出身非凡的陳定山（1897-1987）經過1949年的分水嶺，帶著上海記憶的箱籠加入了一個巨大的移民潮，在島國以寫作為生，重建家園。上海時期的陳定山赫赫有名，集書畫家、收藏家、通俗作家、小報文人、海上達人於一身。到了台灣，過往的榮華煙消雲散，年過半百的陳定山不得不從零開始，寫作第一次成為真正的生存工具。離鄉背井跨洋遷徙的經驗無形之中拓展了陳定山的視野，寫作的面向在戰後的台灣開始轉變，朝向一個國族界限模糊的離散的讀者群。客居台灣的年月裡，陳定山筆下名不見經傳的小敘述相較於國家文學的主流敘述而言，擁有更廣泛的讀者群，並且超越國界，走得更遠，流傳更廣。本文以陳定山《春申舊聞》、《留台新語》等集子中的短篇敘述作品為案例，重新檢視文學史無法歸類的一群在國和族之間滑動和流離的作家，在世紀中葉轉折點上為他們做一個初步的定位。

Chen Dingshan (1897-1987) led a long-lasting writing career that spanned six decades and flourished on both sides of the Taiwan Strait. Already a celebrated writer and popular culture figure in his Shanghai era, Chen began to write at a faster pace and with a much larger output after migrating to Taiwan in 1948, composing expansive long narratives as well as many volumes of prose and poetry. This paper takes examples from Chen's collections of anecdotes and short fiction in the 1950s and 1960s to discuss how narratives became portable and how forms of popular literature were transplanted from Republican-era Shanghai to postwar Chinese-speaking communities in Taiwan and elsewhere. Narratives were portable and transplantable against a violent context of mid-century transitions. Chen and others like him took advantage of the flourishing publishing industry fueled by cold-war era politics and flows of transnational capitals and continued to experiment with a range of hybrid literary forms and styles.