (1998) by Hermann as examples in order to explain the significance of this subcultural habitus. Carver treats alcohol addiction as a disease while Hermann's presentation of addiction to drinking or drugs can be seen as the demonstration of ways of existence. Behind addiction is on the one hand the escape and on the other the finding of the self. Trapped in the in-between of escape and finding is the existence of the small potatoes' being twisted by the addiction and consequently their becoming the representation of the abject illustrated by Julia Kristeva (1982). Carver's abject tends to recover from the twisted existence because not only is alcohol addiction a disease, but it can also be seen as a ＂repressive ideology＂ (Lainsburg 164). Hermann's abject reflects the ways of existence in German culture. The ideology towards addiction is not the focus, but the ＂distaste for any ideology＂ (Fitzgerald 2003) reflected through the subcultural habitus is.