本文透過酷兒飄浪的批判概念來檢視杰琪‧凱的得獎小說《小號》（1998）中的家庭、家族與親屬關係的另類生產。小說的主角喬斯‧穆迪是位傳奇爵士小號手，娶了一位名叫蜜荔的女人為妻，領養了一個兒子取名為寇爾門，但喬斯‧穆迪死後卻被發現其實是女兒身。小說不只關心社會性／別，同時也是關乎種族，穆迪在黑色大西洋文化的位置構成了他的飄浪認同身份，也將他鑲嵌在跨國移動的集體過去之中。本文主張，藉由重要的理論家巴特勒、伍德堯、高比娜絲、魏絲鈴、普爾等近年來在酷兒理論及離散研究領域的理論發展來輔助，將更能了解小說中的性／別與族裔問題。倘若，關於家庭、國家、以及歸屬感的主流解釋，多依賴異性戀正典的繁殖邏輯、種族純正及國家主義的意識形態的話，《小號》的確開拓出較關心非正典身體、欲望、及主體等另類親密關係的路徑。此外，小說不只探索了種族及性別身份當中非本質主義的流動性，也強調在塑造身份體現過程中的勞力及形而下物質基礎、黑人經驗的物質性、以及奠基在肉身臟腑間之關係中的情感扶持與親密。

This paper uses queer diaspora studies as a methodology to examine the alternative production of home, family, and kinship in Jackie Kay’s award-winning novel Trumpet (1998). In the novel, the protagonist Joss Moody, having lived a legendary life as a famous jazz trumpeter with his wife Millie and an adopted son Colman, at his death turns out to be a woman. In fact, the story is not only about gender and sexuality; it is also concerned with race, for Moody’s place in the culture of the black Atlantic constitutes his diasporic identity and locates him within a collective past of a transnational migration. This paper argues that the novel’s questioning of sexuality and ethnicity can be better understood through the lens of recent developments in queer and diaspora theories explored by Judith Butler, David Eng, Gayatri Gopinath, Meg Wesling, Jasbir Puar, and so forth. If traditional concepts of home, nation, and sense of belonging tend to hinge upon heteronormative logics of reproduction and ideologies of racial purity and nationalism, Trumpet indeed carves out alternative pathways of affiliation that are more attentive to nonnormative bodies, desires, and subjectivities. Moreover, the novel not only explores an anti-essentialist fluidity of racial and gender identity, it also emphasizes the grounded, material labor process that goes into the production of embodied identity, the materiality of black experiences, and the visceral bonds of caring and intimacy.