黎熹年的《鹹魚妹》援引中西神話，例如《女媧造人》和《小美人魚》，混合了多種文類，並且採用多重敘述，藉此雜揉的書寫風格，呈現加拿大華裔身份認同的混雜性。據此，本論文旨在探討作者如何在虛構記憶和遇見他者的過程中協商加拿大華裔身份認同之身分。第一章主要探討第一人稱敘述者如何透過虛構的記憶不斷地自我再現，以活絡在過往的再現中已被僵化、定型的加拿大華裔身份認同。第二章進一步探討自我與他者的關係，以及氣味如何被用來分辨自我、他者和其他他者。本論文結論會對前兩章的內容重作檢視，並試圖提出本論文自身的分析侷限以及未能處理的問題，並且在最後對茱莉亞．克莉絲蒂娃於《我們的異鄉人》結尾所提出的「愛」作回應。

Larissa Lai’s Salt Fish Girl features mixed genres and alternate narrative style, with allusions to the Chinese mythological folktale, Nu Wa’s Creation of Mankind, and the Western fairy tale, The Little Mermaid. The “hybridized” writing style is strategically employed to reflect the hybridity of the Asian Canadian identity. This thesis intends to investigate how the Asian Canadian identity is negotiated in the process of creating a fake memory and in the encounter of the other. The first chapter explores how the narrator I embodies the multifarious voices in the distinct memory narratives in the process of doing the remembering in order to deconstruct fixed and essentialist representations of the Asian Canadian identity. The second chapter further explores otherness, embodied by the smells, and how the smells function to distinguish between one and the other and between the other and other others. The thesis concludes with the reflection on the limits of the thesis and with a response to Julia Kristeva’s claim on love for strangers.

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