「後設小說」的出現，是後現代主義氛圍下的產物，而八O年代臺灣文壇受到如是創作手法的影響，後設小說也躋身文學場域，並且引發諸多討論，甚至是負面的批評。張大春的小說集──《公寓導遊》與《四喜憂國》，極盡所能地在小說創作過程中，將真實／虛構的二元辯證，以及作者的自覺反省，展現於小說文本，也同時質疑鄉土文學論戰以降，認為文字能反映現實的寫實主義論述，呼應後現代主義多元併陳以及去中心化的主張，並重新審視作者、作品與讀者之間的諸多複雜關係。本文試圖就張大春小說文本加以探索，並輔以帕特里莎‧渥厄（PatriciaWaugh）的後設小說理論，期能釐清「後設小說」在臺灣小說發展歷程中的存在意義與定位。

Metafictions, born under the atmosphere of postmodernism, prompted discussions and even negative critiques when entering Taiwan's literature field from the western world in the 1980s. In his two collections of short stories, A Guided Tour of an Apartment Complex and Ci-xi's Concern on Nation, by employing to the fullest extent the dual dialectic of reality and illusion and his personal introspection in the process of story creation, Chang Dachun questioned the realism arguments emerging after Taiwan nativist literature debates that words are able to reflect the reality as he echoed the ideas of pluralism and decentralization supported by postmodernism and re-examined the complex relations among the author, the work, and the reader. The author of this study attempted to explore the aforementioned stories lending a metafiction theory by Patricia Waugh to determine the historical meaning and position of metafictions in Taiwan novel development.