無法憶述的死亡故事
每年春天，霪雨紛紛 天空一片灰濛濛的，窗外那綿密的高樓無精打采地聳立，我的心卻寄託在那城市邊陲一樣綿密的靈灰閣。他與她十年來陰陽相隔，如今同住骨灰大樓頂樓一所細小單位，就像當年蝸居的屋邨單位一樣。只是現在的住處背山面海，三邊開揚，將軍澳華人永遠墳場的山頭竟是如此景致迷人。香港寸金尺土，想不到擁擠的鬧市景色竟然在密密麻麻的骨灰靈位中，以既陌生又熟稔的姿態再現，誘發無盡的思緒。[⋯⋯]
» Read moreCategory: Prose Essays
The Body and its Antibody
Writing the body engenders an antibody. You might not agree with me. No kidding, every time I think about the body, I begin to ruminate on the antibody. Perhaps you do not do so and that’s fine. Perhaps you think that I am merely playing with words, or that I am trying to reiterate the familiar approach that what is […]
» Read moreThe Turbulent Voyages of Vengeance
When you leaf through the following pages of this year’s Comparative Literature Bulletin, you will see how the spirit of revenge has gone through many forms of metamorphosis. From the ancient Hellenic view of divine retribution to contemporary popular modes of vengeance, stories of revenge engage their readers/viewers as much as they consume their creators. Acts of revenge probably embody […]
» Read moreA Decade of Lucid Dreams
I entered the space of the department as if in a lucid dream. It was between 1998 and 1999, not long after we had listened to the swan song of British Hong Kong in the midst of the heavy torrents in July 1997. Climbing up the stairs of the old colonial building, I heard someone say, “The department is now […]
» Read moreThe Punch Line in Culture
Comedy culture is an essential part of any society, just as laughter is an essential part of our everyday life. We laugh during festive times, we laugh on our way to work. We laugh at home, we laugh in the Cultural Centre. We consume so as to laugh, we laugh so as to be consumed. We laugh when the jester […]
» Read more給關錦鵬的情書
親愛的關錦鵬： 拿起筆桿寫情書，是少不更事時的片刻衝動，那時候不需要勇氣，只有熱情。因此今天向你表白真情，總感到萬分尷尬，踟蹰不前。雖然知道你是十分平易近人，但總覺得不知從何說起。但自從我的母親離去後，我愈發抓緊向我所愛人的表白，我在惶恐和傷痛中害怕再沒有表白的機會，因為人生苦短，我也不知道自己還有多少日子，所以我努力的與時間競賽，希望在我有生之年，能夠寄出所有的情書。這是我在倉卒間寫下的第三封情書，並且學會了用e貓小蒙恬手寫板寫的。這實在有點可惜，因為那些愛上我的人，特別是男人，都鍾愛我那工整秀麗的筆跡。我知道你我注定不能相愛，秀麗的筆跡既然不派用場，我也樂於請科技代勞了。
» Read more情陷星爺與狐狸洞洞主
周星馳（星爺）電影的獨特價值正在於他的語言、動作和反叛精神，在不斷更新的過程中，提供文化論者不少論述的素材，從而了解社會變遷。李歐梵（狐狸洞洞主）身體力行地跨越高與低、嚴肅與流行等二元對立的藩籬，摒棄了現代主義的否定模式，獨愛周星馳的反諷語言和形象。
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