本文從李歐娜（Françoise Lionnet）的「混絲絞股」（métissage）概念出發，企圖具體形容加拿大媒地絲文化中的介／界面（in-betweenness）及雙向牽引（ambivalence）。柯樂藤（Beatrice Culleton）《尋找四月雨樹》（In Search of April Raintree 1983）中媒地絲姊妹交錯互織的認同脈絡，展示疆域分界上的多重模式。透過綿密的敘事語言，敘事者對於自我與媒地絲認同的探索，呈現在兩姊妹之間的不斷聚散。本文以混絲絞股形容媒地絲文化與血緣中特有的混絞拉扯：兩姊妹如同兩股絲線，纏繞絞合，狀似兩股合一，卻是持續變動、不斷反覆與衝突的形貌。此外，兩姊妹遊走疆界的移位（dis-placing）過程，不僅呈現媒地絲文化是向疆界兩邊開放的縫隙空間，同時也展現媒地絲文化內部無法相互通聯的差異。

As the need to define indigeneity seldom came from within the indigenous communities, the lives and narratives of the Métis, who as a unique ethnic group came into being out of the colonial encounter, have been customarily associated with notions of borders, minority and hybridity. This essay focuses on and celebrates ambivalence of enunciation of the Métis subject, taking métissage as the cutting edge in Beatrice Culleton’s literary representation to approach the perplexing diversity of the Métis cultural positions. The term métissage, borrowed from Françoise Lionnet, is treated as a composite, subversive desire for recovery and revival, and a tribal identity significantly defined by the clash of Native and non-Native cultures. The discussion will appropriate métissage to pivot upon the polemics of Métis Canadian hybridity, which resists Euroamerican imperial expansion imposed on the Métis communities and accounts for a complex and dynamic interplay of historical, ethnic and geographical space. In In Search of April Raintree (1983), the positionality of métissage, which explores a cross-cultural poetics of hybridity and cultural difference, marks narrative strategies and representations of the communal, historical body of the Métis.

混絲絞股;中介／界;加拿大媒地絲族;柯樂藤;《尋找四月雨樹》

métissage; in-betweenness; the Métis; Beatrice Culleton; In Search of April Raintree