駱以軍的《女兒》反覆宣稱這是一個製造女兒的「美少女夢工廠」計畫。所謂計畫，指的是作品製造之前所擬定的方案或程序；換言之，真正的作品尚未開始、有待執行。而聲稱為計畫的作品也暗示著真正作品的既未開始當然也未完成的狀態。然而，《女兒》的出版同時使得它不再僅止於作品計畫，而已是成品。這個「已完成」的狀態顯然矛盾於它一再自我形塑為計畫的宣稱，基於這樣的困惑，「文學如何可能思考尚未降生之物」便成為分析此作品的焦點。本文企圖以下列三個主要方向，作品的內容、操作與指涉，包圍駱以軍所提出的這道文學難題。然而作品內容旨不在為小說理出一條貫通所有龐雜故事的劇情大綱，而在重新思考作品計畫與作品自身之間的相互生長關係；作品操作並非企圖以理論觀點思考此部作品，而是《女兒》作為文學虛構的作品如何可能重新頒訂文學創造的律法；作品的指涉不指向它與作者現實背景間的對照與較真，而指向作品如何作為未來的預先在場使未來可感，由此，文學研究同時是指向對未來的探究。

This essay attempts to analyse Taiwanese novelist Luo Yijun's new work The Daughter [Nuer] (2014) from three aspects: its context, operation and reference. It questions how the text can make us think about what is not yet born? This essay aims to answer this question. ＂Context＂ does not mean to provide a summary for the stories in The Daughter, but to increase details and meanings among the stories. ＂Operation＂ is not a principle of literary theory but a concept according to which Luo's text exercises the law of literature. ＂Reference＂ does not refer to a comparison between biography of the author and the genetic background of the work but a relationship between its structure and the future. I argue that Luo's text is a pre-being work since its being precedes its meaning (generated from the reader, or even from the author's interpretation). The meaning of the work, hence, belongs to the future, and it relates the work to the future. Yet the future here is not the future that we cannot predict. A real text of the future is the only future that we can approach. The work, as a beforehand being, makes the future become measurable and enables us to learn something from it.