本文延續〈駱以軍的第四人稱單數書寫（1/2）：空間考古學〉的探討，對駱以軍小說中的時間性及相關論域從事文本分析。首先，一再出現於小說中的「我」作為貫穿各種故事的人稱（或人物），其實是一種「第四人稱」或「無人稱」；因為敘述極度的碎裂與錯接，使得「我」並不指向任何一個實存的個體，而是由各式八卦、回憶、事件、夢境…所錯亂拼合而成。第二，回憶成為駱以軍小說藉以操弄時間的材料，回憶的回憶及回憶的遺忘在時間中構成極其複雜的差異與重複，而小說最終成為一種透過回憶（的回憶）所構築的「我城」，是對一整座龐大的虛擬城市的造鎮計畫。第三，時間在駱以軍小說中被等同於傷害，生命則是一個瓦解的過程，在歷經一切滄桑後，寫作似乎僅為了聊遣悲懷以度餘生。第四，死亡成為駱以軍小說的邊界，然而在書寫中卻又不斷越界或畫界，各式怪奇的死亡翻湧而出，似乎正是從生死一線的時空糾葛中才得以豁然開出書寫的虛擬性，然而，支撐這個大膽撩撥死亡並與之周旋到底的特異書寫，無疑地必然是在高張文字平面上噴吐崩瀉的生命強度。書寫成為一種「越界序言」。

This essay is a continuation of my previous essay “Yi-ChunRo's Fourth-Person Singular Writing (1/2): An Archeology of Space." I would like to analyze the temporality and its related “horizons"iYi-Chun Ro's novels. First of all， the “I"which appears recurrently in his novels， acting as a narrative voice or a personage which links a variety of stories， is actually a “fourth-person"or an “impersonal"writing. Because of the extreme fragmentation and delocalization of the narration， the“I" does not refer to any actual and specific individual; on the contrary， it is a patchwork of all kinds of gossips， memories， events， dreams， etc. Second， memory becomes material with which Yi-Chun Ro manipulates temporality in his novels; reminiscence of memory and forgetting of memory constitute in time a complicated series of difference and repetition. His novels become， at last， an “I-City" built upon memory (or its remembering)， a town-building project for a vast virtual city. Third， time is regarded as equivalent to damage， while life is a procedure of breakdown; after having suffered all kinds of injuries， the “I"writes merely to dispel sadness in order to get through the remaining life. Forth， death becomes the border of Yi-Chun Ro's writing; however， he attempts constantly to transgress it or to delimit it. Various kinds of extraordinary deaths spout; it seems that only at the frontier of life and death， the virtuality of writing is opened up. What sustains such a singular writing which plays daringly with death is nevertheless undoubtedly the intensity of life which gushes and rushes over the highly tense verbal plane. Writing becomes， hence， a “prefaceto transgression."