台灣當代原住民文學在1980 年代開始蓬勃發展，透過原住民菁英的自覺性書寫，原住民的神祕形象逐漸被塑造，或者更精確來說是「重構」。其中拓拔斯．塔瑪匹瑪雖為布農族，但卻以「他者」的「中心」眼光，審視「邊緣」，進行冷靜而貼近的觀察，從而反省漢人與原住民間空間與文化上的衝突，並使用極具特色的「部落式語言」進行書寫，形成十分特別的文化氛圍。本文以《最後的獵人》、《情人與妓女》、《蘭嶼行醫記》三本為主要題材，企圖釐析出拓拔斯．塔瑪匹瑪在面對「空間敘事」的「衝突」隱含著何種生命困境？「傳統的山海」與「現代的都城」二者間產生的「保存」與「失落」差異，在拓拔斯．塔瑪匹瑪心中，共構出何種情懷？最終他回到蘭嶼、擴大書寫族群，將觸角延伸至「九族」，空間的擴大又代表什麼含意？拓拔斯．塔瑪匹瑪出生於山林，卻在「文化中心」接受教育，最終回歸「大海」，這樣的生命過程是限制還是救贖？筆者欲就「敘事」與「作家」兩個面向，分別討論其「空間書寫」的題材轉變與書寫立場，企圖透過作家眼睛，及其筆下世界，建構出原住民的真實世界。並借由「空間」差異擴大至「文化」拉鋸，進而釐清拓拔斯．塔瑪匹瑪如何並存於邊緣與中心，並覓得自身的定位與價值。

By reconstruction and self-conscious writings by the Indigenous elites, the Indigenous literature began to flourish in the Eighties. Tuobasi．Tamapima, a Bunun playing the role of the center among the others at the edge, has attempted to reflect the spatial and cultural conflict between the Hans and the Indigenous Peoples with his calm and close observation. Based on the texts of his three books, The Last Hunter, The Lover and the Prostitute, and The Notes of a Doctor at the Orchid Island, we make efforts to elucidate how he has accommodated the differences between the traditional mountains and seas and the modern urbanity by embedding the dilemma of life arising from the conflict in spatial narratives. We focus on the dimensions of narrative and authorship in order to understand how the authentic Indigenous world gas been constructed in changing subjects and perspectives. It is noted that Tuobasi．Tamapima has employed his unique “tribal language” to describe the cultural tug of war and to identify himself.