一九四八年底，國共內戰紛亂，為數眾多的文人開始啟程離開大陸南向香港，架構了史上另一波的流動軸線。本文挖掘這一波右派為主的南來文人力匡、貝娜苔、趙滋蕃、易文、徐訏等同與不同的故鄉－香港－異國－香港移動蹤跡與書寫墨痕，透過文人們生就具有的創作衝動交出可觀的在地書寫，透析香港成為一個新的文學現場同時，這些作品字裡行間所流露的不安、厭世、自我退縮表裡，在在指向了西美爾(Georg Simmel)「麻木」厭倦的心理保護機制論點，這也提供我們重新思考南來文人重生或再生、歸去或歸來的刻畫過程，而每一舉步，都豐富了香港的歷史與命運，然處境上他們並非一般認知的強者主體，反而是孤獨、無助者，以此為視角，本文將證成這些南來文人如何以書寫呈現較少被視見的自保機制成為外顯傳媒的中介，進而銘刻異變時空下文人獨特的心事與命運。

Since the end of 1948, the immigration lines for which mainland literati have led the third wave to migrate to Hong Kong could be well formulated. In reference to some right-wing men of letter, such as Li Kuang, Romulus Yang, Zhan Zi-Fan, Evan Yang, and Xu Xu, the paper reads not only how the movements are mappable at home and abroad and Hong Kong after all, but also how the according writing is done. For their impulse to create plentiful works indigenous to the very islands, this article proposes that Hong Kong, in a symbolic way, serves as a literary locality which stands for traits of insecurity, pessimism, and reserve. These characteristics, as mechanisms on psychological protection, can be read in the light of Georg Simmel's idea of blasé. By examining how these migrant intellectuals either regenerate or revive, emigrate or return, this paper argues that they "convert" to literature to protect themselves but end up enriching the history and the destiny of Hong Kong. They are, after all, not the majority but the minority who suffer from loneliness and helplessness. If their writings suggest rejection and dis-identification to us, we could be reminded that exile conditions their very writing; they do not mean to write so in the beginning. This paper, accordingly, will prove how writing translates the life experiences and mood of migrant literati, manifesting the spatio-temporal changes in the context.