法國當代人類學家馬克‧ 歐傑（Marc Augé）曾經把現代城市空間裡 人們生活中必需經常行經，縱使停下來，也僅暫時停留的各種場所、通 路、過道，以「非地點」（non-lieux）名之，如公路、機場、轉運站、大 眾運輸工具、超市、大賣場和大型遊樂場等。「非地點」雖然在現代人事 物流動頻繁的生活中不可或缺，但其使用上之象徵與情感價值不同於一 般空間，帶有矛盾、甚至負面性的意義，每個進入「非地點」的個人都 是孤單的，卻又完全融入了無名的群體中，大家為同樣的目的做同樣的 動作；個人的身份認同在這些欠缺地域時空特性的場所被暫時放入了括 弧，因而感到又自在又焦慮。歐傑認為這些「非地點」的特色表徵了「超 現代性」（surmodernité），不同於現代性的是，不再將「過去」和「現代」 的事物兼容並存於同一生活時空，而是將「過去」放入「景觀」的地位， 並經常僅以文字表述（texte）被識讀，取代了直接從實景取得的經驗。對 法國而言，「非地點」經驗之普及伴隨的是「光榮三十年」後的年代。法 國的日常生活文學書寫，歷經1950 至1980 年代（約莫等同於「光榮三十 年」時期）獲得了深具洞見的多元理論所滋養，加上作家培瑞克（Georges Perec, 1936-1982）各種創意的風格文類實驗，皆對後人形成了一定的影響。1980 年之後，顯見日常生活文學書寫大量地針對「非地點」作為另類 描寫文，及準小說或潛小說（romanesque）或者「微敘事」（在此試用新創 詞）的主題客體。其中，楓思瓦芃（François Bon, 1953-）的作品《停車場》 （Parking），以及他與攝影家舒洛莫夫（Jérôme Schlomoff）合作的《15021》 攝影圖文集等，都與「非地點」直接相關。有時他試圖以書寫主體有意識 介入的立場，將「非地點」的「不可見性」以文字和影像加倍顯影；或者 有時轉換視角與陳述者的位置，不寫過客，而是寫那些直接在「非地點」 工作生活的人，即處於「畸零」樣態，可見性和存在感很低的人。在此情 況下，他的文本所烘托而出的世界，已不在於反映歐傑所定義的「非地 點」，而是相對地，著重在空間之殘餘敗象與寄居其中之餘生。

Marc Augé, contemporary French ethnologist, used the term “nonlieux” to designate all kinds of transitional spaces, such as highways, airports, stations, supermarkets, trains, etc., all of which are indispensable for everyday life nowadays. But unlike other spaces, non-lieux spaces have a contradictory and even negative side. Whoever enters non-lieux is doomed to be alone and somehow lost in anonymous crowd. Here everyone does the same thing for the same purpose and loses for a moment his or her own self-identity in such places without temporal and local specificity that one will be both at ease and in anxiety. For Augé, this situation is precisely characterized by sur-modernity, which, unlike modernity, does not coexist with the past time, but rather, closes the past inside a spectacle frame. One may realize it only through mediated words everywhere around. The common but estranged experiences associated with non-lieux are widely depicted in the everyday life literary writing in the France after the flourishing economic Age of Les Trente glorieuses (1945-75 or 1950-80). Nourished by multiple theories, Georges Perec (1936-1982), who throughout his short life as writer invented many new ways of writing about everyday life, should be considered a forerunner for the generation to come after 1980. New ways of writing are surely experimental in every respect from description to narration. About the subject of non-lieux, we are particularly interested in works of François Bon, such as 15021 (illustrated by photos of Jérôme Schlomoff) and Parking, in which he deals not only with the decadent space viewed inside or outside non-lieux, but also with those who live there as sort of “left-behind”, neglected and almost invisible to society, so they are not just simply ordinary “users” in non-lieux defined by Augé, but remnants of this oblivious part of world in agony.