一九八○年代至今，台灣推理小說的「社會」與「本格」書寫傾向，各自開展獨特且殊異的面向，創造出許多不同形態的作品。然而，當台灣推理小說以「本土推理」作為書寫類型，產生所謂「本土」界義的分判時，「『本土推理』小說還是『本土』推理小說？」這樣的疑問，讓我們思考「本土推理」究竟應該視作某一種獨特的文體，或者「本土」僅只是作為「推理」其中一種表現形式。 「本土」界義的討論，在2000年後的台灣推理文壇中，產生了以「本土」的元素融入本格推理中，加強推理與地理空間相互關係的「新本土」路線，本文認為，這種在2000年後常見的書寫型態與模式，實際上是某種「本格復興」的想像與實踐，因而弔詭地反映出「本土」、「推理」的二分，顯示「新本土」所暗示的台灣推理的在地化追求，最終可能只是一種「新本格」的嘗試。這樣的文類發展趨向，正可以讓讀者與研究者嘗試重新審視與理解台灣推理小說的發展，並拓展推理文學領域的研究可能。

In Taiwan, the local and classic writing style of local mystery novels has its unique perspective, which has turned into various works. Nevertheless, when rethinking the core of the local mystery genre, two questions arise: How should we define “local”? and, Should we call it a “localized mystery” novel or “local” mystery novel? Keeping these questions in mind, they lead to thought of whether we should consider “localized mystery” as a distinctive writing style or take "local" as a presentation of “mystery.” Discrepancy of the “local” definition causes no matter pattern's or content's difference between Local style and Classic style in Taiwanese mystery novel, which makes the “New Local Mystery” style adopted by many later writers. They have focused on combining localized factors into classic mystery to highlight the relationship between mystery and geography, as a response to local or classic style. However, this article suggests that “local” plus “classic” equals “New Mystery” style; indeed, “local” is taken as a special element to add into the mystery narrative, and become a revision and response. This kind of writing style expresses the dichotomy of “local” and “mystery,” thereby presenting the concept that new local may simply be an attempt for New Mystery. Moreover, its growth could lead readers and researchers to review or re-discover the Taiwanese mystery novel in a more open perspective; and in this manner, expand the range of mystery literature.