本文以張大春八○年代以降至1999 年的都市小說為核心，探討都市空間如何影響小說的敘事形式。首先，小說破碎的敘事形式反映都市破碎的空間結構，然而小說敘事者的全知觀點再現了區隔的空間，彌補了都市人狹隘的視野。其次，當都市人因彼此生活相鄰近，彼此不可避免的互動使都市成了偶然性橫行的場域，無人可操縱自己的未來。第三，由於公共空間的消失，都市人對陌生他者的認知難免以偏概全，創造出都市小說中常見的「扁平人物」以及「通俗劇情節」。最後，張大春多變的寫作風格反映了都市的多元性與都市人身分的流動特質。透過閱讀張大春的都市小說以及小說中的都市特質，本文意圖在傳統以時間為中心的敘事學之外，探索空間與敘事的互相影響。

By reading Zhang Dachun's stories from the 1980s to 1999, this essay investigates the ways by which urban space influences the writing style of urban fiction. First of all, the fragmented narrative form of urban stories reflects the segmentation of urban space. Living in such segmental spaces, residents' vision of others have been circumscribed, whereas the omnipresent narrator of urban literature maps out the totality of urban conditions, compensating the urban readers' limited human senses. Secondly, the inevitable interaction between residents, due to their physical proximity, transforms the city into a field of contingency where no one can foresee and take responsibility for what one has caused upon the other. Everyone lives in an endless chain of cause and effect, but the whole picture can never be conceived. Thirdly, because of the death of public space, the superficial interactions among urbanites often lead to stereotyping one another. The mechanism of stereotyping in urban stories thus creates ＂flat characters＂ and produces melodramatic encounters or what the writer Raban has called ＂urban melodramas.＂ Finally, this essay argues that the versatility of Zhang Dachun's writing style reflects the heterogeneity of urban space and the fluid identity of urbanites.