出生於1960年的林俊穎，於彰化鄉鎮度過童年階段，即使爾後因求學或工作而寓居臺北、紐約、香港諸城，「鄉土家族／神話原鄉」仍為其存有價值的依據，以及思索性別、城市、家國的基礎。九○年代後期以降的林俊穎小說以鄉土記憶為核心座標，據此派生出城市書寫和家族故事相互錯置的敘事策略，並以「物／敘事修辭」作為召喚記憶的觸媒，牽引出小說中許多精煉的時間斷片，從而錯置日治以降三代人的城鄉記憶與時間感知，是不同於現代化語境裡中產階級意識形態所認知的臺灣經濟及其物質文明。此乃運用現代神話學的視野，拆解以進步或發達為主流的時間認知，進而開啟神話原鄉與現代神話學的辯證。換言之，臺灣因經濟起飛與物質文明的蓬勃發展，成為富裕與進步的亞洲四小龍之一，那麼林俊穎小說轉身思索神話化的經濟進步卻遮蔽了一代人麻木於「神話原鄉／精神母土」的失落。因此，本文第二節分析《我不可告人的鄉愁》以海洋為核心意象，展示神話原鄉與現代神話學的對話。承此追溯《我》之前的創作：第三節討論《玫瑰阿修羅》如何揭示現代神話學的操作手法，第四節則剖析〈母語〉和《鏡花園》錯置城鄉敘事與反思時間感知，無不說明神話原鄉的難以回歸。

Lin Junying was born in 1960, spent his childhood in the town, then went to school and worked in Taipei, New York or Hong Kong. Even so, local family has been the foundation of his spiritual home, which involves thoughts of time, city, and state. Local memory is the main coordination in Lin Junying's novels, mixing urban writing and family stories by taking material as a way of calling and mixing memories of three generations. The Middle-class advocates that economic and material conditions affect conscious of time which is based on progress and development. However, the prosperity and progress of economic development in Taiwan has made people forget the value of the spiritual home. This is the dialectics between mythologies and spiritual home. Section II analyzes the dialectics in Wo Buke Gaoren De Xiangchou(《我不可告人的鄉愁》), and according to this, Lin Junying will trace other novels before Wo Buke Gaoren De Xiangchou involving Shan Nuren(《善女人》), Meigui Axiuluo(《玫瑰阿修羅》), and Jing Huayuan(《鏡花園》).