In earlier years, mystery literature was viewed as a literary genre introduced from non-native publishing market. However, since Japan imported detective genre into Taiwan, the so-called mystery literature of Taiwan has taken exotic detective novels as a role model, translating this mode of writing into our local writing style. This paper tries to uncover a corresponding relationship between “body-order” and “order of literary form” as my primary analytic concept. Drawing upon this new point of view of mystery novel research, this paper utilizes the novel God’s Forbidden Ground (上帝禁區) by Taiwan author Leng-yen (冷言) to analyze the form of body displacement and showcase how this mystery novel presents a linguistic aesthetic based on bodily ground from diverting Japanese author Souji Shimada’s Tokyo Zodiac Murders (占星術殺人魔法). At the same time, I explore the novel as a type of popular literature, which stands for and borrows the original form from Japan, adopting the approach of cultural translation in the process of its localization. And, through the process, I investigate how it could satisfy the need of the literary order of mystery novels by narrating practice of body-order. I further inquire into how the agency of a translator could makes use of body form without regard of metaphors of nation and history, and how this process continues the classical aesthetic genre and meaning of modernity. Furthermore, the writing intention of Leng-yen might cause the inner conflict and fundamental crisis of the “order of literary form,” which is exactly what he has tried to preserve.