Based on the textual analyses, intertextual dialogisms, literary interpretations, and cultural criticisms of Crystal Boys (1983), a canonical Chinese modernist novel that features gay relationships, and The Rebellious Daughter (1996), a renowned contemporary Chinese novel that concerns lesbian relationships, the present paper seeks to probe into the discursive tug of war between a non-homosexual reading and a homosexual interpretation of the two controversial novels published in Taiwan across a chronological gap of thirteen years. It attempts to achieve a bird’s eye view of the connections between the evolutionary changes of literary interpretative tendency and the development of homosexual discourse in Taiwan. Apart from contrasting the themes and major concerns of the two novels and analyzing similarities and differences in their social and historical backgrounds, the research also strives to compare their arts in the light of homographesis so as to lay bare their respective skills of homosexual representation. The paper argues that: Crystal Boys features a nuanced convergence of stream of consciousness and realistic representation whereas The Rebellious Daughter resorts to an outright realistic representational strategy; the former combines both traditional literary style and colloquial vernacular whereas the latter excels at characterization by means of overt appropriation of Minnan dialect. The comparative study goes so far as to point out the subtle contrapuntal writing between the two novels. Altogether, drawing on important accessible literature regarding the academic interpretations and critical comments of the two novels, the study aims to uncover latent ideological conspiracies looming in the established interpretations of the two novels so as to expose the camouflaged stigmatization imposed upon gay and lesbian scenarios by heterosexual hegemony, if not by patriarchal familism. Such scenarios have been wrought to forge literary construction of homosexual subjectivity and gay/lesbian political consciousness, one that has been inscribed in Pai Hsien-yung’s and Du Xiu-Lan’s respective novelistic writings.
KEYWORDS: Chrystal Boys, The Rebellious Daughter, Pai Hsien-yung, Du Xiu-Lan, homographesis, queer studies, contrapuntal writing, representational strategy