本文從敘事學理解《玄中記》三個比較完整的輯本，探索黃奭、葉德輝與魯迅三位輯佚者如何觀看其中的異世界，以及如何展現出既同且異的異世界觀，實際上也就顯現不同的學術趣味。所以對於這三個較晚出的輯本，並不宜全以優劣論其輯佚手法之上下，而是彰顯出輯佚背後的觀照態度，這是筆記小說輯佚學上一個有趣的問題，也是志怪文類學必須正視的重要課題。本文即以三項準則，進行《玄中記》不同輯本的復原詮釋：一是書名所隱藏的製題秘密；二是條目群的分合組織；三是條列先後之序所建構出不同的異世界觀。相較於張華所撰而經後人編集倖存的通行本《傳物志》，這部博物體地理雜記雖非完帙，但可推知原作者應該自有其觀照世界的一套觀法，而今人在距離千年之後所作的重新輯佚，其實就是一種詮釋，無論是從玄觀中、從中觀玄，玄中世界既是體現了空间距離的幽遠，也可以是時间距離的幽遠。故觀看三位各自完成其條列之目，就如展閱不同的圖卷或參觀三種設計各有特色的博物館，乃是一種混融虛構與徵實的異文化想像之旅吧！

This paper employs narratology to compare and contrast how the compilers of three comparatively complete and late reconstructions of the Xuanzhongji viewed the otherworld described therein. The three compilers are Huang Shi, Ye Dehui and Lu Xun. This paper argues that, by the different ways of presenting this otherworld, what the three compilers actually reveal are their individual scholarly interests. Therefore the issue of concern is not their reconstructive competence but their editorial perspectives and attitudes. This is an interesting and important issue for both the textual reconstruction of bi fiction and the genealogy of anomaly literature. This paper evaluates the rehabilitative interpretations embodied in the reconstructions in terms of: 1) the hidden meaning of the title; 2) the division and organization of the contents; 3) how the ordering of the contents reflects different visions of the otherworld. An encyclopedic but incomplete collection of geographical sketches, the Xuanzhongji should have its own way of viewing the otherworld, compared to Zhang Hua's Encyclopedia. Modem reinterpretations, well over a thousand years later, of its imaginary other world do manifest various kinds of distance in terms of both space and time. Reading the three compilers' reconstructed texts is like unfurling three different pictorial scrolls or wandering in three different museums. In short, it is a cultural odyssey into a world of otherness; an imaginary journey into a world where fiction and reality are mixed.