立場新聞 2019/08/30 13:07
這是一本虛構的文學小說,但也不妨看作札實的歷史研究。作者是美籍台裔女作家,她說2002年突然看到228檔案,此後14年鑽入文獻檔案、大量訪談個案,整理出滿滿的歷史材料,然後虛構一個最能滾動歷史的故事。
《綠島》故事主時間軸為1947至2003年,以蔡姓醫生一家三代為主線,有別於多數相關書籍以男性作為出發點,作者選擇以女性觀點出發,盼能寫出女人的韌性,即使家庭遭逢劇烈變故,仍獨力撐起整個家庭的故事。
作者不愧專長創意寫作,以全知的觀點當起了歷史教授,把當時個人無從察覺、必須很久才能解密的暗黑史實,全盤呈現給現在的讀者。本書不只是控訴,作者是女性,主角是女性,設定了一種對抗革命陽剛的陰柔氣質,並用來思考:活在白色恐怖,追求什麼幸福?
我係因為電影《悲情城市》,先至開始認識「二二八事件」,亦都因為好奇心驅使底下,逐漸沿住呢條脈絡,重新認識美麗島嘅過去。《幌馬車之歌》作者藍博洲,1960年出生於苗栗,1981年因為擔任輔大草原文學社長,邀請楊逵、陳映真到學校演講,先至第一次接觸「白色恐怖」政治受難者。《幌馬車之歌》1991年出版,係佢對五〇年代台灣「白色恐怖」時期,調查報告嘅總結。台灣嘅民主發展,係經過好漫長嘅抗爭,包括犧牲咗唔少人嘅生命。香港進入最艱難嘅時刻,鎮壓、迫害,將會不停出現。究竟將來會點,無人會知道,但要記住,當每晚十點,有唔少人,用盡力氣去呼喊,號召大家攞出勇氣、志氣,去對抗強權嘅時候,嗰種因爲團結而嚟嘅力量,的確,非常之巨大。
近兩個月來,聲勢浩大的反送中運動,引起中共政權對香港社會抗議聲音的警惕反應,用盡警黑幫及網絡壓力,甚至向商業機構施壓,不施一切代價恫嚇、迫害參與運動人士。目下正常生活軌道一去不返,那邊廂特首正擬援引《緊急法》「平亂」。此時此景,令人想起意大利哲學家阿岡本在美國宣佈全球反恐戰方興未艾時寫的《例外狀態》。
所謂「例外狀態」是由二十世紀德國法學家卡爾‧施密特根據《德國威瑪憲法》第48條提出的概念,即「緊急狀態」。施密特基於威瑪共和時期分崩離析的政局,指出憲法賦予主權者(德國總統)在社會動蕩、法令不彰的時候有頒佈「例外狀態」的權力,即可視乎需要懸置一切法律及法律賦予人民的權利。阿岡本爬梳相關概念史,從中世紀教會法到近代行政法令,指出「例外狀態」原來建基於法律上的「必需性」(necessity),後來此一權力擴張到社會、經濟各層面,形成讓主權大張旗鼓地掌控社會人民的全面權力(full power)。但如果我們只著眼於批判「例外狀態」賦予主權濫權藉口的話,就忽略了問題的關鍵。
阿岡本同時梳理當時以《暴力批判》與施密特進行對話的思想家班雅明,以及以重新閱讀班雅明該篇文章的哲學家德里達,審視所謂「法律的效力」(force of law,此為德里達思考的概念)是否真的存在,以及從古羅馬史中尋找「懸法」(justitium,即懸置一切法律)的源頭。原來除了政府頒佈緊急狀態法的「例外狀態」,還有一種屬於人民的例外狀態,那就是在羅馬皇帝駕崩之際,可以無視一切法律的約束,這與其是說人民可以做違法的事,不如說人民從法律的束縛中解放出來。
阿岡本最後參考科耶夫在《權威的概念》對羅馬法「權威」概念的解釋,將我們對所謂「法治」的迷思,歸結到對「權威」的順從。對於聲稱「守法」的香港人來說,阿岡本對法律的批判無疑精采絕倫地顛覆了法律在人們心目中的權威位置,將法律還原到主權暴力的另一張面孔。
‘The greatest criminals in history are not of the type Nero and Fouche, but of the type Gandhi and Tolstoy. Gandhi’s inner voice has done more to prevent the liberation of India than the British guns. To sell oneself for thirty pieces of silver is an honest transaction; but to sell oneself to one’s own conscience is to abandon mankind.’
Such were the words of Ivanov, the naive party loyalist, as he tries to convince Rubashov, an old friend and party comrade who falls out of favor with the party to confess to a series of bogus political charges.
Ivanov and Rubashov are central characters in ‘Darkness at Noon’, a 1940 novel by Arthur Koestler based on the Moscow trials employed by Stalin against his political enemies. It is considered by many to be one of the best political novels ever written in the modern era.
‘Darkness at Noon’ tells the story of Rubashov, a former revolutionary who becomes disillusioned with the party he onced help establish and empower. Rubashov is rounded up and arrested along with other disaffected party members and charged with crimes of which everyone knows him to be innocent.
The central question is not whether Rubashov will die for his ‘crimes’, since most readers will already know that that is a foregone conclusion. It is, instead, whether Rubashov will ultimately capitulate in the way he, as a party operative, has forced others to do.
The statement Koestler sought to make through ‘Darkness at Noon’ and his later works was, as Orwell once observed, that ‘[r]evolution is a corrupting process.’ Put another way, said Orwell, ‘[i]t is not merely that “power corrupts”: so also do the ways of attaining power,’ in particular, when those ways are ‘by violent means’.
Yet it is foolish to think that of the many revolutions that have taken place in the past,not one has seen its own share of bloodshed and violence. Indeed one can argue that a revolution is by its essence an event whose course and fate are shaped, in no small part, by the nature of the methods employed by both sides, violent or not.
Given the inevitable ‘race to the bottom’, does that mean then that revolutions are never worth pursuing? Not necessarily so, says Orwell, an ardent Socialist: ‘Perhaps some degree of suffering is ineradicable from human life, perhaps the choice before Man is always a choice of evils, perhaps even the aim of Socialism is not to make the world perfect but to make it better. All revolutions are failures, but they are not all the same failure.’