諾貝爾文學獎評審委員會認為，高行健的長篇小說《一個人的聖經》的特點有三：一、替中國大陸的文革算總帳，二、毫無保留的剖析作者本人的文革經驗，三、拒絕道德與救贖的超然敘事立場。本文並不贊同諾獎評委的意見，將從見證文學的角度出發，探討在後心理創傷的年代裡，高行健此篇「文革敘述」所呈現的歷史、記憶以及敘事倫理的複雜曖昧立場。本文認為，小說裡虛構的敘事者兼主人公既是受害者也是迫害者的雙重身份，不僅影響了小說的敘事策略，也妨礙了文革記憶的呈現，更迴避了對文革以及個人責任的嚴肅反思。此篇小說與其說是文革的見證，不如說是對文革「既要求見證，又拒絕見證」的兩難困境的見證。

According to the Nobel Committee, Gao Xingjian's One Man's Bible is characterized by its author's attempt to summarize the frenzy of China's Cultural Revolution, to confess what he did during this period, while adopting a non-committal, non-moral and non-redemptive narrative stance. Disagreeing with this observation, this paper will view Gao's novel from the perspective of literature of testimony, in the context of a post-traumatic era, and explore its complexity and ambivalence in representing history, memory and its narrative ethics. This paper argues that the double identity of the fictional narrator-protagonist as both victim and persecutor in the Cultural Revolution has not only affected the narrative strategy of the novel and hence the representation of memories, but also deterred him from seriously reflecting on the Cultural Revolution and his responsibility. Viewed in this light, this novel is not so much a testimony of the Cultural Revolution as a work of fiction that testifies to the dilemma of Cultural Revolution narratives, in which the Cultural Revolution simultaneously demands and defies witness.