本文以《巫術掌紋：陳大為詩選1992-2013》為線索，考察陳大為二十多年來的詩路，從〈治洪前書〉到〈拉爾哈特〉的精神之旅，並探討在陳大為的詩之旅中，歷史、故事究竟是怎麼一回事，是否存在著某些根本的欠缺，深受臺式後現代主義的濡染，而決定了陳大為詩的路徑，一直朝著輕的路徑走，難以抵達真正的深刻？我關切的不是他寫作的題材本身（寫甚麼），而毋寧是題材後面那個更根本的問題：這一路走來，陳大為是如何尋找，營構他的詩意的？在這過程中，他是如何調度、操作他的題材，以及採取了怎樣的語言策略？

Wushu zhangwen: Chen Dawei shixuan, 1992-2013 [Witchcraft, palm lines: Selected poems of Chan Tah Wei, 1992-2013] traces Chan Tah Wei’s poetic route and spiritual journey, taken in the past two decades, from “A Prequel to Flood Control” to “Lahat.” While stories and history seem to be woven in Chan’s works, they could be out of focus. This paper argues that Taiwanese postmodernism may contribute to the ambiguity or essential lack in Chan’s poems, where history tends to be used in a “light” and depthless manner. The concern of this paper, hence, is not so much about what Chan wrote (subject matter) as about how he wrote (the poetics), that is, what kinds of linguistic strategy the poet has employed and how he has manipulated his subject matter.