駱以軍的新著《西夏旅館》是個貌似艱難的文本，它的厚度也遠超過同一作者其他的作品。到底它是一個新的突破，還是過去的一定程度的重複與延續？它到底有著怎樣的美學特色、呈現了怎樣的病癥？本文嘗試以一種嬰屍詮釋學的角度，做考古追蹤。尤其是以《遣悲懷》為基礎，來詮釋它，並勾勒出駱以軍「傷害美學」的形成、演化，一方面是重探《遣悲懷》在美學及倫理上的越界，及該越界的意義；另一方面，則是尋索同一母題在《西夏旅館》中的變奏。並藉以權衡後者之得失。

Luo Yijun’s latest novel, West Xia Hotel (Xixia luguan), appears to be an abstruse text, which is also much longer than his other works. Is it a breakthrough, or a repetition and extension of his previous works? What esthetic traits does it possess and how it symptomatize them? This paper attempts to excavate the novel’s archaeological traces by a hermeneutics of the infant corpse. My interpretation is particularly based on Luo’s Dispelling Sorrow (Qian beihuai), via a mapping of the formation and evolution of Luo’s Injury Esthetics. This paper, on the one hand, retraces the border-crossing of esthetics and ethics as well as the significance of such an act. On the other hand, it explores the thematic variations in West Xia Hotel, and, by so doing, discusses the merits and demerits of the novel.