By taking the core concept that Huang Jinshu [Ng Kim Chew] has recently proposed ”Chinese Modernism: an Incomplete Project?” as a point of departure, this essay argues that a symmetric structure of diasporic Chinese Modernism is co-constituted between Huang the modernist writer and the group of Taiwanese writers whom he calls the Chinese Modernists. Such a structure has scattered in the works of Chinese modernist writers in all directions by the implosion of modernity in the early 20th century. In practice, their repetitive writings represented an image of China as a deceased metaphysical Father. Chinese Modernism thus manifests an Electra complex with prolonged mourning for the death of the Father, and consequently by his corpse a Materialism of writing is produced. Huang himself also repetitively applies the material scenes to his narratives. However, as a diasporic Chinese writer, will the gesture of Modernism be his eternal pyre? The national identity of literature that Huang objects is in fact a repression to forcefully distance his writing from the essence of the ”fatherland,” igniting an entire Earth (ethics) of Modernism by the Fire (form) of Modernism. This essay attempts to point out that what Modernism meant to Huang is form as identity and aesthetic as ethics. It is in this context that the evolution from Modernism to Postmodernism in the 1980s and 90s is endowed with a new ethical meaning--it is an extremity of form and simultaneously it is evident that identity shifts from a dispersed subject to language. Hence the return of a new ethics.