【荷索借鏡小野田，反思戰爭荒謬與生命意義】 歷史上的第二次世界大戰在一九四五年結束，但對日本軍官小野田寬郎來說，直到一九七四年他走出菲律賓盧邦島的叢林之前，戰爭都不曾止息。德國傳奇電影導演荷索一九九七年至東京執導歌劇演出，因緣際會結識小野田並多次長談，從而創作小說。他以如紀實、如詩、如夢的手法，詮釋小野田超現實且悲愴的叢林萬夜，也反思宥於有限事實的人類困境。 The great filmmaker Werner Herzog, in his first novel, tells the incredible story of Hiroo Onoda, a Japanese soldier who defended a small island in the Philippines for twenty-nine years after the end of World War II. In 1997, Werner Herzog was in Tokyo to direct an opera. His hosts asked him, Whom would you like to meet? He replied instantly: Hiroo Onoda. Onoda was a former solider famous for having quixotically defended an island in the Philippines for decades after World War II, unaware the fighting was over. Herzog and Onoda developed an instant rapport and would meet many times, talking for hours and together unraveling the story of Onoda’s long war. At the end of 1944, on Lubang Island in the Philippines, with Japanese troops about to withdraw, Lieutenant Hiroo Onoda was given orders by his superior officer: Hold the island until the Imperial army’s return. You are to defend its territory by guerrilla tactics, at all costs. . . . There is only one rule. You are forbidden to die by your own hand. In the event of your capture by the enemy, you are to give them all the misleading information you can. So began Onoda’s long campaign, during which he became fluent in the hidden language of the jungle. Soon weeks turned into months, months into years, and years into decades—until eventually time itself seemed to melt away. All the while Onoda continued to fight his fictitious war, at once surreal and tragic, at first with other soldiers, and then, finally, alone, a character in a novel of his own making.