受到插畫家查爾斯．吉布森筆下「吉布森女郎」的影響，女性襯衫是美國十九世紀末至二十世紀初廣受所有階級女性歡迎的時尚衣著。搭配上長裙及緊身束腹可展示纖細的女性腰圍，秀出那時代的流行指標。然而在時尚背後，人們鮮少注意到這些縫製女用襯衫女工與童工在血汗工廠中所身處的危險工作環境。在1911年3月25日，美國紐約曼哈頓的三角女性襯衫工廠發生大火，其中有146名猶太籍及義大利移民的女工不幸身亡，暴露這些裁縫女工與童工的職場危險與險境。本文探討美國猶太裔小說家凱瑟琳．偉伯在《三角工廠火災》小說中，對此事件檔案及被隱藏的「幽靈童工」所做的重新詮釋。偉伯認為當時工廠雇主非法雇用童工，事後為了規避法律責任將童工的年齡謊報。本文認為這些被遺忘的女童工是三角工廠火災中的「剩餘」。這些「不在名單上的女童工」雖未能納入事件檔案中，但她們的「虛構存在」反映出當時裁縫女工與童工的惡劣工作環境。接著討論小說中呈現的性騷擾和性侵害的議題，突顯當時三角工廠女性員工在工作上所受男性的不平等待遇。最後探討小說中最長壽倖存者的冒充：以在火災中喪失姊姊的身分存活。本文結論：此火災中，最長壽倖存者對此事件的記憶也是此檔案中的剩餘，無法被完全納入。

This paper examines Jewish American novelist Katharine Weber's 2006 novel Triangle, which memorializes the 1911 Triangle shirtwaist factory fire, the worst workplace disaster in New York City prior to 9/11. The fire claimed the lives of 146 garment workers, most of whom were young Jewish and Italian immigrant women who sewed shirtwaists, the era's fashionable women's garment popularized by Charles Danna Gibson's American Girl, the Gibson Girl. Unlike previous novels addressing the Triangle disaster, Weber invents a fictional Triangle archive around which to foreground two issues that had been elided in previous Triangle fire literature: the illegal use of child labor and the sexual harassment and sexual abuse that took place at the largest shirtwaist factory in New York City in the early years of the twentieth century. My examination focuses on Weber's invention of the Triangle fire archives, which constitutes a type of ethico-political playing, which is then used to interrogate two central issues, child labor and sexual abuse. This focus highlights the precariousness and precarity (Judith Butler's notions) of the shirtwaist makers at the turn of the last century. I argue that Weber deconstructs the idea that the list of fire victims is complete and final. She hypothesizes that the little girls employed at Triangle were present at the fire but that the owners obfuscated their presence to reduce the scope of the scandal and avoid acknowledging responsibility for their deaths. Weber calls into question the identity of the fictional last survivor of the fire, whom she treats as a living archive who retells the story of the disaster for the rest of her life. Using Jacques Derrida's theories, I argue that Weber's fictional longest survivor of the fire and the other fictional Triangle child workers are remainders of the Triangle fire that cannot be properly archived and yet haunt the archives to prevent hegemonic foreclosure.