郁達夫是馬華文學史上重要的南來作家，1945年在印尼失蹤，傳奇經歷在馬華文學內部留下魅影般的想像和迷思。事隔多年，在台馬華作家黃錦樹以系列「重寫郁達夫」的小說，透過後設、戲謔等手法改寫郁達夫的南洋傳奇，試圖顛覆馬華文學線性史觀，開啟文學書寫的「慾望生產」，重構另一種的文學史「現場」。本文透過以下三個脈絡的討論：失蹤、死亡、骸骨三者如何組合有意義的符碼，再現早期流寓者的歷史時空和文學魅力？重寫意圖展現的肉身和亂離體驗，如何導向馬華文學裡特殊的流亡意識或流亡詩學？骸骨和肉身的辯證，如何轉換成作者對中國性和漢字有意識的銘刻？藉此三點論證黃錦樹的「重寫郁達夫」有意識地指向馬華文學內蘊的歷史骸骨和創傷。本文最後論證黃錦樹在旅台位置重寫郁達夫的南來，勾勒文學播散（dissemination）和慾望的地誌書寫，顯露出馬華文學流動、曖昧身世、跨界的文學現象。

This study aims to discuss how Ng Kim Chew, a Malaysian Chinese writer in Taiwan who rewrites Yu Dafu's death in Nangyang, delineates the topological writing and dissemination of literature, displaying mobility and the transcendent nature of Malaysian Chinese literature. Yu Dafu, a legendary writer from China in the Malaysian Chinese literary tradition, went missing in Sumatra in 1945, leaving his death an unresolved mystery. Several decades later, Ng Kim Chew, through meta-fictional practice, rewrites Yu Dafu's legend in Nanyang, subverting the linear reading of Malaysian Chinese literature and reconstructing an alternative literary scene. The discussion is conducted in order to address the following questions: How do missing, death and skeleton form a unified signifier to represent the history and literary context in which early exiles live? How does Ng Kim Chew's rewriting of Yu Dafu contribute to a new understanding of Malaysian Chinese literature?