以一九四九年後中華民國和臺灣產生偶然性的重合，蔣氏政權實施的戒嚴、白色恐怖及傳統中國文化的再創造／再發明，民國新儒家的儒家思想的重建，現代主義的重塑中文現代文學，文化創造上可謂豐碩。出生於一九七七年的童偉格無疑是臺灣現代主義的後裔，臺灣特殊的歷史境域無疑是他的寫作的一個潛在背景，即便其寫作沒有直接面對它。本文從童偉格的《童話故事》出發，從那本書展佈的幾個關於「寫作本身」的基本問題，寫作者的在場、缺席，哀悼，袁哲生問題，重寫與重讀，共時，經驗與歷史等，進而討論歷史傷停時間裏的歷史與寫作，兼及王文興的《剪翼史》，作為對比與參照。

Modernism’s reshaping of Sinophone modern literature is replete with cultural recreation by virtue of the contingent synchronicity between Taiwan and the Republic of China after 1949, the Martial law executed by Chiang’s regime, the White Terror and the re-creation and re-invention of traditional Chinese culture, and the re-construction of New Confucianism’s Confucian philosophy. Born in 1977, Tong Wei-ger unequivocally is the descendent of Taiwanese modernism. Taiwan’s unique historical context undoubtedly is Tong’s latent background in his writing, even though he did not deal with it directly. This paper starts with Tong Wei-ger’s Fairy Tales, in which I explore several fundamental questions regarding “writing itself,” for instance: writer’s presence, absence, mourning, the issue of Yuan Zhesheng, re-writing and re-reading, synchronicity, experiences, histories, and so forth. By so doing, I discuss history and writing in terms of history’s injury time and compare to and contrast with Wang Wenxing’s Clipped Wings, a History.