七等生作品中，「不完整性」一直是他作品獨特風格所在。一九七三年，七等生在《離城記》以「不完整就是我的本質」概括自我；一九八五年《譚郎的書信》中，七等生再謂：「我這一生唯一具有意義的事就是完成自我。」本文想探究的是：以「不完整的本質」要完成自我的建構，如何可能？本文從現有研究成果之詮釋觀點轉向，把《譚郎的書信》視為是把自我當作「藝術品」雕琢的藝術家譚郎以「不完整的本質」完成自我建構的方式、過程與結果的作品。譚郎將生活視為藝術實踐，以一再重複的「自我差異」與「自我再現」的「越界」書寫，形塑自我成為一個他從來沒有成為的人──一個越界／生活／寫作的藝術家，將自己安身立命的方式以風格化的形式呈現，發展出獨特的生存美學。

“Incompleteness” has been a central and unique feature in Chi-teng Sheng’s writings. In 1973, Chi-teng Sheng wrote in Leaving the City, “Incompleteness is my innate character,”which conclusively summarizes his self-portrait. In 1985, he wrote again in Letters of Tan
Lang, “The only meaningful thing in my life is to complete myself.” Therefore, this study aims to discuss how it is possible for him to construct his subjectivity out of an incomplete intrinsic quality.This study reverses the gender power, and views Letters of Tan Lang as a work in which the author constructs, shapes, and performs himself through his “incomplete innate character”—as if he, Tan Lang, carves his self-image as an artistic work. Tan Lang regards life as an artistic practice, who consistently writes “transgressively” through revealing“self-discrepancy” and “self-representation,” molding a self that he never becomes—an artist who transgress, writes, and experiences life. He takes shelter in his idiosyncratic writings and develops a unique sense of existential aesthetics.