Forthisspecialissueon“NewGenerationWomen’sFictionfromTaiwan,”wehavespeciallyinvitedProfessorLeeKueiYunoftheGraduateInstituteofTaiwanLiteratureatTaiwan’sTsingHuaUniversitytobeguesteditorandtakeresponsibilityfortheselections.Becauseofspacelimitationsithasbeenpossibleonlytoselecttwelveshortstoriesbyelevenwomanwriters.Thesewriterswereallborninthe1970sorlaterandtheirworkswerepublishedintheyear2000orlater.Thus,theyrepresentaperiodofsocialchangeintwenty-firstcenturyTaiwanandthespiritofthenewgeneration.TheintroductionthatweaskedProfessorLeetoprovideisentitled“Trauma,esire,ContemporaryWomen’sVoices.”Asidefromgivingabriefaccountoftheelevenwritersandtheirworks,ProfessorLeesketches“anumberofwriterlyqualitiesthatbecomeperceptible…[that]representtheinternaltrauma,femaleconsciousness,physicallust,cat-umanmetaphors,andeverydaylife,etc.”Inherintroduction,whatsheparticularlystressesisthatthesexualdesiredepictedintheseworksexposestheinternalwoundsderivedfromprivateindividualexperiencehiddenawayinthedeepestlevelsofthefemaleconsciousnessthatareexposedfordirectobservation,and“…[fromthis]wecanteaseoutaclearsemblanceofafemininetexturethatreverberateswiththeuniquesoundofcontemporarywomen’svoices.”Thisthenisoneofthemostimportantqualitiesofthenewgenerationofaiwanesewomen’sfiction.Inthefinalanalysis,traumaandwritingaboutdesirearetwomajorthemesofTaiwanesewomen’sliterature.
《台灣新世代女性小説》這一專輯，我們特地請台灣清華大學台灣文學研究所李癸雲教授擔任客座編輯，負責選稿。因受篇幅的限制，只選11位女性小説家的短篇小説12篇，作者都是1970年以後出生、其作品發表於2000年以後，反映出二十一世紀台灣社會的變動現象和新世代的精神樣貌。同時我們請李教授撰寫一篇導輪，題爲〈創傷．情慾．時代女聲〉，除了簡述11位作家及其作品之外，還勾勒出其中「隱隱浮現某些書寫特徵，關於內在創傷、女性意識、身體情慾、人與貓的互喻、日常生活等」。本輯導論〈創傷．情慾．時代女聲〉中所特別强調的是，這些作品所書寫的情慾、流露出女性意識底層所隱含的個人私密經驗的内在創傷，而正視創傷，「藉此梳理出形貌清晰的女性肌理，迴盪出『時代女聲』的特殊音色」，成爲新世代台灣女性小説的一大特徵。
