郭松棻的多篇小說，在他的寫作生涯中都曾出現多次重寫、修改的狀況，短篇小說〈寫作〉，甚至從原本六千多字的篇幅，歷經十年，將之擴寫成六萬字的中篇作品〈論寫作〉。可見對郭松棻而言，這非但涉及小說內容的「改寫」，更是書寫行動上別具意義的「重寫」。本文嘗試從郭松棻這幾近偏執的「重寫」，指出他的「重寫」行動經常導致語言過渡向它自身的外邊，書寫圍繞著一種強烈的匱缺感。而在郭松棻的寫作裏，這種匱缺感，則往往指涉向小說文本中的遺腹子書寫，一種被戒嚴割裂的空白歷史。本文也嘗試引入「外邊」(dehors)的概念，辯證郭松棻在書寫上與滯美情境上的外邊處境，是如何反映在他的小說寫作之中。

Much of Guo Songfen’s fiction was re-written or revised during his writing career. One example is his short story “Writing,” which was expanded from 6,000 words into a medium-scale novella “On Writing” of about 60,000 words. Apparently, for Guo, what he was doing was not about revising the content of a novella but re-writing, which is more meaningful in its aspect as the act of writing. In this paper, the author examines Guo’s nearly obsessive re-writing act and indicates that Guo’s act of re-writing often pushes the writing away from itself, creating a strong sense of lack in his writing. In Guo’s works, this sense of lack often points toward writing that seems like a posthumous child, a piece of history left blank by martial law. The author also introduces the concept of dehors to demonstrate how dehors, in terms of Guo’s act of writing and his exile in the United States, is reflected in his writings.