白先勇是台灣當代重要小說家，1971 年出版的短篇小說集《臺北人》馳名中外，歷久不衰。可惜《臺北人》出版後，白先勇小說創作銳減，除長篇《孽子》外，只零星發表少數短篇。2007 年，距《臺北人》36 載後，白先勇出版短篇小說集《紐約客》，一共收羅6 篇小說。首篇〈謫仙記〉發表於1965 年，末篇〈Tea for Two〉則發表於2003 年，前後時距十分遙遠。事實上，《紐約客》和《臺北人》一樣，也是白先勇1963 年赴美留學後的作品，小說中因不同因素、由不同城市抵達紐約的華人，交織成一系列「紐約故事」。小說主角可能來自上海、臺北，可能暫留舊金山，自主或被迫的地域移動，形成都市間的相互照映，白先勇的悲憫亦存乎其中。依發表時程、內容而論，《紐約客》6 篇小說可類分為三階段：一是〈謫仙記〉（1965）與〈謫仙怨〉（1969）；二是〈夜曲〉（1979）與〈骨灰〉（1986）；三是〈Danny Boy〉（2001）與〈Tea for Two〉（2003），因兩兩之間發表時距相近，關心題材也雷同。本論文即依此分類為準，探析《紐約客》城市書寫之特色。

Pai Hsien-Yung is an important novelist in Taiwan, whose renowned short stories collection ”Taipei People”, published in 1971, has built a lasting reputation for him at home and abroad. Unfortunately, after the publication of ”Taipei People”, the works from Pai were decreased. Apart from the full length novel ”Crystal Boys”, there were just few short stories were published.In 2007, which means ”Taipei People” has been published for 36 years, Pai published his short stories collection ”New Yorker”, which included his 6 literary works. The first work in this collection was ”Zhexian ji” (Fallen Immortal) which was published in 1965, and the last was ”Tea for Two”, which was published in 2003. There was a long period between the first and the last works in this collection. Actually, as well as ”Taipei People”, ”New Yorker” also was created after Pai went to study in America in 1963. In this book, there were a series of New York stories composed by Chinese characters that came to New York from different places for different reasons. The protagonist might come from Shanghai or Taipei, and might stay in San Francisco, going through geographically mobility independently or involuntarily. These processes formed reflections among cities and cities, and Pai's humanitarianism was preserved and performed in these stories.According to the sequence of publish and the content, these six stories collected in ”New Yorker” could be classified into three categories: First, ”Zhexian ji” (Fallen Immortal, 1965) and ”Zhexian yuan” (Immortal's Grievance, 1969). Second, ”Ye-chiu” (Music of night, 1979) and ”Gu-hui” (Bone ash, 1986). Third, ”Danny Boy” (2001) and ”Tea for Two” (2003). Because the published time of two works in each category is near, and there are similar concerns existing in each category, this research will discuss the city writing in ”New Yorker” based on these three categories.