本文擬將吳濁流、鍾理和的文本置入其所經歷的社會、政治、文化與歷史的脈絡之中，檢視吳、鍾二人作品中的中國書寫－如何呈現日本對臺殖民末期，同時也是中日交戰狀況下的中國背景；如何透過紀實與虛構的書寫去想像中國、經驗中國與再現中國；並釐清「剪不斷理還亂」的原鄉情懷，如何相應於吳濁流、鍾理和的人生開展與中國經驗，進而產生轉折與變化。最後，將以殖民地知識分子的原鄉書寫與認同危機為切入點，從後殖民觀點出發，透過後殖民理論與行動的先驅－弗朗茲．法農(Frantz Fanon, 1925-1961)的論述，應證被殖民經驗對於吳濁流、鍾理和等殖民地臺灣作家的心理與文本所造成的深層影響，同情並理解殖民地文學的侷限，進而從中獲得在後殖民時代臺灣如何去殖民化，並建構國族主體性的啟發。

In this article, the texts of Wu, Cho-liu and Chung, Li-ho are arranged into the society, the politics, the culture, and the context of history at their time to exam the Chinese writing in their works-how to present the conditions of Mainland China during the late period of Taiwan under the rule of Japan, being at the time when wars between China and Japan occurred; how to imagine China, experience China, and represent China by record of facts and a fictitious story and to clear the complicated nostalgia, and how to response to their life developments and China experiences, which have turning points and changes further. At the end, the cut-in points are nostalgia and identity crisis of the Intellects in the colony and by the discourse of the master and advent of Post-colonialism, Frantz Fanon (1925-1961), to prove that the authors, such as Wu, Cho-liu and Chung, Li-ho, the colonized Taiwanese authors, were influenced deeply by the colonized experience in their psychology and textures. Sympathizing and understanding the limits of colonized literature, people on Taiwan can know how to decolonize in the post-colonial period, and construct the inspiration from the subjectivity of nation-state.