魯迅是對馬華文學影響最大的中國現代作家。1920年代末以來，不少馬華作家以魯迅為師，不斷歌頌、學習、模仿、重寫他，形成所謂的「南洋魯迅」群體。然而，比起文學表現，「南洋魯迅」更看重魯迅的戰鬥精神。當代馬華作家、學者黃錦樹頻頻透過小說與論述回應此群體，此乃「黃錦樹與魯迅的關係研究」可以開展的面向，也是「南洋魯迅」範式轉移的表徵。為彌縫補缺，本文將討論黃錦樹為何及如何面對乃至重構「南洋魯迅」。論文結構上，本文先比較「南洋魯迅」與黃錦樹的魯迅論，凸顯黃如何以介於「詩性魯迅」和「政治魯迅」的魯迅觀挑戰、修正僅突出「政治魯迅」的前者；其次，針對黃的小說的「南洋魯迅」像，分析黃如何以問題化的視角呈顯此群體的書寫困境與負面影響，演出「狂人」正傳；最後，以黃錦樹對魯迅〈傷逝〉和〈祝福〉的「故事新編」為中心，闡釋黃如何以置入南方經驗與視角、交織美學形式與倫理承擔、汲取前作養分並化為己用的方式重寫作品，作同樣愛重寫魯迅的「南洋魯迅」之示範，乃至作馬華文學擺脫（社會）現實主義傳統以及「盆栽境遇」的演示。

Lu Xun was one of the most influential modern Chinese writers in the arena of Sinophone Malaysian literature. Many Sinophone Malaysian writers deemed Lu Xun their mentor, and have continuously praised, studied, imitated, and rewritten him since the end of the 1920s. This group of writers, who are also known as “Nanyang Lu Xun,” valued Lu Xun’s fighting spirit more than his literary expression. It is noteworthy that the Taiwan-based Sinophone Malaysian writer and literary critic Ng Kim Chew frequently responds to this group through his short stories and critiques, which is an aspect to be developed in research on the relationship between Ng and Lu Xun, and also a representation of the paradigm shift of “Nanyang Lu Xun.” In order to fill the gap, this article discusses why and how Ng Kim Chew faced and even reconstructed the “Nanyang Lu Xun.” This article is divided into three main parts. First, it compares the interpretations of Lu Xun by “Nanyang Lu Xun” and Ng, highlighting how Ng challenges and revises the former, who only emphasizes the “political Lu Xun,” with his view of Lu Xun that can be described as “between ‘poetic Lu Xun’ and ‘political Lu Xun.’” Second, by analysing images of “Nanyang Lu Xun” in Ng’s short stories, this article illustrates how Ng presents the writing dilemma and negative influence of this group from a problem-oriented perspective, and creates the true story of “Mad Men.” Third, it explains how Ng rewrites Lu Xun’s “Regret for the Past” and “Blessings” by incorporating southern experiences and perspectives, interweaving aesthetics and ethics, absorbing classics and fitting them into Nanyang context. All these could be seen as Ng’s demonstration given to “Nanyang Lu Xun,” and even a demonstration on how Sinophone Malaysian literature can break away from realism tradition and its handicapped “bonsai situation.”