作者駱以軍的長篇小說《西夏旅館》文字絢爛瑰麗，以豐富的想像力創造出一則則撲朔迷離的故事。每個故事可獨立閱讀，卻又相互指涉，重複類似的主題有：逃亡、滅族、拋棄、傷害、死亡、強暴、亂倫、色情等。對駱以軍的研究，許多學者聚焦其外省第二代的認同焦慮；近年來的研究則突破主題式的闡述，專注於作者複雜、高度風格化的敘事手法與藝術表現。筆者認為駱以軍長期以來的寫作都觸及外省第二代的身分問題，同時也充滿男性中心的性別意識，以王德威所謂「華麗的淫猥」書寫男性幻想投射出來的女性客體，用以處理焦慮不安的男性主體，讓自認遭受歧視的外省男性得以再度鞏固主體自身的存在與發言權。本文將從厭女症（misogyny）的觀點分析《西夏旅館》如何以強暴及A片文化來貶抑女性，同時又似乎弔詭地渴求女性的接受與認可。性別關係也是一種政治關係，作者以夢境及說故事包裝不見容於現實世界的強暴、亂倫、猥褻。本論文耙梳此書被藝術手法覆蓋的性別議題，用以申論外省第二代書寫同時包括族群關係與性別關係兩種面向。

Luo Yi-jun’s novel, West Xia Hotel, demonstrates a distinctive style of extravagance and eloquence. In this text, his rich imagination creates many stories that can be treated either as individual stories on their own or as interconnected narratives referring to each other. Similar themes are repeated in his works, including diaspora, genocide, abandonment, harm, death, rape, incest, and pornography. Previous studies of Luo Yi-jun focus on his identity as a second generation mainlander who is highly anxious about his ethnic and national identity. More recent researchers tend to go beyond the study of contents and themes, and instead emphasize the importance of Luo’s artistic form and style. This paper argues that Luo Yi-jun not only feels anxious about his ethnic identity but also reveals male-centered ideology in his writings. He deploys the so-called “extravagant obscenity” to represent female objects as the projection of male fantasy. By doing so he is able to deal with anxious male subjectivity. Male Mainlanders who regard themselves as being discriminated can therefore reinforce their subject position and speaking position by demeaning women through the fantasy of rape and pornography. With the perspective of misogyny, this paper analyzes how this novel uses the representation of rape and pornography to demean the status of women, while the author/the protagonist is also paradoxically eager for the recognition and acceptance by women. Gender relation can be taken as political relation of power and domination. Luo Yi-jun beguiles readers by treating rape, incest, and obscenity forbidden in reality as pure fiction and art. This paper will conclude with remarks about how ethnic identity and the art of writing can be deployed to conceal male-centric gender relation.