瑪格麗特‧愛特伍的《瘋狂亞當三部曲》描繪了當代讀者所熟悉的世界: 一個受新自由主義浪潮席捲的社會。當政府權力被龐大財團架空，自由國家的民主核心價值早已崩解。 本篇論文的論點延伸自Chris Vials 的文章，並試圖以新自由主義統治論述來解釋小說中民主與極權融為一體的情況。第一章解釋新經濟思維使個人與社會產生疏離，以統治極端分化的社會階層。第二章則闡述小說中的國家已陷入例外狀態，法律受到懸置，而圍牆的設立強化了排除生命的機制並且產生 “裸命”。在最後的章節將探討上帝的園丁會 “生命-形式” 的革命以及《瘋狂亞當》的主角澤伯所展現的 “無身份” 抵抗的可能性。 如同書中角色，身處於當代的讀者正受到這股 “未來的浪潮” 推進向前卻同時又受到過去的夢靨所困。世界大戰、猶太人集中營不只是已過去的歷史事實，他們以不同形式再現且縈繞不去。如何撿拾過去的傷痛與錯誤，承接死去之人的意志正是我們必須肩負的責任。 / In Margaret Atwood’s MaddAddam trilogy, the author imagines a near future that is too familiar for the reader who live in the contemporary period, a neoliberal society. Through the depiction of a hollowed-out nation replaced by a giant consortium, she lays bare a truth that democracy is going to collapse. Based on Chris Vials’ article, “Margaret Atwood’s Dystopic Fiction and the Contradictions of Neoliberal Freedom,” this thesis furthers to elaborate the integration of democratic regime and totalitarianism by discourse of neoliberal governance: the neoliberal rationality alienates individuals, uniting the divided social stratifications. In the second part, I suggest that the nation falls into an anarchy since it has already entered into a state of exception, which gives rise to “bare life.” The exclusion mechanism is represented by the construction of “the Walls.” The third chapter aims to discuss the possibility of resisting the new form of sovereign power in practice of the God’s Gardeners about how to live “form-of-life” and politics of “(non)-identity” deployed by Zeb, the protagonist of MaddAddam. Like the characters, we stand in the intersection of the “Wave of future” and the recurring nightmare in the past. Global wars and concentration camp are not only historical facts but recurring events. It is our responsibility to recall the memory, remember the pain, and inherit the will of the dead.