法國作家培瑞克(Georeges Perec, 1936-1982)從1969年起，投入了一個寫作計劃《地點》(Lieux)。該計劃選定巴黎市內與其生平相關的十二個地點，預計在長達十二年的期限內，一方面，每年每月輪流前往一地進行實地觀察描述，另一方面，在不同的月份，任何不在現場的地方，將對於該地點的回憶寫錄下來。每次一寫好，便封存起來。他原本打算在十二年後，整個計劃進行完畢時，再全部一起開封，好觀察十二年來，那些地點、他的書寫與他的回憶的「老化情況」。然而，這個計劃終未完成。1975年9月，他中途放棄了。不過，在該計劃進行的時，引發了他對於寫作、生活、記憶時空，以及自我身份認同等多方面的思考，轉而有了新的寫作目標和書寫嘗試，鐐完成了不少作品。甚至，他還將《地點》封存的素材，取出了部份，以獨立的作品單元各別發表，這些短文於是有了公開的決定版。本有除了追溯以上所述的計劃消長與分化過程，並將論文後半段的重心放在其中一個地點「崴嵐街」(rue Vilin)六年的現場實地觀察錄。這個地點是他的出生之地，也是他的波蘭猶太裔家族移居法國後的落腳之地，銜接著過去與未來。可是對作家成人的他而言，這個地方卻是他曾經活過卻錯過，並非遺忘卻無從回憶的地點。透田他那素樸的速寫筆記式文筆，一年年紀錄了當在戰後的快速變遷，也唯有如此，他試圖啟開那被判處禁閉的家門，探尋的既是記憶的廢墟也是寫欲望的開展。

Since 1969, the French Jewish writer Georges Perce (1936-1982) started a giant project “Lieux/Places”, in which he chose 12 sites in Paris closely related to his private life, so that he could observe the live situation of each place and write down his remembrances about these places; thus he would continue to work for 12 years according to a well-planed schedule. Once finished each sequence of writing, he world immediately put the manuscripts in an envelope and leave it along. Till the end of 12 years, he would open all the envelopes and examine the triple aging process about the places, his own writing and his memory. Nevertheless, he gave up this project 6 years later, and left it definitively unfinished. However, while this plan still went on, he thought a lot about his writing, the memory work and his self-identity, so as to be able to find out new ways and new goals for his writing. But what he had written was not totally useless; in fact, he did take out some manuscripts and rearrange them in order to be published under a different viewpoint and principally according to a sociological consideration. Our text will first of all trace the up and down of this particular project and then concentrate our lecture upon one special site: Rue Vilin, where the writer was born but did not retain the least impression. Through an apparently sober style of writing, he did try to open the closed, “condemned” door of his old family house; and with this symbolic gesture he finally liberated his desire of writing.