林俊頴《我不可告人的鄉愁》與顏忠賢《寶島大旅社》這兩部長篇小說，皆以當代台北的炫目與荒涼，映照故鄉舊事。另一方面，他們卻又相當自覺地想要脫離傳統「家族史」小說的框架，對「鄉愁」採取保持距離卻又深情回眸的態度。本文將以包曼（Zygmunt Bauman）「液態現代性」（liquid modernity）的觀點，來理解兩部小說中的空間景觀與時間敘事，並分析兩位作者如何試圖透過語言、夢境等手法突破傳統家族敘事之模式。其中呈現出的都會（情色）地誌學、過往時空中小鎮舊城面對現代化的態度，不只反映出台灣近幾十年來，在現代化與都市化衝擊之下的變遷，亦為當代台灣家族書寫的內涵，提供了更豐富與多元的可能。

This paper intends to explore thoroughly Chun Ying Lin's The Nostalgia that Dare Not Speak Its Name and Chung Hsien Yan's Formosa Grand Hotel by examining their shared topics, such as the dazzling/desolate contemporary Taipei, the faraway native soil, and the deviation from traditional writings of family history. Focusing on the (erotic) urban geography, the distant townspeople's attitude toward modernity, and the authors' non-linear narrative modes, I draw on Zygmunt Bauman's notion of ＂liquid modernity＂ to analyze the spectacles of space and the narratives of time in these two novels. Notably, both authors keep ＂nostalgia＂ at bay but at the same time reveal their deep concern with this motif. Besides, they both scrutinize contemporary urban spectacles and then represent what they witness by interweaving the elements of space and time, rural areas and large cities, past and present, etc. I thus argue that the narrative perspectives they adopt not only enable them to show how modernization and urbanization has affected this country but also open up new possibilities for Taiwanese family writings.