吳繼文（1955-）的長篇小說《世紀末少年愛讀本》（1996）是台灣1990年代「同志文學」風潮中重要而特殊的作品。吳繼文將清朝中期陳森的男色小說《品花寶鑑》改寫成《世紀末少年愛讀本》，重新描繪其中的情慾、戀愛關係，將其改造成具有台灣當代「同志文學」意義的作品。然而論者多未特別注意：吳繼文曾赴日留學，修得廣島大學的哲學碩士學位，更是一個有不少譯作的日本文學翻譯者。其書寫究竟如何受到日本文化的影響，與其翻譯事業有何關係，應該是一個值得關注的焦點。以清代小說為底本改寫的《世紀末少年愛讀本》乍看之下是一部單純以現代角度重新詮釋中國古典小說的作品，難以從其中找到此作品與吳繼文其他譯作的關聯。然而在本文中，筆者將（1）確認《世紀末少年愛讀本》與《天河撩亂》之關係，並且確認書名借用於須永朝彦《世紀末少年誌》與《泰西少年愛讀本》，（2）確認日本文學界也尚未深入研究的隨筆家須永朝彥作品與編輯風格的特色，以及《世紀末少年誌》與《泰西少年愛讀本》之脈絡與內容，特別是在日本相當盛行，但在中文語境中意義並不清楚的「少年愛」，（3）討論吳繼文，如何受到同樣具有編輯者、翻譯者、創作者身份的須永朝彦影響，呈現出怎樣的「少年愛」、「讀本」風貌，並且再現在1990年代的台灣。

Wu Ji-wen’s novel The Reader of Shonen-ai of the Fin de Siècle (RSFS) (世紀末少年愛 讀本) is a masterpiece within the tongzhi (LGBT) literature boom in the 1990s in Taiwan. Wu represented the sex scenes and love affairs from Chen Sen’s Pinhuabaojian (PHBJ) (品花寶 鑑), a pederasty novel written in middle Ching Dynasty of China, making RSFS as a modern work with the perspective of tongzhi literature in Taiwan. However, previous studies overlooked the fact that Wu received his master degree in philosophy from Hiroshima University in Japan, and translated a number of Japanese novels approximately at the same time he published RSFS. Therefore, I will argue that to better understand Wu’s RSFS, we should reconsider how his writing was influenced by Japanese culture and his translation work. At first glance, RPFS reads like nothing more than a new edition of a Chinese classical novel, so it’s difficult to find the relations between RSFS and the translation work of Wu. In this study, I will further (1) confirm the relationship of Wu’s RSFS and his second novel Galaxy’s in Ecstasy (天河撩亂), and show that the title of RSFS is integrated from those of two books by Japanese essayist Sunaga Asahiko, Album de la Jeunesse á la Fin de Siècle (AJFS) (世紀末少年誌) and The Reader of Shonen-ai in the West (RSW) (泰西少年愛読本), (2) investigate the writing styles and the editoral work of the understudied essayist Sunaga, the contents of AJFS and RSW, and the meaning of the term shonen-ai (少年愛) in both Japanese and Chinese contexts, and (3) discuss how Wu was affected by Sunaga, who was also an editor, a translator, and a writer like Wu, and how Wu created a new Reader of Shonen-ai in Taiwan in the 1990s.