在21 世紀要檢視華文歷史小說，施叔青與平路是兩位不可忽略的重要作家。施叔青的系列小說《台灣三部曲》，涉及的年代從清領、日治、戰後、到二二八事件發生。討論的族群遍及漢族移民、日本移民、原住民與台灣特有的「灣生」，就小說之深度與廣度而言，《台灣三部曲》在台灣文學研究史上，特別是後殖民理論取徑的討論，可說是據有舉足輕重的地位。反觀平路近年的兩部長篇小說《東方之東》（2011）與《婆娑之島》（2012），把時間拉回更早的荷蘭占領台灣時期，論及航海時代的鄭氏王朝與台灣島在異族統治下的夾縫情境，同樣將筆觸深入漢族、原住民與外來統治者，是目前歷史小說中鮮少可見的視角。職是，本論文試以華語語系理論框架，比較探討施叔青《台灣三部曲》的第三部《三世人》（2010），以及平路的《婆娑之島》（2012），重點聚焦剖析女作家，特別是兩位長年跨國∕跨界、不在台灣的所謂「文化回歸」女作家，如何跨國召喚與回憶台灣歷史，運用她們特殊的書寫策略，以及呈現∕再現台灣混雜∕多元的文化情境，最後則是以華語語系的視野，書寫建構與重構台灣（新）歷史的方式，展現女性作家的力量。

To study Sinophone historical writings in the twenty-first century, Shih Shu-ching and Ping Lu are two of the most important writers we should not leave out. In Shih’s Taiwan Trilogy, the time span extended from Tsing Dynasty to Japanese reign, Post-war period, and ＂February 28^(th) Incident.＂ The cross-ethnic characters in the novels included Han people, Japanese immigrants, aboriginals and ＂Wan-sen＂ (Taiwan born Japanese). In both aspects as discussed, Taiwan Trilogy has taken a significant position in the studies of Taiwan Literature. In Ping Lu’s two latest historical novels, Beyond the East (2011) and Island Formosa (2012), she recalls the time back to Taiwan under Holland’s occupation and Zheng Cheng-gong’s reign. She also depicts a cross-cultural context of Han people, aboriginals and colonial rulers. This paper attempts to focus on comparing and contrasting Shih Shu-ching’s Taiwan Trilogy and Ping Lu’s Island Formosa in light of the theoretical scheme of Sinophone Studies. The focus would be on these two so-called ＂cultural retrospective writers＂ who have spent years crossing borders of different countries and cultures with an attempt to look into the complicated and hybrid past of Taiwan. Eventually, through applying the Sinophone Studies’ vision of constructing and re-constructing Taiwan’s (new) history, this paper spells out women writers’ special power.