這篇文章旨在為勵志性平反。長久以來國內外知識界習慣輕視具有勵志性的文本，順便忽略了往往具有勵志色彩的身心障礙敘事。然而本文建言，「身心障礙人文研究」的基本材料就是身心障礙敘事，而跟身心障礙敘事難以割離的勵志性應該受到正視。不但如此，在身心障礙意象紛紛被挪用當作「常人」社會的「輔具」時，勵志性正好可以策略性地當做身心障礙者及其文本的情感層面輔具。在情感經濟體系中，下肢障礙者鄭豐喜的《汪洋中的一條船》和蔣經國時代的黨國機器互相以勵志性支援；跟鄭豐喜同時在威嚴時代進入文壇的輪椅族作家杏林子卻在寫作歷程中摸出脫逸黨國、改與宗教結盟取暖的另類路徑；二十一世紀幾米繪本《地下鐵》則展示了一個不強調勵志性的獨立盲女，因而引發改編者渴望勵志性的焦慮。

This article attempts to focus on the inspirational character of the inspirational literature, a genre into which Taiwan disability narratives are habitually pigeonholed. As the inspirational literature is often too commercialized to be respected in academe, the article suggests not to throw out the baby with the bath water but to recognize that such a minority as the disabled might strategically adopt the inspirational texts as prosthetic devices to maneuver in the economy of affect. The article analyzes three famed texts in Taiwan that are central to the said economy. First, One Lonely Boat on the Boundless Sea, a book-length memoirs by Feng-hsi Cheng, an amputee whose work was appropriated by the Chiang Ching-ko regime for its quasi-national-allegory-like signification for Taiwan. Second, the personal essays by Hsing-Lin Tzu, a wheel-chaired writer whose essays, contemporaneous with the aforesaid Cheng, reveal endeavors of deterritorialization from the state apparatuses and those of reterritorialization with Christianity. Third, Sound of Colors, a graphic book by Jimmy Liao, a cancer survivor, whose work critically suspends the necessity of the inspirational.