本文討論吳繼文《天河撩亂》及李琴峰《北極星灑落之夜》兩本酷兒小說的翻譯議題，嘗試結合酷兒理論與翻譯研究，以「酷異翻譯」為分析視角，解構大眾對「翻譯」的認知。吳繼文和李琴峰從事翻譯、旅居異國的經驗，讓《天河撩亂》與《北極星灑落之夜》兩部作品本身即蘊含多語言、跨文化元素。《天河撩亂》與吉本芭娜娜小說展現互文性，「漂泊的湖」水循環意象更能說明「創作與翻譯」的關係：文學元素如水分子穿梭於作品之間，並透過翻譯改變型態。《北極星灑落之夜》融入日本、臺灣、中國歷史事件，東亞酷兒角色亦對身分認同政治有所反思；援用多種文化符碼，與各立場保持距離，正是小說特色，也指向看待「雷同」的輕鬆態度。此外，兩部作品皆刻劃從臺灣移居日本的跨性別角色，若以「翻譯」形容她們的過渡期，會發現「跨」標誌出的並非僵固的兩端，而是一趟持續的旅程。透過「酷異翻譯」的討論，本文希望挑戰「原作 → 翻譯」預設的線性時間想像，指認事物之間相互重疊、滲透、流動、難以定義的層面，打破二元對立框架。

My project employs “queer(ing) translation” as a framework to analyze two queer novels – The Ecstasy of Galaxies by Wu Jiwen and The Night of the Shining North Star by Li Kotomi – offering an unusual way to look at translation. Both Wu Jiwen and Li Kotomi have experience working as translators and living abroad, making their works inherently multilingual and multicultural. The Ecstasy of Galaxies shows literary relations to Japanese literature. As it was excerpted and translated into Japanese, the process resembles the water cycle imagery found in the Lop Nor narrative. The Night of the Shining North Star presents diverse contexts by referencing significant events in Japan, Taiwan, and China, while also exploring varied perspectives on identity politics among queer characters. The novel suggests a more flexible understanding of the similarities which are inevitable in translations. Furthermore, I use “translation” metaphorically to illustrate the journeys of two Taiwanese transgender characters relocating to Japan in the novels. We can see that their transition continues throughout their entire lives and that “transness” embodies “in-betweenness.” Through my discussion around “queer(ing) translation,” I aim to challenge binary thinking and the linear conception of time implied by the from-the-original-to-the-translated process.

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