本論文以白先勇十個涉及成長書寫的短篇，包括〈金大奶奶〉、〈我們看菊花去〉、〈玉卿嫂〉、〈藏在褲袋裡的手〉、〈寂寞的十七歲〉、〈那晚的月光〉、〈芝加哥之死〉、〈上摩天樓去〉、〈謫仙記〉、〈謫仙怨〉，以及長篇小說《孽子》為本，分由「耽溺於童年的成長書寫」與「離開童年的成長書寫」兩大面向著手，逐步梳理白先勇小說中所展現的成長書寫及其特質。全文重點大致有三：一在指出白先勇小說中人物形象刻繪的承繼、變形與共同性。二在探討小說中與成長書寫相關的愛欲、死亡、瘋癲、國族／存在認同等命題，以及成長試煉的親歷過程。最後則指出白先勇成長書寫裡所特有的戀母情結與反成長傾向。

This paper discusses Bai Xian-yong's ten short stories which involves growth writing, including: Madam Jin, Let's go to see daisies, Yuqing the nurse, The hand hidden in the hip pocket, Lonely seventeen, Moonlight that night, Death in Chicago, Go on the skyscraper, A fairy falling into the mundane world, Resentment of the fairy falling into the mundane world, and his novel ”Crystal boys”. From ”indulging in childhood” to ”departing from childhood”, I gradually sort out the growth writing displayed in Bai's works and the characteristics of his writing. There are three focuses in the paper. First, I point out the succession, deformation and commonality curved by Bai's characters. Secondly, I discuss theses related to growth writing, such as love and desire, death, madness, nation/identity, etc. Finally, I point out the unique Oedipus complex and anti-growth tendency in Bai's growth writing.