牙買加·金凱德的《露西》中的主人翁露西由於童年缺乏父親的關懷以及遭受到母親的背叛而心理受創，因此對愛與承諾並無概念，進而視性愛為抗爭的手段，藉此反制她母親所代表的傳統加勒比海文化與價值。露西雖不屑故國文化，但往事仍縈繞心頭，這使得她無法融入美國的寄宿家庭，只能冷眼旁觀、目睹另一齣婚姻悲劇在其眼前上演。本文旨在探討露西如何為過去在祖國的記憶與現在的經驗所困，使得她因為無法理解愛的意義與親密的真諦，而先訴諸性事尋求自我成就而未果，直到她接觸到攝影與寫作，才找到了一個似乎足以擺脫流離失所這種困景的自我成就的可能性。本文第一章聚焦於露西的童年創傷經驗以及她被迫前往美國的無奈，藉此來理解她強烈抗拒愛情、親情與感情交流的原因。筆者將證明她的童年創傷和她作為僑民的邊緣心態之連結導致她成為了感情上自我放逐，抗拒愛情實為自我保護的手段。第二章將探討露西抵達美國後，因為難以融入美國寄宿家庭，反而使得她成為客觀的婚姻觀察者，親眼目睹一個看似幸福的家庭走向崩潰的過程。由她父母失敗的婚姻，以及寄宿家庭的婚姻悲劇中，露西更加確認婚姻制度不足為信，而愛情往往只會傷人，而無法帶來幸福。最後一章將探討即使曾面臨相當多過去與現在交錯的困境，她仍然試圖在攝影和寫作中找到自我表達與成就的方式，而這樣的自我表達可能在她尋愛的路上開啟新的可能性。

In Lucy, Lucy suffers from the childhood trauma caused by the frequent absence of her father and the eventual betrayal of her mother, both of which shape Lucy into a person who cannot seem to understand what the commitment of love entails and thus resort to indulge in sex as a means of rebelling against her Caribbean past and her mother’s expectations. The thesis aims to examine how Lucy’s past in her motherland, intertwined with her experiences in the present, hinders her from understanding the meaning of love, and how she tries to seek out a way of self-expression, first through sex and then through art, in order to free herself from such a predicament. In the first chapter, I will analyze how both Lucy’s childhood experiences and her forced exile to the United States shape her into a person who finds it difficult to truly love anyone. I argue that, in her reminiscence, she sees herself as a postcolonial refugee, unloved by her parents at home and then unwilling to love anyone other than herself while abroad. In the second chapter, I will discuss how Lucy’s estrangement from the customs of the host land and how her reluctance to be assimilated into the American family she works for makes her an objective observer of the family tragedy unfolding before her eyes. I want to examine how Lucy the observer, upon witnessing two failed marriages—the one between her parents and the one between her employers—begins to harbor distrust not only in marriage as a social institution but also in love as the cause not of happiness, but of trauma and betrayal. In the last chapter, I argue that, despite her many predicaments, Lucy still tries to find her own way of self-expression in photography and writing, which may open up new possibilities in her pursuit of love.

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