臺北敘事構成了臺灣現當代文學中一個內涵豐富、常寫常新的譜系，而「城市移民」則是臺北敘事中一以貫之的重要題材。本文聚焦這一題材在晚近時期臺灣小說中的呈現，關注其中敘述視角由「上一代」至「新一代」城市移民的轉變，及這一視角下所呈現的臺北與原鄉想像。本文以鍾文音的《在河左岸》和吳明益的《天橋上的魔術師》為例，通過文本細讀，首先分析兩部小說如何分別建構衛星城三重和中華商場的空間記憶，將舊時臺北形塑為精神的原鄉，及後討論小說中成年時空的「臺北」，探析城市空間變化對個體生命的隱喻。一方面，本文嘗試跳脫對解嚴以來臺灣小說唯新唯變的研究取材傾向，關注舊題材在新時期臺北敘事中的延續與變化；另一方面，亦將對於言說位置的討論帶回到文本譜系之中，關注臺北的圖景如何被豐富，敘述視角的轉換又怎樣帶出文學敘事中的臺北在時代間的對話。

In modern and contemporary Taiwanese literature, Taipei has always reflected Taiwan's multifaceted issues in different periods. ＂Urban immigrants＂ is a significant theme in the long tradition of Taipei narratives. This study focuses on this theme in the 21^(st)-century Taiwanese fiction, showing how the narrative perspective shifts from the old to the new generation of urban immigrants, and how ＂Taipei＂ and ＂the homeland＂ are depicted and imagined. Through close reading of two novels, Zhong Wen-yin's Lonely River and Wu Ming-yi's The Magician on the Skywalk, this study first analyzes how the protagonists' childhood memory of Sanchong - the satellite town of Taipei - and Zhonghua (Chung-hwa) Bazaar have been constructed to configure the ＂old Taipei＂ as a spiritual homeland for the new generation of urban immigrants. Then, it attaches importance to the transformations of Taipei in the grown-up time-space, exploring its metaphorical meaning on life. Diverging from other studies that pay attention to the ＂new＂ themes of post-martial law Taiwanese fiction, this study focuses on the present-day manifestation of this enduring theme in Taipei narration. Overall, the purpose of this study is to drive the discussion on narrator's position back to the literary context. In examining the change of narrative perspective in the novels, this study attempts to develop a dialogue between multifarious narrative of Taipei in Taiwanese fiction of different historical periods.