本文藉討論德希達的《它者的單語主義──起源的補體》及其他文本探討解構在記憶、認同及語言政治等議題上可能的啟示。筆者認為解構書寫策略提醒我們「我」或任何自傳式書寫中的論述主體，恆常位處在一個永遠指涉它方，指涉另一種語言，概括又開放地指涉它者的異／譯／憶質位址上被形成和裂解。此一異／譯／憶質的補體增生揭示了它者內於我的不可消弭性與先時性。觀照己身出入語言、國籍、社群的流放經驗，單語者在自傳欲望若有似無的牽引下，穿梭擺盪於逝去的過去記憶和異質未來（不可能）到來的應允之間，對於來自它方迴盪心底的難解終局展開一連串的對話與反詰。「我」在它者語言居所的疏離一再地提醒讀者：主體的（不可能）建構及起源的妄置必然涉及的矛盾及操控介入；「母語」做為語言起源補體在主體意識認同建構中的可疑位置和可能的致命偏差；以及翻譯的不可能性和必要性。單語者在每一次跨疆越界的通關（表願／述行性）測驗中瞥見它者的蹤影，為這個不能和其表願／述行性經驗切割的神祕秘語見證，用「plus d’une langue──多於一種語言，不多於一種語言」，在每次獨特的表願／述行演出中，發明自已獨特的語言和秘語。

This paper explores salient issues about memory, identity, and linguistic politics through reading Monolingualism of the Other and other texts by Jacques Derrida. The writing strategies of deconstruction remind us that the (de-)construction of the “I” or any fixed subject of autobiographical writing dwells in an impossible (dis-)location of mnemonic and interpretative alterity that openly refers to elsewhere, to other languages, and to the other. This prosthetic supplement of mnemonic and interpretative alterity reveals the irreducibility and anteriority of the alterity within the same. Reflecting upon his own exile experiences of crossing the borders of languages, nationalities and communities, the monolingualist of the other, under the elusive (dis-)orientation of autobiographical desire, interweaves lost memories with the promise of the coming of the other, and engages in a series of dialogues and rebuttals about these aporias. The estrangement of the “I” within the dwelling of the language (of the other) repeatedly cautions us against the manipulative intervention involved in the impossible constitution of the subject and the origin, the ambiguous role and lethal misuse of the mother tongue in such constructions of identification with the same, and the impossibility and the necessity of translation. The monolingualist of the other glimpses at traces of the other in every (non-)passage of performative text on the border, testifies to the shibboleth inseparable from its performative dimension, and follows the shibboleth of deconstruction—“plus d’une langue”—to invent the ciphered singularity of the other in every such unique performative act.