From the past to the present, the recording of oral narratives in written form has been a complex historical process full of controversy. In the time before their oral narratives became written down, Taiwanese indigenous peoples had a variety of song forms and simple narratives, which represent a hotbed of culturally significant, yet relatively unexplored resources. However, in their struggle for survival, Taiwanese aborigines have for the past three to four hundred years been subject to colonial rule by various powers from the Dutch to the KMT. Although they had opportunities to produce writings of title deeds, Han poems, poems composed before anticipated death, and even pronouncements declaring their intent to work for the mother country “Japan” in Romanized script, Chinese and Japanese, these writings, composed under the condition of colonialism and in various foreign scripts, all had difficulty resonating with the roots of aboriginal culture. They manifested in vain a cultural-linguistic space in which identity and difference were intertwined. The creation of written texts involves a complex mental process. The structure of meaning in literaryworks is not completely the product of individual consciousness or the projection of the subconscious. Rather, this structure is related to the resonances that occur with the collective consciousness of society as well as the transformations in historical, traditional and social authority. In the 80 and 90’s, the development of ‘self-expression’ and ‘meta-narrative’ in history did not merely serve to refresh indigenous peoples’ memories. They also represented a long cultural process of reforming the Indigenous subjectivity, which did the hard work of transforming the indigenous consciousness of “subjectivity and objectivity” into that of “intersubjectivity.” Narrative writing to indigenous Taiwanese tribes was like the secret code of “open sesame;” it opened up a new infinite world. It is a cultural landmark that is well worth investigating by Taiwanese society.